Short-term educational practice "Visiting a fairy tale"

Short-term educational practice as a means of development

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Introduction
Chapter 1. Theoretical foundations for the development of creative imagination in children of senior preschool age
1.1 The essence of the concept of “creative imagination”
1.2 Forms and methods of developing creative imagination in preschool educational institutions
1.3 Psychological and pedagogical characteristics of the development of creative imagination in children of senior preschool age
Chapter 2. Methodological aspects of organizing short-term educational practice as a means of developing creative imagination in children of senior preschool age
2.1 Short-term educational practice and its characteristics in accordance with the Federal State Educational Standard for Education
2.2 Methodology for organizing short-term educational practice with children of senior preschool age
2.3 Experience in conducting short-term educational practices in preschool No. 17 in Peschanka, Chita
Conclusion
Bibliography

Introduction

Life in the era of scientific and technological progress is becoming more diverse and complex. And it requires from a person not stereotyped, habitual actions, but mobility, flexibility of thinking, quick orientation and adaptation to new conditions, a creative approach to solving large and small problems. If we take into account the fact that the share of mental labor in almost all professions is constantly growing, and an increasing part of performing actions is transferred to machines, then it becomes obvious that a person’s creative abilities should be recognized as the most essential part of his intelligence and the task of their development is one of the most important tasks in education of modern man. After all, all cultural values accumulated by humanity are the result of people’s creative activity. And how far human society will advance in the future will be determined by the creative potential of the younger generation.

So, let's think about why it is necessary to develop a child's imagination? Maybe it would be much more convenient to teach him certain actions, form a certain knowledge base and that’s enough? Why in the Federal State Educational Standard for Preschool Education one of the targets for completing preschool education is “the child has a developed imagination, which is realized in various types of activities, and above all in play”?

The study of the creative imagination of preschoolers is one of the priority areas of modern pedagogical science. The most effective means for this is visual activity. In the process of drawing, a child experiences a variety of feelings: he is happy about the beautiful image he has created, he is upset if something does not work out, he strives to overcome difficulties or gives in to them. He acquires knowledge about objects and phenomena, about the means and methods of their transmission, about the artistic possibilities of fine art. His ideas about the world around him deepen, the qualities of objects are comprehended, their characteristic features and details are remembered; mastery of fine arts and abilities and their conscious use occur.

Imagination is always directed towards the practical activities of man. Before doing anything, he imagines what needs to be done and how he will do it. Thus, a person already creates in advance an image of a material thing that will be manufactured in subsequent practical activities.

This ability of a person to imagine in advance the final result of his work, as well as the process of creating a material thing, sharply distinguishes human activity from the “activity” of animals.

Research by psychologists such as L.S. Vygotsky [5], Ya.V. Ponomarev [15], E.I. Ignatiev [9] and in the works of such teachers as N.P. Sakkulin [16], E.A. Fleurina [22] illustrate to us that creative activity meets the needs and capabilities of the child, is accompanied by his emotional and intellectual activity and ensures the formation of methods of unified creative cognition, realized in various activities.

The origins of human creative powers go back to childhood, to the time when creative manifestations are largely arbitrary and vitally necessary. The concept of preschool education considers imagination and creativity as prerequisites for the formation of the basis of personal culture. Creative imagination occupies a special place among preschoolers, as the most complex type of creative activity, requiring the mutual action of a number of mental functions.

Pedagogical studies devoted to the problem of the development of creative imagination prove that it successfully develops in preschool age under the influence and as a result of special training, an important condition of which is the choice of means [16, 21]. The creative imagination of a preschooler is the soil on which the later professionally developed imagination of a scientist, artist, and inventor grows.

In connection with the introduction of the Federal State Educational Standard, approved by order of the Ministry of Education and Science of the Russian Federation dated October 17, 2013, an important requirement for the preschool education program was the introduction of the principle of integration. The standard requires educators to turn to new forms of working with children that make it possible, figuratively speaking, to teach preschoolers without them even realizing it. The new standard provides for an individual approach to each child. The standard is aimed at ensuring that the child has motivation for learning, cognition and creativity. Developmental interaction of the child with adults and peers, and not a one-sided influence on the child from the teacher. A preschool child is a person who plays, therefore the standard stipulates that learning enters the child’s life through the “gate of children’s play.”

