In addition to feelings that stimulate creative activity, there are feelings that hinder creative efforts. The most dangerous enemy of creativity? fear. It is especially manifested in people with a rigid mindset for success. Fear of failure stifles imagination and initiative.

Another enemy of creativity? excessive self-criticism. Accurate measurements in this area are not yet possible, but there must be some “balance” between giftedness and self-criticism so that too picky self-esteem does not lead to creative paralysis.

The third enemy of creativity? laziness. However, such an argument is also possible here. People strive to improve production in order to increase its productivity and reduce costs. Are they driven by the desire to have the maximum benefit with the minimum effort, in other words, to work less? receive more. It turns out that laziness serves as a stimulus for all innovations that facilitate work, and therefore is the "true mother of inventions", in the words of Norbert Wiener.

Despite all the temptation of such reasoning, we still have to admit that laziness does not at all contribute to creative activity. Just as the natural enjoyment of food can lead to gluttony and gluttony, so the enjoyment of rest and peace can acquire a self-sufficient value. The "feast of laziness" becomes a highly valued pleasure. It can be seen that not one talent was ruined by laziness.

uncritical acceptance of someone else's opinion (conformity, conciliation)

external and internal censorship

Rigidity (including the transfer of patterns, algorithms in solving problems)

Desire to find an answer immediately

Dialogue of creative thinking

To understand creativity means to understand the mind of the creator, but not to describe (or prescribe) how to create. The most terrible of all is such a creature, unable to invent, but knowing “how it is done”. There is only one way to catch the inner life of the inventor of ideas and poems - through the mental dialogue of inner "I".

The creative process includes psychological, emotional, uniquely personal, paradoxically random moments. But we must, nevertheless, agree with the possibility of finding, even through the logic of the internal dialogue in the head of the creator - to depict, to understand creativity as a logical process. But how can one agree with this, because there is no logic in creativity (more precisely, creativity cannot be the subject of the science of logic). Thinking as creativity is artistic thinking, and it is radically illogical!

Thinking is always theorizing, and the essence of any creativity as thinking can be understood only on the basis of theorizing processes. The initial setting of thinking (a situation when thinking is necessary, when sensation and representation cannot be dispensed with) is the need to reproduce in consciousness the possibility of an object, something that does not yet exist, is not given in sensations, but that can exist in some ideal, invented situations.

A thought arises when it is necessary to reproduce in consciousness (internally, for oneself) the possibility of an object in order to “understand” the object as it is, why it exists in this way and not otherwise. It is this “in order to” that makes us use the verb “understand”, which cannot be replaced by any other verb, made us define thinking through thinking (understanding). Understanding is the difference between thought and representation. It is quite possible to imagine the future possibilities of an object, but to turn them to the object as it is, to take them as an “X-ray” of an existing object is possible only by understanding, comprehending, only in a concept. The separation of the “essence of things” (their potentials) from their being means the construction in the mind of an “idealized object” as a “means” to understand a real object that exists outside of our consciousness and activity. The eye loses focus; see two objects at the same time? inside us and outside? impossible, we stop seeing and begin to understand. Such a simultaneous existence of one? knowable, changeable? object in two forms (in the form of an object of idealization and in the form of an idealized object) is the initial definition of thinking, which is rooted in the very "indivisible core" of human practical activity.

The primitive man began to think, painfully correlating the “idealized object” (the alleged ax), still completely vague, indefinite, still identical to the idea, with the real, external object (a fragment of stone), rechecking these objects with each other. In the discrepancy between these two objects, in the gap between them, in the necessity and impossibility of their coincidence, the seed of thought is placed, thinking grows. This is the original idea of ​​theorizing.

In thinking, I fix, fix the subject of reflection as something that exists outside of thought and is clarified by it, as something that does not coincide with thought (an idealized object). Only then is it possible to constitute thought itself as something that does not coincide with real practical action, although it does constitute it? practical action necessary definition. But this is the initial assumption of the theory. "It's only in theory, not in reality"? such an accusation constitutes the negative definition of thinking. And at the same time a fundamental paradox of thought.

