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5ART AS DEVELOPMENT MEANS OF COOPERATIVE ART-AND-CREATIVE ACTIVITY AND ART-AND-ESTHETIC EDUCATION OF SCHOOL STUDENTS
Abstract
The paper deals w^h the relevance of application of new methods of training, the most important of which is competence-based approach to education in higher educational institutions. The purpose of the paper is revive the main signs and groups of competences of educational process. The paper describes educational process basing on competence-based approach to education. The presented material wll be useful for lecturers of higher educational institutions for conducting their lessons.
Keywords
artistic and creative activity, art activity, joint activity, co-creation, tendencies, canons
AUTHOR
Olga Efimova
primary school's teacher, Master of Primary Education Secondary School No65 with extensive English learning
Rostov, Russia olgaefimova23@mail.ru
Art, as most of researchers recognize, is "'one of the most ancient attributes of human existence. Art itself possesses unique impact upon a person, bears reformative force of its internal resources, promotes personal growth and influences mentality well.
Some researchers identify art and creative activity as the means possessing some potential for realization of informative, creative, moral capability of the personality, and consider it as a factor of development of the general endowments (Savenkov, 1990; Dzhumagulova, Solovyova, 2009).
What is man's activity?
The activity is a dynamic system of active interactions of a subject wlh the outside world during which the subject purposefully influences an object by satisfying the requirements; there is an emergence and an embodiment of a mental image in the object and realization of the subject's relations mediated by it in the subject reality (Golovin, 1998). And here is creative activity, i.e. the process of creation of new values. Being, in fact, the cultural and historical phenomenon, it also has psychological aspect - personal and procedural. The subject is assumed to have abilities, motives, knowledge and abilities thanks to which the product which is different in novelty, originality, and uniqueness is created. Studying of these properties of the personality revealed an important role of imagination, intuition, extra mental component of intellectual activity, and also needs of the personality for self-updating, for disclosure and expansion of his creative opportunities.
Creative nature of human activity is exposed in that fact that it goes beyond the natural limitation, i.e. surpasses the genotypic opportunities. Owing to productive, creative nature of the activity the man created some sign systems, tools of impact on himself and nature.
1. Activity of the person is shown and proceeds in creations, has productive, creative, creative character, and not only consumer one.
2. Activity of the person is connected with subjects of material and spiritual culture which are used by him either as tools, or as subjects of satisfaction of his requirements, or as means of own development.
3. Human activity transforms him, his abilities, requirement, and living conditions.
4. Human activity in its various forms and implementers is a historic product.
5. Subject activity of people isn't given to them since their birth. It is "set" in cultural mission and a way of use of surrounding subjects. Such activity needs to be formed and developed in training and education. The same can be said about neurophysiology and psychological structures operating outer side of practical activities.
6. Activity is always purposeful, active; it is aimed at creating a product.
7. Activity of a person has the following main characteristics: motive (motives can be organic, functional, material, social, spiritual, that is they are connected with self-improvement of the person); the purpose - a product, creative result (a thought, idea, the theory, a work of art), a subject; structure; actions and operations; means.
Art and creative activity can be considered as the "image-bearing model of the human activity" combining and uniting primary activities of the person in its structure: converting, informative, valuable-orientated, communicative and artistic (Kagan, 1997).
Art and creative activity and art and creative graphic activity as its version possesses opportunities for complete development of the personality as it reflects attitude and the relation of the person to the world, humanizing these relations (Melik-Pashayev, 2000; Nemensky, 2012). Art and creative graphic activity and the fine arts are considered by scientists as pedagogical potential, in the context of management of pupils' art and creative activity (Purik, 2002), as a basis of sociocultural development of pupils (Andreyeva, 2000), as vocational training of students of art-and-graphics faculties (Lomonosov, 1970; Chyornaya, 2010), as the way of spiritual development of the person (Melik-Pashayev, 2000; Nemensky, 2012; Yusov, 1975).
As L.S. Vygotsky (Vygotsky, 1984) noticed figuratively, the world pours in the person through a wide opening of a funnel in one thousand calls, inclinations, irritations; their insignificant part is carried out and as it flows out through a narrow opening. It is absolutely clear that this unrealized part of his life which didn't pass through that narrow opening, part of our behavior has to get rid, and the organism has to be balanced with our environment. Art is also the force providing to a human body balance and equipoise, helping to get rid of "the greatest passions which didn't find for themselves an outcome in normal life". In this context it is pertinent to give G. Schottenloher's opinion (Shottenloer, 2001) who considers the fine arts as the act which is taking out internal in the outside world modifying the inner world clearing it from tension and a power statics to some extent and bringing it out of inaction, closeness to intelligent action, and it is more than the calm is, more than the valve. The image opens possibility of self-healing. Rudolf Steiner adheres to the same opinion (Hemleben, 2004) noticing that while drawing we as if are pulling a barbed wire and blocking a way to the world outside which is aspiring to destroy us.
The American artist, teacher, art therapist Edith Kramer (E. Kramer) also estimates the value of drawing (Kramer, 1978). She considers that the product of graphic creativity sublimates destructive, aggressive tendencies of the author and prevents that their direct manifestation in acts.