Working with children, we notice that children are not able to show independence without the teacher’s instructions, they are afraid to draw a picture incorrectly, the drawings are all the same as if they were a template, they copy an adult’s drawing, their imagination is poor, their ideas are poor. Traditional drawing with pencils and brushes requires children to have a high level of mastery of drawing techniques, developed skills and knowledge, and working techniques. And very often, the lack of this knowledge and skills quickly turns a child away from drawing, because as a result of his efforts, the drawing turns out incorrectly, it does not correspond to the child’s desire to get an image that is close to his plan or the real object that he was trying to depict. Therefore, it is necessary to use educational technologies that will create a situation of success for children and create sustainable motivation for drawing. To develop children's creative imagination, we became interested in the possibility of using short-term educational practices. This educational technology will help children feel free and relaxed.

Research problem: what means of organizing educational activities can be effectively used in developing the creative imagination of children of senior preschool age?

Object of study: the process of development of creative imagination in children of senior preschool age.

Subject of research : short-term educational practice as a means of developing creative imagination in children of senior preschool age.

Purpose: to identify the degree of effectiveness of using short-term educational practices as a means of developing creative imagination in children of senior preschool age.

Tasks:

Consider the theoretical foundations of the development of creative imagination in children of senior preschool age;
To determine, in accordance with the psychological and pedagogical characteristics of children of senior preschool age, the forms and methods of developing creative imagination;
To study the methodological aspects of organizing short-term educational practice as a means of developing creative imagination in children of senior preschool age;
To identify the level of development of children’s creative imagination in preschool settings;
To test and describe the experience of conducting short-term educational practices in preschool No. 17 in Peschanka, Chita.

Research base : Municipal budgetary preschool educational institution "Kindergarten No. 17" Peschanka village, Chita.

Research methods: studying psychological, pedagogical and methodological literature on this topic, conducting a methodology to determine the level of development of children’s creative imagination: E. Torrance’s “Incomplete Figures” technique, Rorschach’s inkblot technique.

Theoretical significance: the theoretical material for this study is systematized.

Practical significance: a package of methodological developments has been created for the use of short-term educational practices as an alternative in additional education. The main provisions, conclusions and results of this study were presented at the methodological association for teachers of the city of Chita, in April 2022.

Structure: the final qualifying work consists of an introduction, two chapters, a conclusion, a list of references and applications.

Chapter 1. Theoretical foundations for the development of creative imagination in children of senior preschool age

1.1 The essence of the concept of “creative imagination”

“Everything that surrounds us and that is made by the hand of man, the whole world of culture, in contrast to the world of nature - all this is a product of human imagination and creativity based on this imagination.” This thought by L.S. Vygotsky has not lost its significance even now and retains its cognitive potential [6].

Imagination is an integral component of the full development of a child and his behavior in general. In recent years, the pages of psychological and pedagogical literature have increasingly raised the question of the role of imagination in the mental development of a child, of determining the essence of the mechanisms of imagination [1].

Interest in the problem of imagination as a mental process arose relatively recently - at the turn of the 19th-20th centuries. The first attempts to experimentally study the function of imagination date back to this time (T. Ribot). Gradually, aspects of the study of this problem are increasingly expanding, methods are being developed that make it possible to experimentally study the function of imagination, attempts are being made to theoretically comprehend the data obtained, and issues of the relationship of imagination with other cognitive processes are being considered. Work in this area was carried out mainly in two directions: on the one hand, the development of imagination in ontogenesis was studied (L.S. Vygotsky A.Ya. Dudetsky), on the other hand, the functional development of this process.

Research into the “nature” of creativity (A.M. Matyushkin) and the development of principles and methods for creating diagnostic methods of differential psychology for the purpose of early identification and development of creative abilities in children have acquired particular relevance.

Thus, in psychology there is an increasing interest in the problems of creativity, and through it in imagination, as the most important component of any form of creative activity.

Imagination, also believes S.L. Rubinstein, is associated with our ability and need to create new things. The activity of imagination as a mental process ensures the creation of new images based on the processing and creative transformation of a person’s existing images of reality. The basis of imagination is memory images [18].

“The main feature of the imagination process,” writes E.I. Ignatiev, “in one or another specific practical activity consists of transforming and processing perceptual data and other material of past experience, resulting in new impressions” [10].

