INNOVATIVE FORMS OF FINE ARTS IN PRIMARY SCHOOL

2020 ◽  
Vol 11 (1) ◽  
pp. 216-220
Author(s):  
Elitsa Aleksandrova ◽  

Children’s art activity is related to the creation of a certain art product. The functional purpose of the pictorial work is associated with the bright emotionality and empathy of students from the initial stage to the unusual, fairytale and fantasy. The creative activity of the students is analyzed. The need for innovative forms of pictorial activity has been established.

2021 ◽  
pp. 45-56
Author(s):  
Ольга Владимировна Двизова

Обобщен и проанализирован опыт построения сюжетной композиции монтажного типа в детской художественной школе, реализованный путем адаптации методических разработок профессора Томского государственного педагогического университета (ТГПУ) С. П. Лазарева по живописно-графической композиции. Устойчивые законы композиции носят всеобщий характер, а композиционные правила и приемы, с помощью которых строится композиция, можно отнести к менее устойчивым категориям. Создание станковой композиции – это прежде всего построение единого по содержанию художественного произведения, основная идея которого читается четко и убедительно. Преподавание композиции в детской художественной школе имеет некоторое противоречие: с одной стороны, требования к качеству подготовки обучающихся постоянно растут, с другой – подходы в обучении построения станковой сюжетной композиции остаются прежними, представляя собой, как правило, линейную схему развития сюжетного повествования. Событие изображается в системе линейной перспективы и не дает возможности в полной мере использовать потенциал фантазии обучающихся. В настоящее время особую актуальность приобретают методики преподавания станковой композиции, создающие условия для развития творческого мышления обучающихся. Есть множество подходов к созданию сюжетной станковой композиции, изученных, описанных и применяемых художниками: например, монтаж успешно используется в обучении студентов профильных вузов (в том числе ТГПУ). Проблема заключается в том, что нет методики обучения учеников художественных школ станковой сюжетной композиции с использованием монтажного метода. The purpose of this experimental study is to summarize and analyze the experience of formation a narrative composition of assembling type in a children’s art school, implemented by adapting the methodological developments of the teacher of Tomsk State Pedagogical University S. P. Lazarev on the painting and graphic composition. The relevance of this study is due to educational aspects related to the study of methods of working on easel narrative composition in children’s art school (elementary level of fine arts education). The stable laws of composition, which have been in force for a long time in the history of fine arts, are universal, and the compositional rules and techniques by which the composition is built can be classified as less stable. The creation of an easel composition is first of all the construction of a single art work, the main idea of which is read clearly and convincing. Teaching of composition in children’s art school has some contradiction: on the one hand, requirements to the quality of students training are constantly growing, on the other hand, approaches in teaching the construction of easel narrative composition remain the same, representing, as a rule, a linear scheme of development of story narrative. The event is depicted in a linear perspective system and does not allow full use of the potential of the students’ fantasy. At present, the methods of teaching easel composition, which create conditions for the development of creative thinking of students, are of particular relevance. There are many approaches to the creation of an easel narrative composition, studied, described and applied by artists: for example, assembling is successfully used in the training of students of specialized universities (including Tomsk State Pedagogical University). The problem is that there is no method of teaching students of art schools an easel narrative composition using an assembling method (conditionally such a composition can be called a narrative composition of assembling type). The description of the principles of working with children on the easel narrative composition of the assembling type within the framework of the studying under the additional pre-vocational program “Painting” can be useful to teachers of art schools, teachers of general education schools, teachers of specialized universities and Secondary Specialized Educational Institutions, as well as artists interested in children’s creativity, participating in the jurying of competitions of children’s works.