It is possible to feel, imagine, perceive something, but it is possible to think only about something. In sensations and ideas, I merge with the object of my sensation, I feel the blade of a knife as my pain. In thought I separate myself from the object of thought, I do not coincide with it. But the whole point is that an object that does not coincide with thought is an object of reflection; it exists for thought only to the extent that it correlates with the thought object. And at the same time, it is something "unthinkable", outside of thought (outside of me and independently of my consciousness) existing, given to thought as a riddle and never fully assimilated by it. It is in thought that I am opposed to the being of things in their "metaphysical" wholeness, their closedness "on themselves," their being outside the subject. But at the same time... The fairy tale about the white bull can continue indefinitely.

Of course, the logic of practice forms the rational basis of the paradox under consideration, but now we are talking about something else, since in thinking,? What is his “mission”? practice just acts as a paradox, constantly resolved, reproduced and deepened ... One can even say that thought is practice in its paradox.

Theoretical creativity is the invention of any ideas, any, the most grotesque idealized objects in order to understand the object as it is (or as if it were), outside my practical activity and independently of it. The striving for the transpersonal, suprapersonal—this is what the pathos of thinking consists in. Only in the removal (theoretically in its potentiality) from oneself does it become possible to treat oneself as an “alter ego”, the seed of an internal dialogue arises. Poetry is radically non-dialogical, as Bakhtin wrote very accurately. That is why the internal dialogue of thinking as creativity is possible only for the theoretical mind. It is no coincidence that creative thinking should be taken as the subject of logical research as theoretical thinking, as an internal dialogue of the theoretician. It should be the language (speech) of the internal dialogue, in which there is a continuous mutual circulation of texts, their polyphony, counterpoint, and not just coexistence.

Approaching his logic from the outside, the philosopher faces a paradox. The philosopher has to criticize his own logic (logic as a whole) in the name of some logic that does not yet exist, is in the state of becoming. Here the logic of creativity can only be understood as the creativity of logic... What is left of that iron logic, and why is this “dialogue” needed at all, this verification of “logic” by “logic”?

Isn't this whirling of the squirrel of thinking in the wheel of "dialogic" simply an escape from life, from practice, from Goethe's old wisdom - "theory, my friend, is sulfur, but the tree of life is eternally green..."?

Only in the communication of "I" and "YOU", in the relationship "between" the new is born. In other words, the nature of creativity is dialogical and non-subjective. Personality is not the center and source of creative activity, since it expresses a pluralistic (rational and irrational, rational and emotional, etc.) existence. The personality is creatively active only in a dialogical relation to the “Other”. The dialogic relation is transformed into "WE" as a dual existence of "I" and "YOU", directing its creative intentions to a separate "I" and "YOU". "I" is not a source of creativity, it finds creativity in itself as a creative intention of "WE". The productive ability of the dialogic situation, which appears in the subject-transsubjective relationship "I" - "YOU" - "WE" becomes a source of novelty for the individual. Otherwise, creativity can be defined as the implementation of the creative intention "WE" - reality in the personal reality of the subject

Creation- the process of human activity that creates qualitatively new material and spiritual values ​​or the result of creating a subjectively new. The main criterion that distinguishes creativity from manufacturing (production) is the uniqueness of its result. The result of creativity cannot be directly deduced from the initial conditions. No one, except perhaps the author, can get exactly the same result if the same initial situation is created for him. Thus, in the process of creativity, the author puts into the material some possibilities that are not reducible to labor operations or a logical conclusion, expresses some aspects of his personality in the final result. It is this fact that gives the products of creativity an additional value in comparison with the products of production.

Creativity is an activity that generates something qualitatively new, something that has never existed before. Creativity is the creation of something new, valuable not only for this person, but also for others.

Types and functions of creativity

Vitaly Tepikin, a researcher of the creative factor of a person and the phenomenon of the intelligentsia, singles out artistic, scientific, technical, sports-tactical, as well as military-tactical creativity as independent types.S. L. Rubinstein for the first time correctly pointed out the characteristic features of inventive creativity: “The specificity of an invention, which distinguishes it from other forms of creative intellectual activity, is that it must create a thing, a real object, a mechanism or a technique that solves a certain problem. This determines the originality of the creative work of the inventor: the inventor must introduce something new into the context of reality, into the real course of some kind of activity. This is something essentially different than solving a theoretical problem in which a limited number of abstractly distinguished conditions must be taken into account. At the same time, reality is historically mediated by human activity, technology: it embodies the historical development of scientific thought. Therefore, in the process of invention, it is necessary to proceed from the context of reality into which something new must be introduced, and take into account the corresponding context. This determines the general direction and the specific character of the various links in the invention process.