In connection with the characteristics and causes of occurrence, they distinguish between: involuntary and voluntary imagination.

In connection with the characteristic features of imaginary ideas, as well as the tasks that are posed to voluntary imagination, they distinguish:

recreating;
creative imagination;
a person's dreams.

Involuntary imagination is often observed in young children. It appears most clearly in dreams or in a half-asleep, drowsy state, when ideas arise spontaneously (perseveration), flow, change, connect and change on their own, sometimes taking the most fantastic forms.

Voluntary, or active, imagination is the deliberate construction of images in connection with a consciously set task in one or another type of activity. Such an active imagination already develops in children's games, in which children take on certain roles (pilot, train driver, doctor). The need to display the most correctly chosen role in the game leads to active work of the imagination.

Recreative imagination occurs in cases where a person, based on one description, must imagine an object that he has never perceived before.

Creative imagination is the independent creation of new images in the process of creative activity. Creative imagination is a more complex mental activity than recreating, but there is no clear line between them [5].

In defining creative imagination, we adhere to the point of view of L.S. Vygotsky, who believes that imagination is “a mental cognitive process in which the reflection of reality occurs in a special form - objectively or subjectively new (in the form of images, ideas or ideas), created on the basis of images of perceptions, memory, as well as knowledge acquired in the process of verbal communication" [6].

The problem of the development of creative imagination has been studied by many scientists, teachers, psychologists and is reflected in the works of L.S. Vygotsky, E.E. Sapogova, L.A. Venger, V.V. Davydova, N.E. Veraksa, O.M. Dyachenko, R. Assagioli, D. Diderot, R.S. Nemova, S.L. Rubinshteina, E.G. Ignatieva, K.D. Ushinsky, A.V. Petrovsky, V.A. Krutetsky and others.

The basis of creativity, according to Davydov, is imagination, which develops in the process of artistic activity. Davydov specifically emphasized that only a person’s introduction to the world of art creates a basis for creative manifestations in all spheres of life. Studying science can be successful with a developed imagination, which is the basis of a free creative personality [11].

Thus, we can summarize this issue:

imagination is one of the forms of reflective activity of consciousness;
The specificity of the reflective activity of the imagination is that it reflects reality as a possibility, a probability, by reconstructing existing experience, i.e. provides a person’s orientation in a probabilistic environment;
imagination combines the characteristics of both sensory and logical knowledge, while maintaining its specificity;
the activity of creative imagination is mediated by the needs of practical transformative human activity, a close connection between imagination and reality can be traced;
the activity of the imagination is significantly activated in conditions of a lack of external information, the process of imagination, its richness, strength, content is determined by the past experience of the individual and relies on it;
imagination is in a relationship of close connection and interdependence with all cognitive processes and speech.

1.2 Forms and methods of developing creative imagination in preschool educational institutions

Let's consider pedagogical methods and forms that contribute to productive personality-oriented creative learning.

Learning based on the productive orientation of education is based on such types of educational activities that allow children, firstly, to understand the world around them, and, secondly, to create educational products. These activities are called cognitive and creative methods, respectively.

In the process of developing the creative abilities of preschool children, it is advisable to use cognitive and creative methods, summarized in the works of A.V. Khutorskoy [23].