2021 ◽  
Vol 1 (192) ◽  
pp. 203-209
Author(s):  
Marina Sofilkanych ◽  

The retrospective analysis of emergence of out-of-school art education of the region is made in the article, organization and role of extracurricular education in Ukraine, its organizers and researchers in this field. The emergence and development of art school of Transcarpathia in the twentieth century led to the formation of new generations of artists and the creation of art education. Out-of-school educational establishments of artistic and aesthetic direction were created for young children of the first school age, the first of which was a studio of fine arts under the direction of Zoltan Bakonii. Following the example of this studio in Transcarpathia in the second half of the twentieth century. opened children's art schools with the department of fine arts in the cities of Mukachevo, Uzhhorod, Khust, Vynohradiv, v.Chynadiyevo, etc., where teachers were mostly graduates of Transcarpathian art educational establishments. The development of art education in Transcarpathia and the extracurricular education of the region was studied by Nebesnyk I. I., Voloshchuk A .V, Mochan T. M, Rosul T. I. In the system of art education in Transcarpathia, founded by Adalbert Erdeli and Joseph Boksai, such well-known teachers as V. Skakandii, I. Masniuk, N. Ponomarenko, M. Syrohman, L. Prymych, V. Manailo, E. Roman, T. Bartosh, H. Homoki, V. Dorosh, A. StasIuk and others studied and worked there. Important role in the development of regional extracurricular education of artistic and aesthetic orientation belongs to such well-known pedagogues-educators as V. Burch and V. Tsibere. They played a major role in the creation of Mukachevo Children's ArtSchool named after M. Munkachi. This school of arts, after Z. Bakonii's studio, is one of the first art schools in the field where fine arts is taught. Later the art departments were based on children's music schools. The fine arts department at Uzhhorod Children's School of Arts started its activity in 1984. Most of the teachers came to Zoltan Bakonii's schools: V. Vovchok, O. Sidoruk, G. Kramarenko, E. Roman (head of the department of fine art) and others. Over 200 students study at the fine arts department of named school. During the 1990s, Transcarpathian extracurricular institutions were stagnant and even have undergone a numerical reduction. Since the beginning of 2000, as a result of the successful management of local administrations and their successful policies, their activities have been normalized and coordinated with the work of leading educational establishments of the art education of the region, in particular the College of Arts named after A. Erdeli and the Transcarpathian Academy of Arts. The joint actions and events, workshops for the students of art schools of the region, as well as training courses and seminars for teachers are held. Therefore, in the system of continuous art education (school, college, academy), extra-curricular institutions play an important role. At the School of Arts children learn the basics of fine literacy, academic drawing, painting, composition and get acquainted with examples of the world's best art at the Art history lessons. It is at the School of Arts that the artistic and aesthetic tastes and sensations of beauty are formed, the aesthetic education of young people, its professional orientation, and the formation of artistic environment of the region. In the field of art education, this three-stages system is important, because it solves its sectoral tasks and is a very important link and system of continuous art education in Transcarpathia.


Author(s):  
Olesia Makoviichuk ◽  
Alona Shulha

The article analyzes the theoretical aspects of art and design activities, considers the features of the integrative organization of art and design activities of students in the lessons of fine arts and technology in primary school. Artistic and project activities of junior schoolchildren are realized through the disciplines of fine arts and labor education (technology) in primary school. The concept of "artistic and design activity" is analyzed through the prism of the concepts of "activity", "artistic activity". The following are considered: interconnected structural components of artistic design, types of activity and types of tasks aimed at the implementation of artistic design activities of junior schoolchildren. The article emphasized the potential of an integrated combination in primary school of fine arts and labor training (technology) for art and design activities of junior high school students.


2020 ◽  
Vol 1 (1) ◽  
pp. 143-149
Author(s):  
E. V. Fomchenko ◽  

The article deals with such a modern phenomenon of culture and art — as performance. The purpose of this study is to determine the performative features as characteristics of modern artistic creativity and their influence on the development of folk culture. The tendency for turning to ritual, ceremonial types of folk art, whereby the communication is put forward, is considered on the example of the creative activity of the folklore ensemble "Rosstan". The article notes such performative characteristics as the creation of an event and atmosphere, space and communication organization, the interaction of the audience, that provide conditions for perception and response. The author relies on the works of such scientists as: E. Fischer-Lichte, V. Turner, A. Ya. Flier, L. N. Zakharova, L. V. Demina and others. In the process of studying following methods were used: generalization, comparison and also dialectical, historical and logical once. Modern features in folk culture, expressed in the interaction of traditional and innovative folkloristics are revealed on the example of the creative activity of "Rosstan". The revival of folk culture, the realization of its creative potential is possible through the development of cultural traditions and the creation of innovations related to ancient ritual forms of interaction, which should be adapted to the present and be understood by modern generation.