Creativity as an ability

Creativity(from English. create- create, english creative- creative, creative) - the creative abilities of an individual, characterized by a willingness to create fundamentally new ideas that deviate from traditional or accepted patterns and are included in the structure of giftedness as an independent factor, as well as the ability to solve problems that arise within static systems. According to the authoritative American psychologist Abraham Maslow, this is a creative direction that is innate in everyone, but lost by the majority under the influence of the environment.

At the everyday level, creativity manifests itself as ingenuity - the ability to achieve a goal, find a way out of a seemingly hopeless situation using the environment, objects and circumstances in an unusual way. Shire is a non-trivial and ingenious solution to the problem. And, as a rule, meager and non-specialized tools or resources, if material. And a bold, non-standard, what is called a non-stamped approach to solving a problem or meeting a need located in an intangible plane.

Criteria for creativity

Criteria for creativity:

• fluency - the number of ideas that arise per unit of time;
• originality - the ability to produce unusual ideas that differ from the generally accepted ones;
• flexibility. As Ranko notes, the importance of this parameter is due to two circumstances: firstly, this parameter allows us to distinguish individuals who show flexibility in the process of solving a problem, from those who show rigidity in solving them, and secondly, it allows us to distinguish individuals who are original solve problems, from those who demonstrate false originality.
• receptivity - sensitivity to unusual details, contradictions and uncertainty, willingness to quickly switch from one idea to another;
• metaphor - readiness to work in a completely unusual context, a tendency to symbolic, associative thinking, the ability to see complex in simple, and simple in complex.
• Satisfaction is the result of creativity. With a negative result, the meaning and further development of feelings are lost.

By Torrance

• Fluency - the ability to produce a large number of ideas;
• Flexibility - the ability to apply a variety of strategies in solving problems;
• Originality - the ability to produce unusual, non-standard ideas;
• Elaboration - the ability to develop in detail the ideas that have arisen.
• Closure resistance is the ability not to follow stereotypes and stay open for a long time to a variety of incoming information when solving problems.
• The abstractness of the name is the understanding of the essence of the problem of what is really essential. The naming process reflects the ability to transform figurative information into verbal form.

Creativity as a process (creative thinking)

Stages of creative thinking

G. Wallace

The description of the sequence of stages (stages) is best known today, which was given by the Englishman Graham Wallace in 1926. He identified four stages of creative thinking:

1. Training- formulation of the problem; attempts to solve it.
2. Incubation- temporary distraction from the task.
3. - the emergence of an intuitive solution.
4. Examination- testing and/or implementation of the solution.

However, this description is not original and goes back to the classic report of A. Poincaré in 1908.

A. Poincare

Henri Poincare, in his report to the Psychological Society in Paris (in 1908), described the process of making several mathematical discoveries by him and identified the stages of this creative process, which were subsequently distinguished by many psychologists.

stages

1. At the beginning, a task is posed and attempts are made to solve it for some time.

“For two weeks I tried to prove that there could be no function analogous to the one that I later called automorphic. I was, however, quite wrong; every day I sat down at my desk, spent an hour or two at it, exploring a large number of combinations, and did not come to any result.

2. This is followed by a more or less long period during which the person does not think about the problem that has not yet been solved, is distracted from it. At this time, Poincaré believes, unconscious work on the task takes place. 3. And finally, there comes a moment when suddenly, without immediately preceding reflections on the problem, in a random situation that has nothing to do with the problem, the key to the solution appears in the mind.

“One evening, contrary to my habit, I drank black coffee; I couldn't sleep; ideas crowded together, I felt them collide until two of them came together to form a stable combination.

In contrast to the usual reports of this kind, Poincaré describes here not only the moment of the appearance of a solution in consciousness, but also the work of the unconscious that immediately preceded it, as if miraculously becoming visible; Jacques Hadamard, referring to this description, points to its complete exclusivity: "I have never experienced this wonderful feeling and I have never heard that anyone but him [Poincaré] experienced it." 4. After that, when the key idea for the solution is already known, the solution is completed, verified, and developed.