The method of empathy (getting used to it) means “feeling” a person into the state of another object. Through sensory, figurative and mental representations, the child tries to “move” into the object being studied, to feel and understand it from the inside. The condition for the successful application of this method is a certain state of the children, the mood created by the teacher. At first it may be like a game, to which children usually react with some fun. Then, when the educational results are obtained and realized, the children will stop taking this method lightly and accept it as a truly educational method. A person turns into another person, into animals (birds, beasts, insects, fish), into plants (chamomile, birch, spruce), into objects of inanimate nature (TV, sun, ball). This is rich material for new fairy tales. The main thing is to develop empathy, the ability to transform into another image and look at the world through his eyes. The use of verbal instructions helps to get used to the essence of educational objects, for example, “Imagine that you are the daisy that grows in front of you, your head is a flower. The body is the stem, the arms are the leaves, the roots are the legs...”
At the moments of the best adaptation, the child asks questions to the object - himself, trying to perceive, understand, and see the answers on a sensory level. The thoughts, feelings and sensations born during this process are the educational product of the child. This method turns out to be extremely effective because it includes the usually unused capabilities of children. Children are characterized by the ability to experience what they observe, to sense the objects around them, using methods of “humanizing” them.
The method of figurative vision is an emotional-imaginative study of an object. The children are invited, looking at a figure, a sign, a real object, to draw the images they see in them, to describe what they look like. Or, for example, children are invited to listen to a classical piece of music. After listening, the teacher asks questions. What did the composer want to express when creating the melody? What did the child imagine when he listened to her? What color is this music? The children are invited to draw the image that arose in their imagination while listening to music.
Heuristic observation method. The purpose of this method is to teach children to obtain and construct knowledge through observations. Observation as a child’s purposeful personal perception of various objects is a preparatory stage in the formation of his theoretical knowledge. The guys carrying out the observation receive their own result, which includes: the informational result of the observation, a set of personal actions and feelings that accompanied the observation.
Research method. The object of study is natural, cultural, verbal or other (fairy tale, saying, leaf of a tree, clothing, sky or other). The children are invited to explore the object according to a given plan. Research objectives - work plan - facts about the object - experiments, drawings of experiments, new facts - questions and problems that have arisen - versions of answers, hypotheses - reflective judgments, conscious methods of activity and results - conclusions. Such algorithmization in no way detracts from their creativity. On the contrary, having consistently completed all the steps listed above, almost any child inevitably receives his own educational product. The teacher helps children increase the volume and quality of this result.

Creative teaching methods are focused on children creating a personal educational product. In this case, cognition is possible, but it occurs “in the course” of creative activity itself. The main result is obtaining a product.

The method of inventing. Allows children to create a previously unknown product as a result of their specific mental actions.

This method is implemented using the following techniques:

a) replacing the qualities of one object with the qualities of another in order to create a new object;

b) finding the properties of an object in another environment;

c) changing the element of the object being studied and describing the properties of the new, changed object. For example, if Baba Yaga lived in our time, what would her stupa look like? Come up with a new type of transport for Baba Yaga.

The “If…” method. Children are invited to imagine what could happen if, for example, they could talk, or dinosaurs came to life, or people moved to the moon. Completing such tasks not only develops their imagination, but also allows them to better understand the structure of the real world and the interconnection of its components.
The hyperbolization method involves increasing or decreasing the object of knowledge, its individual parts or qualities. For example, a child is told: “Here is a magic wand, it can increase or decrease whatever you want. What would you like to increase and what would you like to decrease?
Agglutination method. The children are invited to combine qualities, properties, parts of objects that are incompatible in reality and depict: a running tree, a flying fox, hot snow.
Pedagogical forms of developing the creative potential of preschool children

Typical problems in the process of introducing preschoolers to creativity are the following: poor vocabulary, lack of skills in literate and systematic speech construction, insignificant personal experience and insufficiently developed powers of observation. Meanwhile, creativity presupposes precisely developed observation, a rich imagination, not to mention the ability to construct a statement correctly, logically and interestingly for listeners.

A child’s limited vocabulary and life observations can even extinguish his creative impulse if the teacher fails to develop the missing qualities in him and instill in him faith in his own abilities. To develop creative abilities, it is important to use the following forms of developing children’s creative activity:

An excursion into nature followed by a story about their impressions.
Working with fairy tale texts: reading, retelling, creative processing of the plot.
Theatrical games and children's performances.
Literary games.

Let us consider in more detail the content of pedagogical forms.

Excursions to nature.

We consider an excursion as one of the forms of organizing training. Excursions help shape the emotional qualities of children: a sense of beauty, a sense of the joy of learning, a desire to be useful to society. In the forest, field, garden, children are in the natural world, learning to understand its beauty. And then reproduce what you saw and felt in drawings, games, poems, stories, crafts, herbariums, and applications. Since children themselves are not able to perceive the nature around them meaningfully, animatedly, analytically, an adult must, with the help of leading questions, stories, emotional remarks, perhaps appropriate quotes from literary works accessible and known to children, direct perception in a creative direction.

An excursion to nature is an effective form of learning that requires systematic application. At this stage, a noticeable enrichment of the child’s inner world occurs, observation, memory, and emotional perception develop, vocabulary is enriched, and the imagery and metaphorical nature of speech increases.