2021 ◽  
Vol 13 (3) ◽  
pp. 293-307
Author(s):  
Elvira M. Kolcheva

Introduction. The article is the first in a series of publications dedicated to the 100th anniversary of the Mari autonomy and the fact of the emergence of professional visual arts among the Mari people. The author regards it as a systemic element of national-ethnic culture, which performed the function of ethno-cultural reflection by artistic means throughout the entire century, in which four major stages and corresponding stylistic forms can be traced. The article describes the initial stage of the Mari fine arts of the 1920s – 1930s. Materials and Methods. The main material was the collection of art and ethnographic works of the 1920s–1930 found in the funds of the National Museum of the Republic of Mari El. The author used various methods: historical research, art history analysis of works of art, as well as the author’s own method of structural and archetypal analysis. Results and Discussion. The first art institutions appeared in the mountainous Mari region at the turn of the 1910–1920 thanks to the artist A.V. Grigoriev, who together with his associates later founded the Association of Artists of Revolutionary Russia in Moscow. The systematic institutionalization of the Mari fine arts began in the second half of the 1920, which was facilitated by the activities of the Mari Regional Society of Local History and the Central Mari Museum in the town of Krasnokokshaisk. The founders of the Mari fine arts were the invited artists from Kazan, namely P. A. Radimov, G. A. Medvedev, V. K. Timofeev, M. M. Vasilyeva, the first Mari artists K. F. Egorov and E. D. Atlashkina, and P. G. Gorbuntsov. With the beginning of the “Great Terror” period, the first stage of the Mari art was interrupted, and socialist realism replaced ethnographic realism. Conclusion. The development of the fine art of the Mari at the initial stage was stimulated by the Mari Regional Society of Local History and the Central Mari Museum represented by V. A. Mukhin (Savi), V. M. Vasiliev, T. E. Evseev. Their educational interests, combined with the documentary-oriented program of the Association of Artists of Revolutionary Russia, contributed to the formation of such a stylistic form as ethnographic realism, which became the first artistic form of ethnocultural reflection by the means of fine arts.


Author(s):  
Olga Obrazhey

The article deals with the fear of children of primary school age to open water, which appears at the initial stage of teaching swimming and is a serious obstacle to mastering the skills of swimming. Analysis of the scientific researches indicate a lack of reasonable methods of overcoming fears associated with the water during swimming training and scientific methodological developments in the prevention and overcoming fears associated with water, which leads to certain problems and violations of logical consistency in teaching swimming. The following empirical methods as questionnaires, interviews, pedagogical observations are used. The article presents the results of a study of this problem, especially: the results of the survey of primary school children who arrived at the base of the summer camp «Lastochka» in Skadovsk of Kherson region in 2016 during the month of June as well as conversations and observations with them that took place in real conditions of training swimming. This study provided the opportunity to determine the origin of fear causes of primary school age children, to reveal the reasons and statistics of accidents at open water, to identify factors fear of open water of primary school age children. The article indicates signs of the most important physical symptoms associated with the fear of open water. Methodical recommendations developed to overcome fears at the initial stage of swimming lessons in open water based on the principles of psychological impact on the minds of everyone as well as the use of innovative techniques while swimming. Methodical recommendations focus on the preparation and organization of lessons with children of primary school age, with the problem of fear of open water. They aim to overcome fear and to achieve the main goals of the swimming lessons in the summer camp to teach swimming every child.


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