“By morning I established the existence of one class of these functions, which corresponds to the hypergeometric series; I had only to record the results, which took only a few hours. I wanted to represent these functions as a ratio of two series, and this idea was completely conscious and deliberate; I was guided by the analogy with elliptic functions. I asked myself what properties these series should have, if they exist, and I managed without difficulty to construct these series, which I called theta-automorphic.

Theory

Theorizing, Poincare depicts the creative process (by the example of mathematical creativity) as a sequence of two stages: 1) combining particles - elements of knowledge and 2) the subsequent selection of useful combinations.

Poincaré notes that the combination occurs outside of consciousness - ready-made "really useful combinations and some others that have signs of useful ones, which he [the inventor] will then discard, appear in consciousness." Questions arise: what kind of particles are involved in the unconscious combination and how does the combination occur; how the "filter" works and what are these signs by which it selects some combinations, passing them into consciousness. Poincaré gives the following answer.

The initial conscious work on the problem actualizes, "sets in motion" those elements of future combinations that are relevant to the problem being solved. Then, unless, of course, the problem is solved immediately, there comes a period of unconscious work on the problem. While the conscious mind is busy with other things, in the subconscious, the particles that have received a push continue their dance, colliding and forming various combinations. Which of these combinations enter consciousness? These are the combinations "of the most beautiful, that is, those which most affect that special sense of mathematical beauty known to all mathematicians and inaccessible to the profane to such an extent that they are often inclined to laugh at it." So, the most "mathematical beautiful" combinations are selected and penetrate into consciousness. But what are the characteristics of these beautiful mathematical combinations? “These are those whose elements are harmoniously arranged in such a way that the mind can effortlessly embrace them entirely, guessing the details. This harmony is at the same time the satisfaction of our aesthetic senses and a help for the mind, it supports it and guides it. This harmony gives us the opportunity to anticipate the mathematical law. “Thus, this special aesthetic sense plays the role of a sieve, and this explains why one who is deprived of it will never become a real inventor.”

From the history of the issue

Back in the 19th century, Hermann Helmholtz similarly, although less detailed, described the process of making scientific discoveries “from the inside”. In these self-observations of his, the stages of preparation, incubation and illumination are already outlined. Helmholtz wrote about how his scientific ideas are born:

These happy inspirations often invade the head so quietly that you will not immediately notice their significance, sometimes you will only indicate later when and under what circumstances they came: a thought appears in the head, but you don’t know where it comes from.

But in other cases, a thought strikes us suddenly, without effort, like inspiration.

As far as I can judge from personal experience, she is never born tired and never at a desk. Each time I first had to turn my problem in every possible way in every way, so that all its twists and turns lay firmly in my head and could be rehearsed by heart, without the help of writing.

It is usually impossible to get to this point without a lot of work. Then, when the onset of fatigue had passed, an hour of complete bodily freshness and a feeling of calm well-being were required - and only then did good ideas come. Often ... they appeared in the morning, upon awakening, as Gauss also noted.

They were especially willing to come ... during the hours of a leisurely ascent through the wooded mountains, on a sunny day. The slightest amount of liquor seemed to scare them away.

It is curious to note that stages similar to those described by Poincare were singled out in the process of artistic creativity by B. A. Lezin at the beginning of the 20th century.

1. Work fills the sphere of consciousness with content, which will then be processed by the unconscious sphere.
2. Unconscious work represents a selection of the typical; “but how that work is done, of course, it cannot be judged, it is a mystery, one of the seven world mysteries.”
3. Inspiration there is a "shifting" from the unconscious sphere into the consciousness of a ready-made conclusion.

Stages of the inventive process

P. K. Engelmeyer (1910) believed that the work of an inventor consists of three acts: desire, knowledge, skill.

1. Desire and, the origin of the idea. This stage begins with the appearance of an intuitive glimpse of an idea and ends with the inventor's understanding of it. A probable principle of invention arises. In scientific creativity, this stage corresponds to a hypothesis, in art - to an idea.
2. Knowledge and reasoning, scheme or plan. Development of a complete detailed idea of ​​the invention. Production of experiments - mental and real.
3. Skill, constructive implementation of the invention. Assembly of the invention. Doesn't require creativity.