Working with fairy tale texts

When working to develop the creative abilities of preschool children, it is advisable to use the texts of fairy tales. The fairy tale is the most accessible genre of literary creativity for this age. It presupposes simplicity of presentation, expressive language, unambiguous moral characteristics of the characters, and a positive direction of the plot.

Work on fairy tales should be carried out in two directions: on content and on language. After reading a fairy tale with children, it is necessary to have a conversation to understand the content. With the help of the teacher, the children remember fairy-tale places where magical events took place, talk about the heroes of the fairy tale (the positive and negative qualities inherent in the characters of the fairy tale, the connection between the character of the hero and the sequence of his actions), talk about magical objects, name the sequence of all stages of the fairy tale.

An important stage is creative tasks. Preschool children are offered the following creative tasks:

continue the tale;
rework the plot;
come up with a different ending to the story.

These creative tasks for preschoolers are continued in children's drawings, applications and crafts.

Theatrical games and children's performances.

Theatrical games and children's performances, originating in the preschool education system. However, here you can not limit yourself to fairy-tale plots as material, but go for simple stories and poems, including those provided for in the program. It is advisable to use the following types of games:

acting out the plots of literary works in creative theatrical, director's games and dramatization games, introducing and inventing new plot lines, introducing new characters and actions;
acting out theatrical performances with dolls and homemade toys; finger theater, puppet theater. Creative creation of different game images in simulation games (animals, birds, plants, fantasy heroes). Expressive conveyance of their actions, physical condition, change of mood using facial expressions, pantomime, intonation (a blooming flower, changing seasons, magical paintings).

Preschoolers are very fond of theatrical performances of children's fairy tales. It is important that preparation for a children's performance is carried out in the following areas: familiarization with the fairy tale, conversations about the theater, distribution of roles, rehearsals, production of invitation cards, posters, preparation of an exhibition of children's drawings based on the plot of the fairy tale.

The main advantage of this form of introducing children to creativity is the development of the ability of spiritual transformation, observation and the ability to note and depict the most significant, iconic features in the object of observation.

Literary games.

Any art feeds a child’s soul; one of the first things a preschooler encounters is poetry. Jokes, nursery rhymes, and play songs are filled with the aroma of the native language, warmth, and home comfort.

Literary games involving word formation, metaphor, stress, and fantasy games are of great importance for the creative development of a child.

Thus, we have determined for ourselves the forms of development of children's creative activity. It is also very important that the process of developing children’s creative abilities continues further; we need to expand the circle of participants in the educational process, since any creativity stimulates unconventional thinking, curiosity, cognitive activity and fosters a creative approach to life.

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"Emerging Cultural Practices in Early Childhood"

MBDOU No. 31 “Bell”, teacher

Childhood is not just a unique subculture. These are “the sprouts of a new cultural way of life that can sprout only in spaces of autonomous cultural practices, where children in their own way, not at all as adults would like, enter human culture and modern civilization, becoming its authors” ( - Ph.D. sciences).

In order to become a subject of cultural activity, a child needs his own special practice, his own special tests of strength.

According to the Federal State Educational Standard for Education, the content section of the Program should present the features of educational activities of different types and cultural practices (Federal State Educational Standard for Education, clause 2.11.2 -a).

Cultural practices are various types of independent activity, behavior and experience based on the child’s current and future interests that develop from the first days of his life. At the same time, they include the usual (habitual, everyday) ways of self-determination and self-realization, thereby ensuring the implementation of the child’s cultural skills. Such skills include the child’s willingness and ability to act in all circumstances of life and activity on the basis of cultural norms and express:

Content, quality and direction of his actions and actions; Individual characteristics (originality and uniqueness) of his actions; Acceptance and mastery of the cultural norms of the community to which the child belongs; Acceptance of generally significant (universal human) cultural patterns of activity and behavior (Educational program of preschool education No. 31 “Bell”, paragraph 2.3.).

Cultural practices in preschool education are situational, autonomous, independent, initiated by adults, peers or the child himself, the acquisition and repetition of various cultural experiences of communication and interaction with adults, peers, younger or older children. It is also the development of positive life experiences of empathy, goodwill, love, friendship, care, help, as well as negative experiences of dissatisfaction, resentment, jealousy, protest, and rudeness. What exactly a child will practice depends on his character, value system, lifestyle, and future fate.

The following types of cultural practices in preschool education are distinguished: research, communication, artistic, organizational, educational, design methods and forms of child action.