According to V. Oklender (Oklender, 2005), drawing itself, even without any intervention of the teacher or psychologist, is a powerful tool of self-expression which helps to carry out self-identification and provides a way for manifestation of feelings.
The need of integration of different types of art is caused by the following fact. Experience of perception of the child develops from visual, acoustical and the kinesthetic feelings. Division of internal experience into three categories (sight, hearing, kinesthetics) is rather well presented to psychology and it is especially productive in neurolinguistic
programming (M. Eriksson, J. Bendler, R. Grinder). In the NLP (neurolinguistic programming) everything that relates to sight - reminiscence and representation of visions - is called a visual modality. The acoustical perception, information processing and acoustical memory are called "an auditory modality". Experience of moving, feeling, touching is called "'a kinesthetic modality". One or another modality dominates over a child owing to his natural features, i.e. a certain type of perception of information prevails. To reach understanding at the unconscious level, it is necessary to present material in three modalities. Simultaneous inclusion of three touch systems promotes, firstly, good training of the leading channels of perception which are essential for simplification of process of training, and secondly, allows each child, using a primary modality, to present the suggested image in full measure.
Graphic activity at school is the process of teachers and students' cooperative activity directed on formation of esthetic culture of school students, a measure of participation in art creativity, practical participation in creating the feeling of beauty in life. Esthetic mastery of the world assumes creative activity. And, not only together with the teacher, but also in the group of schoolmates (Melik-Pashayev, 1981). Importance and the significance of art and esthetic development of a school student is especially actual at present when nihilism, product-market psychology and pseudo-cultural production have removed true human values, are destroy moral ideals, brainwashing school students by low-standard, corrupting, materials and the value is replaced by the price, and brute force, resourcefulness and lie are becoming the "advantages" based on mercantile relationships. The objective reality of modern life is inconsistent. On the one hand, it is a destructive educational negative (about which it was already said), on the other hand, we see aspiration to updating, a humidifying and a spiritualizing of educational process. The modern educational system based on technocratic approach to training and education obviously slows down the development of school students and it is negatively reflected in art and esthetic education, without providing educational process with a humanitarian orientation, freedom of choice, integrity of knowledge of the world.
The essence and importance of art and esthetic education consists in formation of "the second nature" (i.e. culture) which by means of art, science and art transformation of the world will help school students to find true human perception, cultivate their will and sympathy, participate in creation of good and beauty (Nemensky, 2012). Not only to learn, commit to memory, revise, but first of all - to experience, appreciate, express, i.e. to become the subject of cultural and creative activity. To pass from strongly grammatical maintenance of a subject to spiritual, social, intrinsic contents because of which the entire realm of arts was born and doesn't die in the human society. Despite quite inconsistent and difficult entry of objects of art into educational process of school, positive tendencies still exist. In recent years new schools of profound studying of art have been opened; concept's drafts of arts education ("The Concept of Arts Education As the Basis of Esthetic Development System of School Students" (1991) under the leadership of B. M. Nemensky are developed; "Concept of the Educational Art Area (2001) Ministry of Education of the Russian Federation; "The Concept of Arts Education of the Russian Federation", the project is developed with the active participation of Institute of Art Education of the Russian Academy of Education, it is accepted at be the RF Government (11.10.2001)) and others.
In all of these concepts the importance of multilateral esthetic education of children is emphasized as well as importance and need of culture and art in education, the protection and development of the unique art education system which has been developed in Russia. The main tendencies of art and esthetic education development are:
-universality of esthetic education of all educational disciplines and forms of activity;
-interrelation of human forms of activity in educational process;
-complete perception of the world on the basis of unity of rational and scientific and art and figurative knowledge;
-creation of esthetically developed and interested audience of listeners and viewers who are making active art life of society;
-using of art opportunities, art and creative activity for self-development, self-improvement of the child, self-realization of his creative abilities;
-introducing school students to values of home and foreign art culture, the best models of national creativity, classical and modern art;
-developing the advancing education and training of children as subjects of the solution of actual and global problems of the future.
Proceeding from the main tendencies of art development, the criteria of art and esthetic education of school students were developed, which have become starting points of the process of aesthetic education and the art organization of didactic process of school.
The criteria of art and esthetic education of school students are (Brikunova, 2005): -child's value as a creative person, his organic part of educational area; -his esthetic attitude to our reality; -communication face-to-face;
-scouting and researching nature of the pupil and teacher's activity; -entire mastery of the world in scientific and art unity and metaphorical knowledge; -usage of main types of human activity in educational process (informative, value-oriented, communicative, converting, art-and-esthetic);
-aiming of school students and teachers at their self-development, self-improvement, their ability to reflex the activity.
The criteria above allow not only to concretize the theoretical and conceptual moments, but they also give a practical orientation of art and esthetic activity at comprehensive school, help to draw up school's art-and-esthetic culture.