“As long as there is only an idea (Act I) from the invention, there is still no invention: together with the scheme (Act II), the invention is given as a representation, and the III act gives it a real existence. In the first act, the invention is supposed, in the second, it is proved, and in the third, it is carried out. At the end of the first act, it is a hypothesis; at the end of the second, a representation; at the end of the third - a phenomenon. The first act determines it teleologically, the second - logically, the third - in fact. The first act gives a plan, the second - a plan, the third - an act.

P. M. Jacobson (1934) distinguished the following stages:

1. The period of intellectual readiness.
2. Perception of the problem.
3. The origin of the idea - the formulation of the problem.
4. Search for a solution.
5. Obtaining the principle of the invention.
6. Turning a principle into a scheme.
7. Technical design and deployment of the invention.

Factors hindering creative thinking

• uncritical acceptance of someone else's opinion (conformity, conciliation)
• external and internal censorship
• rigidity (including the transfer of patterns, algorithms in solving problems)
• desire to find an answer immediately

Creativity and personality

Creativity can be viewed not only as a process of creating something new, but also as a process that occurs during the interaction of a person (or the inner world of a person) and reality. At the same time, changes occur not only in reality, but also in personality.

The nature of the connection between creativity and personality

“The personality is characterized by activity, the desire of the subject to expand the scope of his activity, to act beyond the boundaries of the requirements of the situation and role prescriptions; orientation - a stable dominant system of motives - interests, beliefs, etc. ... ". Actions that go beyond the requirements of the situation are creative actions.

In accordance with the principles described by S. L. Rubinshtein, by making changes in the surrounding world, a person changes himself. Thus, a person changes himself by carrying out creative activity.

B. G. Ananiev believes that creativity is the process of objectifying the inner world of a person. Creative expression is an expression of the integral work of all forms of human life, a manifestation of his individuality.

In the most acute form, the connection between the personal and the creative is revealed by N. A. Berdyaev. He's writing:

Personality is not a substance, but a creative act.

Creativity Motivation

V. N. Druzhinin writes:

Creativity is based on the global irrational alienation of man from the world; it is directed by a tendency to overcome it, it functions according to the type of "positive feedback"; a creative product only spurs the process, turning it into a pursuit of the horizon.

Thus, through creativity, a person is connected with the world. Creativity stimulates itself.

Mental health, freedom and creativity

The representative of the psychoanalytic trend, D. W. Winnicott, puts forward the following assumption:

In the game, and perhaps only in the game, a child or an adult has the freedom of creativity.

Creativity is about play. The game is a mechanism that allows a person to be creative. Through creative activity, a person seeks to find his self (himself, the core of the personality, the deep essence). According to D. V. Winnicott, creative activity is what ensures a healthy state of a person. Confirmation of the connection between play and creativity can also be found in C. G. Jung. He's writing:

The creation of a new one is not a matter, but an attraction to the game, acting on internal compulsion. The creative spirit plays with the objects it loves.

R. May (a representative of the existential-humanistic trend) emphasizes that in the process of creativity, a person meets the world. He's writing:

... What manifests itself as creativity is always a process ... in which the relationship between the individual and the world is carried out ...

N. A. Berdyaev adheres to the following point:

The creative act is always liberation and overcoming. It has an experience of power.

Thus, creativity is something in which a person can exercise his freedom, connection with the world, connection with his deepest essence.

Every person is inherently a creator. Look around, everything we see is man-made. People bring to life the most daring, fantastic ideas and invent something new every day. Even if you are not a professional artist, you still have a creative streak that helps you improve the world around you. The more creativity you show in small things, the more likely it is that your talent will show up in something significant. Like any activity, the creative process has its ups and downs. But sometimes the ability to think creatively fades into the background and is lost in the daily hustle and bustle. What hinders the development of our creative component?

Limiting yourself to conventional boundaries. There are always those who criticize your undertakings, ridicule your ideas and express distrust of your plans. Do not pay attention to their words and do not try to convince, just waste your time and effort. Trust your intuition, only it will lead you on the right path.

Unwillingness to know what impression your ideas make on others. Sometimes a person himself does not understand what discovery or work of art he has made. Creative ideas are tested many times before leaving their mark on the souls of mankind.