Early age is the period of mental development of a child from 1 year to 3 years. At an early age, the content of joint activity between a child and an adult becomes the assimilation of cultural ways of using objects. An adult becomes for a child not only a source of attention and goodwill, not only a “supplier” of the objects themselves, but also a model of human actions with objects. Such cooperation is no longer limited to direct assistance or demonstration of objects. Now the participation of an adult is necessary, simultaneous practical activity with him, doing the same thing. In the course of such cooperation, the child simultaneously receives the attention of an adult, his participation in the child’s actions and, most importantly, new, adequate ways of acting with objects. The adult now not only places objects in the child’s hands, but along with the object conveys the way of operating with it.

In joint activities with a child, an adult performs several functions at once:

firstly, the adult gives the child the meaning of actions with the object, its social function; secondly, he organizes the child’s actions and movements, transfers to him the technical techniques for carrying out the action; thirdly, through encouragement and reprimand, he controls the progress of the child’s actions.

Early age is the period of the most intensive assimilation of ways of acting with objects. By the end of this period, thanks to cooperation with an adult, the child basically knows how to use household objects and play with toys.

According to the Federal State Educational Standard for Education, the following types of activities are distinguished for young children (Federal State Educational Standard for Education, clause 2.7.):

Object activities and games with composite and dynamic toys; Experimenting with materials and substances (sand, water, dough, etc.) Communication with an adult and joint games with peers under the guidance of an adult; Self-service and actions with household tools (spoon, scoop, spatula, etc.) Perception of the meaning of music, fairy tales, poems, looking at pictures; Physical activity.

The following cultural practices are available at an early age:

Research (Experimentation with materials and substances)

A child is born a researcher. An unquenchable thirst for new experiences, curiosity, a constant desire to observe and experiment, to independently seek new information about the world, are traditionally considered as the most important features of children's behavior. Satisfying his curiosity in the process of active cognitive and research activity, which in its natural form manifests itself in the form of children's experimentation, the child, on the one hand, expands his ideas about the world, on the other hand, begins to master the fundamental cultural forms of ordering experience: cause-and-effect, gender-species, spatial and temporary relationships that make it possible to connect individual ideas into a holistic picture of the world. The teacher’s task is not to suppress this activity, but, on the contrary, to actively help.

1.1.

Sensory bottles. Goal: to stimulate the ability to observe, compare, search and find, as well as develop listening perception of sounds produced by various fillers hidden in containers.

a bottle of soapy yellow water in which you can see the foam after shaking the bottle. cloudy bottle: the water becomes cloudy when the bottle is shaken, and then the earth settles to the bottom and the water becomes clear again. bottle with jellyfish: probably the most unusual and interesting. When you turn it over, the jellyfish begins to slowly rise “from the bottom”; the “inside” of the jellyfish is painted over with red paint.

an electrostatic bottle, by rubbing it on your hair or carpet, you can observe how pieces of foam behave. meditative bottle or “sensory blizzard”: you just sit and watch how the pieces of foil smoothly fly. The children shout: “Fish, fish!”

sea bottle or “sensory sea”: a very beautiful, literally bewitching bottle. When shaken, waves are formed on the surface.

mystery bottle: the purpose of this bottle is to stimulate the ability to observe, search and find. A bottle filled with rice contains interesting small objects (toys, cars). Let the baby try to find what is hidden in the bottle? bottle of attraction: inside there are various small objects, including metal ones. We take a magnet and begin to move metal objects throughout the bottle.

noisy bottle: the simplest bottle option that will delight a child of any age is a noisy bottle. Let's just make some noise.

Kinder containers are filled with different fillings (semolina, buckwheat, coins, barley), the children's task is to try to determine by ear which of the containers contains what. In addition, you can compare the sounds made by different containers in order to consolidate the concepts of “loud” - “deaf”, “loud” - “quiet”, try to choose your own epithets and names for the sounds that you heard. Also, to play the “find the pair” game, there are a pair of containers with the same filling. At the same time, you can train not only your hearing, but also your memory.

The musical eggs lie in the nest for the time being, and if necessary, you can take them and thunder them.