No one wants to live in the environment full of rudeness, ignorance, violence, to feel abased, dependent slavishly on someone's will. The only exit from this situation is to create the atmosphere of humanity, enthusiasm, interest in life, need for knowledge and skills, animate and spiritualize educational process by creative investigation, make thrifty use of valuable universal points and lead a life under laws of truth, good and beauty (at lessons, during out-of-school activities, in communication with students and parents, etc.). Such activity will include practical actions for educating a free, creative and well-bred person.
Now more and more actual the opinion of M. M. Bakhtin (Bakhtin, 1986) on art is becoming: art value is not in life reflection, not in awareness of it, but in esthetic transformation of the world to a new form.
In the modern theory the questions, concerning art as a means of people's communication, have been developed. M. S. Kagan (Kagan, 1997) defines how an individual is developing in culture area and its subsystem - art - from the positions of system and synergetic approach is carried out (I. Prigozhin, V. Sagatovsky, G. Haken, E. Yudin, etc.). The author proceeds from the philosophical analysis of work as the "supra-biological level of activity" covering practical, spiritual and its spiritual-and-practical forms.
The esthetic perception is defined as the closed system of that the esthetic perception includes emotional experience by a person of a perception's subject - man, nature, works of art. The esthetically intelligent person catches sense of proportion, both in the course of creation of fine forms, and during their perception. That each concrete form is unique as the value carrier, its esthetic perception and assessment have individual character.
Specifics of esthetic education lies in forming taste in a purposeful way and aiming at a certain level of practical activities, and cultivating feelings. Esthetic education is claimed to be an aspect of all forms of communication: teacher and children, parents and children, artists and children. Arts education already includes not only taste formation, but education along with specialized training.
Taking into consideration a great role of art in solving esthetic and art education's problems, art's ability to act as a means of communication of people, it should be noted that art has been simulating the system man's activity from his earliest steps.
The essence of co-authorship is that the process proceeding in perception of a viewer is isomorphic to creative the process of an artist; it is localized in perception of the viewer, but it doesn't materialize.
A.A. Leontyev (Leontyev, 1999) believes art is as a specific look or a way of human communication. It is art that provides integrity and creative development of a personality. The art purpose is to broaden the sphere of communication with the quasi-communication forms supplementing it.
The matter of art is the public relationships which are not reflected in the stiffened language forms. They are personal interests, experiences, needs. The category of "personal sense"(Leontyev, 1983) is that subjective psychological form which contains a public value, public representation.
To make art developed, the person has to start use the language adequate to art. Wielding the art language includes the mastering of its techniques, understanding the relations between techniques and language (the ability to perceive technique in its functional loading) and ability to transfer your awareness of this ratio to new material (to extrapolate the ability to speak this language). The technology of perception of art is given to man by nature that makes it nonspecific. Teaching its technique is carried out consistently: first the attention to some elements (perceptual actions) is fixed, and then there is an automatic submission to a problem of art perception of a quasi-object. That is why perception is a holistic process, and the artist has the right to break integrity consciously, providing a condition of creative activity of a perceiver.
Process of art communication proceeds in the same sequence as usual speech communication. Specifics and complexity of art communication can be seen in that fact that a person, who perceives works of art, being a "co-creator", the equal participant of art communication, makes not quite adequate activity of communication regarding his psychological relation.
The artist both possesses material, which he alters, and carries out metamorphoses of feelings. It is the activity that makes a product. The spectator makes his picture basing on process imagination of art quasi-objects, but he does not fight against the material, but accepts it as a co-authorship condition. The material itself for the artist is functional. The spectator's activity includes mastering of social novelty of art work.
Thus, art power consists in forming esthetic needs of the audience. Art is a ground for development of emotional and strong-willed, ethical and other aspects of the personality.
Defining the nature of teacher-and-children interaction in pedagogical practice and art activity we rely on B.F. Lomov's theoretical thesis, (Lomov, 1984) who considers communication as "interaction of subjects who act as partners". At the level of psychological category, communication is considered as communicative activity in this author's research works.
Comprehending a means of communication, the language of the fine arts, a child has an opportunity of independent communication with an artist. That is the principle of partnership. Socialization of the child, his introducing to cultural values, is carried out in the situation of his personality's activity. Realizing the potentia l of art and creative development of his personality, the teacher carries on the internal dialogue with the
quasi-subject, which process and result provide functioning of "the child-and-artist (quasi-subject)" dialogue.
The act of "the child-and-artist" dialogue is brought about in the art and creative activity of the child directed by personally sensible motivation of the competition with the artist. Coming into the view of the teacher, the child represents "the message", i.e. he acts as the holistic personality. In this way his behavior carries out a role of "the text", and his art and creative activity governs the pedagogical interaction.
Criteria of increasing level of formation of a child's esthetic perception are childishness, game and heuristic nature of esthetic perception allowing us to estimate the level of esthetic development in complex.
Involvement of the child to art activity forms his ability to distinguish color gamut, shapes, lines, and contours, to learn and reproduce information; at teenage age it becomes needs for self-affirmation and self-expression through the maintenance of a work of art. Art classes and art creativity are particularly important.
The allocated conceptual ideas are not, certainly, exhaustive, but they set a definite orientation for practical activities of the teacher in respect of influence on formations of the interpersonal relations among elementary school pupils and social and psychological climate in the class.
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