Active lifestyle without pauses and stops. Insights usually overtake us just when we move a little away from everyday problems and worries. The brain rests and we see the world around us from a slightly different point of view. To stimulate such states, often switch from one type of activity to another.

Fear of failing. Any innovation and change always implies a certain risk. Because of the fear of failure, a great many ideas perish at the very beginning of their inception. If you are confident in yourself and your passions, you will act decisively, realizing that failure is only a test followed by a step forward.

The desire to do only what has already become habitual. Doing the same thing, you will get the same results. In order to achieve new achievements and goals, it is necessary to periodically go beyond your comfort zone and take on new, still unexplored tasks.

Lack of enthusiasm. The creative process cannot take place in the absence of passion for the work. Only curiosity and genuine interest drive thought processes and stimulate the development of new ideas.

Lack of awareness. The creative process requires a sufficient amount of knowledge on the current issue. Only relying on knowledge, experience and logic can analyze the problem and produce a creative result.

The duckling takes any moving object for its mother, follows it and tries to repeat its actions. So a beginner in art blindly imitates an idol and is afraid to formulate a personal point of view.

Focusing on authorities is normal, but for the development of style it is more useful to analyze the work, highlighting the most and least successful features in them. In order not to judge art one-sidedly, it is worth focusing not on a single master, but on several. Let the views contradict each other! By studying opposites, you will quickly come to your own vision.

Too much information

Drama circle, photo circle... You are subscribed to a hundred publics about art, each of them has 50 posts a day, in total you have to look at 5000 photos daily. It's not about learning anything.

Don't be afraid to miss an important post! Block out the information noise and limit yourself to the amount of information that you can process.

Uncertainty

Every day captivates with something new: painting, photography, felting, embroidery, interior design. There are enough materials, but the work is worth it. Why?

It is normal to have many hobbies. Such people of the Renaissance are called scanners. You are probably smart and well-read, have a broad outlook and know how to do a lot. The question is, are you happy with yourself? If you want to achieve more, you have to prioritize and focus on what is important in the moment.

Inaction

You are saving beautiful pictures for the future. The browser is bursting with bookmarks, and VK albums - with numerous saves. Where are the results?

What are you waiting for? The sooner you start working, the sooner you will enjoy the result. Are you afraid of mistakes? Fix as you learn. Practice every day to get results.

burnout

A person cannot be productive 24/7. If you are tired of studying and practicing, you need a break. Engage in uncreative activities such as cleaning, visiting relatives, paying bills, shopping, or lounging. Give your brain time to rest and return to work when you feel energized.

Probably, any parent would like to raise their child a creative person. What is creativity? A person can be called creative if he has a free flight of imagination, fantasies, intuition, which can lead to invention, finding non-standard solutions in various situations.

The concept of creativity is often associated with talent, genius. There are many theories and studies on this. Can a genius be raised? Will talent break through if it is not developed in any way? Some believe that all children are brilliant from birth, and if you do not suppress their abilities, but help them in every possible way, then you can give the world a new Leonardo. Unfortunately, this is not entirely true. Genius is a very complex concept, many studies, on the contrary, say that you cannot become a genius, you can only be born with it. But every person has talents from birth. They can and should be developed. But here another problem appears - often parents do not want to see the true passions of the child, inventing (quite sincerely wishing him happiness) talents for him.

But you can be a talented person, but at the same time uncreative. And then the talent is not fully realized. A person is happy to do what he loves, the work is arguing in his hands, but at the same time he is not able to come up with something new in his field and remains only a performer. And, on the contrary, in a matter that does not require special talent, a creative person is able to make a revolution. That is why the development of talent and creativity are two different things.

The origins of creativity undoubtedly lie in the subjective emotional experience of early childhood. In order to cultivate the ability to be creative in a child, it is necessary for adults to change themselves. They are too constrained, afraid to play, have fun with the child, constantly observing the "rules of adult behavior."

Encouraging the creativity of the child, you need to accept that he sees a lot in his own way, perceives the world differently than you. When teaching a baby, do not follow stereotypes, even if someone you know had a positive experience of "just such" training. Start from the makings of your child. After all, the main thing is not the education of talent or genius, but whether the inner world of the child will be rich and diverse, whether his abilities will be realized, whether he will be capable of creativity.