Communicative (Communication with adults and joint games with peers under the guidance of an adult). For example:

“Finger gymnastics” is a staging of some rhymed stories or fairy tales using the fingers. Many games require the participation of both hands, which allows children to navigate the concepts of “right”, “left”, “up”, “down”, etc. Examples: “Magpie - white-sided”, “Fingers say hello”, “Fingers in forest”, “How are you living?”, “A little boy”, “Thumbs went for a walk”, “Big wash”, “Cabbage” and others.

“Finger games” seem to reflect the reality of the surrounding world - objects, animals, people, their activities, natural phenomena. During “finger games,” children, repeating the movements of adults, activate hand motor skills. This develops dexterity, the ability to control one’s movements, and concentrate attention on one type of activity.

Socially oriented (Objective activities and games with composite and dynamic toys; Self-service and actions with household objects and tools).

3.1. Games with household objects and actions with household objects-tools. For example:

Games with jars of different sizes. We take different jars and lids for them. The child must match the lids to the jars. It is advisable that the lids be of different sizes, then it will be easier for the child to select them. The lids can be put on or screwed on. By closing the lids, the child trains his fingers and improves the development of fine motor skills.

Games with clothespins - develop sensory coordination, fine motor skills, creative imagination, memory and thinking, as well as perseverance. To make the game interesting for children, you can offer to attach clothespins according to the theme (that is, rays to the sun, needles to a hedgehog, rain to a cloud, etc.).

Games with cereals and bulk materials. For example:

“Finger Pool” or “Find the Surprise.” Goal: to learn to find a toy (object) hidden in a container with semolina by touching it with your hands, or sifting it through a sieve.

“Pour in the cereal.” Purpose: to learn to pour/transfer bulk substances from one container to another, with a spoon or hands.

Laying out the “Red Bean Pattern”. Goal: to develop children’s ability to act as directed by the teacher. Grasp the beans with your thumb and forefinger. Develop finger flexibility.

"Sifting cereals." Purpose: to learn to scoop and pour with a spoon, sift through a sieve, shaking it; separate cereals (beans and semolina; peas and semolina) and others.

3.2. Games with composite and dynamic toys. These include: insert pictures, pyramids, rolling toys, construction sets, inserts, nesting dolls, a box of shapes, beads, lacing, large puzzles, thematic cubes, composite cut-out pictures, etc.

“Pyramids” - the variety of their types, shapes, configurations, and complicating elements allows you to literally give a new task every time. And children do not lose interest in them.

Games - stringing. You can string anything that can be strung: buttons, beads, small toys, horns and pasta, dryers, etc. Stringing games will help coordinate the movements of both hands, perfectly developing the hand, and also help improve the coordination of the eye-hand system. In this children's game, not only manual skills are formed, but also sensory standards (color, shape, size). We begin training with easier tasks: the beads are large, the diameter of the lace is large; further, alternating large and small beads; and a very difficult task, small beads of geometric shapes with a very small hole and fishing line.

Lacing games (“Funny Laces”) - develop sensorimotor coordination and fine motor skills; develop spatial orientation, promote the assimilation of the concepts “above”, “below”, “right”, “left”; develop lacing skills (lacing, tying a lace into a bow); promote speech development; develop creative abilities; develop perseverance; the game helps improve coordination of movements, flexibility of the hand and looseness of movements in general, which is the key to the absence of problems with writing at school. For example: “Locomotive”, “Turtle”, “Bear”, “House”, “Button”, “Car” and others.

Construction - the child does not reproduce a model, but tries, explores, studies independently and chooses what is most interesting to him, which corresponds to his implementation of plans/requests.

These cultural practices are accessible to young children, as they are aimed at mastering cultural ways of using objects. The leading cultural practice is gaming practice, which makes it possible to create an event-organized space for the educational activities of children and adults. By the end of this period, thanks to cooperation with an adult, the child basically knows how to use household objects and play with toys.

Before school, a child’s cultural practices grow on the basis of interaction with adults, as well as on the basis of his constantly expanding independent actions (own trials, search, selection, manipulation of objects and actions, design, fantasy, observation-study-research).

In order for upbringing and learning to become effective, it is necessary to simultaneously create conditions for the deployment of a system of diverse free practices of the child, which ensure his independent, responsible self-expression.

With a developed system of cultural practices, a child needs not so much upbringing as pedagogical support, cooperation, the general mental attitude (care) of an adult and a child, their mutual trust, concern for a common cause (interest).

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Short-term educational practice “Visiting a fairy tale”