Games and toys

The child plays, this is his main and most important occupation in childhood, he uses all the objects that he finds in his game. It may sound strange, but the fewer toys a child has, the more developed his imagination will be. No, I do not call for a difficult childhood for your children with wooden sticks instead of soldiers. But avoid toys where everything is already invented for the child. For example, coloring books in which samples are given. Of course, different mosaics and games like "fold the pattern" develop attention, perseverance and creativity, but often a lot of attention is paid to folding pictures according to the pattern, ask the child to invent pictures, patterns, plots on their own.

Young children need to be taught to play, to show what to do with this or that game. But never interfere with their independent development of games, the words "not right" do not apply to creativity at all, especially children's.

Make toys with your child, come up with stories for games. A self-sewn doll is much more interesting to a child than a purchased one.

Creative fantasy games can help not only in the development of a child, but also change an adult. Composing a fairy tale or a poem together, playing rhymes with a one-year-old baby - all this is the foundation of creative activity. Everyone knows games in which an adult depicts the movements and sounds of various animals, they offer a ride to a child, any object can turn into any fabulous creature, become animated, any homework can become an interesting game with exciting adventures. All these fun not only contribute to the development of the baby's imagination, but also train his memory, develop emotions and desire to know the world.

Painting

Many children can start drawing from six to eight months, if, of course, they are given the opportunity. For many, this will become interesting after a year, and for some even after two. This does not mean that the child does not have the ability or thirst for creativity. To be honest, this means nothing at all, except that every child is a unique individual.

Giving the baby the opportunity to draw, think about the paper format, offer the child a choice of large and small sheets, he will choose the path himself, as any artist chooses the format of the future picture. Clay, paper for cutting, colored paper, sand, plasticine, salt dough, pebbles, feathers, pasta and cereals are also ideal materials for early creativity ... The list is endless.

First, acquaintance with the material takes place, the child studies what he was given, pulls into his mouth. He watches with surprise the changes in form, the appearance of a pattern - this in itself is a valuable experience. Then he begins to understand that he himself is the active principle that leads to changes on paper. Here it is important to observe the measure, combining the independence of the child with communication and learning, which is designed to help him.

What stops you from being creative?

The main thing you need to know about in order to become a creative person is about your ability to create. The craving of any child for creativity is very great, but the resistance of surrounding adults is also great. No, it’s not at all out of malice that parents want to show the world to their baby in all its diversity, but in the end they train him, forcing him to amaze those around him with his amazing knowledge. So the child for the first time is faced with a dilemma - to learn or to invent it yourself. The main authorities - parents - suggest that the first is more interesting to them. Or parents simply scold the child for all the uncomfortable manifestations - he littered, poured water, got dirty, etc.

The second stage is kindergarten. An individual approach to a child is very good, but in ordinary kindergartens, where most children (and not only Russian ones) study, they follow the principle "and now we are all" ... draw this and that, "dance like that "," we make such and such movements "... The child learns to get along in a team, but immediately gets a role - a leader or performer. The first is that none of the adults is welcomed, you can get into big trouble if you come up with new interesting games all the time.

The third stage is school. Here, in 70% of cases, the development of creative abilities can be put an end to even in the best school. The remaining 30% either have a rich creative life outside of school, developing in studios and circles, or have a very high motivation to study at school. Why? There are children for whom the school curriculum is weak, it is not enough for them to develop, never straining, they lose a lot through no fault of their own. The average child is fine in the secondary school program, but usually by the time he gets there, he is ALREADY not interested in learning, he fulfills the requirements, but no more. Everything is difficult for a weak student, the program simply does not suit him, but an inferiority complex is formed (even if he pretends that he does not care), which will not help in the future.

A reasonable question arises - what to do? It is not necessary to avoid school and kindergarten. There is a very simple and effective way to develop a child creatively:

do not swear at the child over trifles (got dirty, spilled something, made a terrible mess, fell into a puddle ...)
do not swear if he does not understand something (otherwise he will simply not try to understand something anymore)
do not scold for bad grades (grades are a convention, you always know your child's abilities better)

If a child is scolded, he begins to be afraid, and fear is the main enemy of creativity. Fear of doing something wrong, fear of self-expression. Love your child, help him find his own way in life on his own, do not impose ready-made adult decisions and always accept him as he is.