“C’era un bambino che usciva ogni giorno,
e il primo oggetto che osservava, in quello si
trasfondeva,
e quell’oggetto diventava parte di lui per quel giorno o
per parte del giorno
o per molti anni o vasti cicli di anni
I primi lillà divennero parte del bambino
e l’erba e i convolvi bianchi e quelli rossi, e il bianco e
The red clover, and the song of stonechat,
marzolini lambs, the rosy litter of the sow, the
calf and the colt
the rowdy brood of aid or the swamp near the pond
and fish so strangely suspended, and the beautiful strange liquid,
aquatic plants from pretty flat tops: all
this became part of him. "
Walt Whitman, Leaves of Grass
Whitman's verses capture much of what we know about children and Creativity For them, life itself is a creative adventure. The most basic explorations carried out by the baby in the world are in themselves of creative exercises to solve problems. First three years of the child, in relation to the surrounding environment in the form of the game makes a lot of experiments and data obtained from such laws in the world to which it belongs: undertaking a process of invention itself will last life.
the face of phenomena and feelings of the child's attitude is similar to that of the artist: he test wonder, enchantment and sometimes pain.
When he finds the sign, the child begins to tell with the first sketches what he knows of his world, if this language is respected in its free development goes hand in hand with intellectual development.
Before we can give a graphical form to certain content the child is in fact able to express through color, and its discriminative ability is his emotion.
Games initially unaware of lines and spots reflected the vivacity of his meetings with a clean sheet and they often surprise giving way to a deliberate search of new figures: the overlapping colors each other, creating new colors in a transformational process in which what counts is always the surprise of the new change and not the finished product.
In general, if you have free access to materials, children between three and five years find that they can create, with relative ease, simple shapes and forms. So you put to the test, invented creatures, animated tadpoles and willingly undertake playful exploration. It 's almost magic to create the blank page, pull out of the blue creatures and objects on which you can exercise some control.
The possibility of dyeing and staining, leaving una indelebile traccia di sé, consente al bambino di esprimersi senza doversi subito subordinare alle richieste dell’altro. In questa prospettiva il bambino che non può tingere e macchiare è un bambino costretto da necessità interiori o da restrizioni esterne ad inibire la propria vitalità.
Inoltre ogni attività “creativa” conferisce ai bambini il potere di fare e disfare, di conoscere l’oggetto e se stessi più intimamente. Il loro coinvolgimento nel “fare arte” è in gran parte diretto all’interiorità: disegnare, dipingere, manipolare sono enunciazioni espressive a proposito di ciò che si conosce, si prova e si vuole capire; è un dialogo con se stessi intrinsecamente affettivo. E’ una attività di problem solving molto spesso pervasa di emozioni intense , non meramente una indagine del mezzo espressivo e dell’abilità necessaria per padroneggiarlo.
Da ciò si evince come il termine creatività abbia assunto negli ultimi anni una importanza pressoché assoluta nell’ambito dei sistemi educativi per l’infanzia poiché è diventata opinione comune che, proprio attraverso l’immaginazione e la fantasia, il bambino possa accrescere la consapevolezza di sé e del mondo che lo circonda imparando a conoscere meglio se stesso e gli altri.
E ', in fact, part of the creative activities that the child is asked to take possession of the cultural heritage that is offered and reprocessing them according to their own personal experience and their talents, contributing in this way, to reinvent.
On this basis, it is easy to see how the development of creative talents not only put into play fantasy and imagination, but a wide range of faculty (critical thinking, intuition, active reworking of the data, ability to express a trial and to distance themselves from reality) essential for the growth of healthy baby.
So, if there is an education that is imparted to the creativity and nurtured day after day, it is necessary and important that it go through the game and the playful, not to become one of the many responsibilities / obligations to which the child is sent daily to lose and thus its value.
Sometimes the production of children do not satisfy the canons of classical art, but it reflects the fees of children's art, it is incomprehensible, if not insignificant in the eyes of an adult too busy to understand rather than to share . But the experience of the "stain" in the concrete sense, requires that someone be there to see, but only to see without interfering in his work, a kind of "servant" (=> see Arno Stern's theory and method of "Closlieau" - location protected http://www.arnostern.com/it/biografia.htm ) that recognizes the presence of the author without giving special meaning to his work.
All the world's children in their free graphical search invent technical solutions for each problem according to their logic. An example: the child knows that the earth is down and the sky is high, for whom he designed the strip ground down and the strip of sky above. In between is the gap until the time comes when his search leads the child to fill it, identifying the horizon, what is drawing near as large as that which is far smaller, but does not take into account the proportions of chiaroscuro, perspective, very often the natural colors are wrong, but used in emotional function, there is the discovery of painting of feelings, not figurative, in which the paper becomes the mirror of his emotions.
because in those moments the color for the child is not consciously related to a content but to express a way of being in the world. Rudolf Arnheim
says "... ... the images of reality may be valid even if they are very clear of any realistic likeness ...." ( Art and Visual Perception and Feltrinelli).
Many great artists have learned from children who have been Picasso, after a lifetime of research, he returned to painting as he did as a child; Chagall drew the dreams and if we were to critically evaluate it according to the canons of classical art not be able to appreciate and like him, Miro, Kandinskji and all modern art which is a break in the forms of art Classic.
The ability of special drawing skills are acquired by children through repetition, practice this means step by step to achieve results without concern.
The repetition is not just perfects the skills, but also allows the child to hear his activity as something that belongs to him, which is part of him. In the long run to the end of this creativity can be more important than the mere mastery of technique, because it puts the child in a position to fall in love with what he's doing.
The successful exercise builds trust and helps to believe in themselves, the children in this conviction wavers are shy, they have little confidence in their ability to be successful, they are frightened by the new and the risk.
In contrast to alert all your senses, sharpen its focus, so as to share and, above all, the creator of the things that surround him, day after day to stimulate his natural propensity for imagination and fantasy, port the child to have confidence in their own creative potential. In addition, an imaginative child, able to imagine and plan what does not yet exist, to see beyond the appearance will be an adult mentally active and alert, able to break the mold in qualsiasi momento pur di ricercare la verità più profonda delle cose.
D’altra parte va ricordato che la fiducia in se stessi è alimentata anche dalla sensazione, percepita dal bambino, che gli adulti rispettino la sua abilità. Le critiche costanti o la continua indifferenza verso i risultati conseguiti possono minare, anche nel bambino più capace, la fiducia in se stesso.
La creatività fiorisce quando le cose sono fatte per il piacere di farle. Se i bambini sono impegnati nell’apprendimento di una forma creativa, riuscire a conservare il loro entusiasmo ha la stessa importanza, anzi è forse ancora più importante, clarification of technical aspects.
What matters is the pleasure is not perfection!
In life, the psychological pressures that inhibit the creativity of children are not slow in coming. Most preschoolers love even those first-graders go to school, are excited to explore and learn, but when they arrive at the third or fourth grade, their enthusiasm fades, and many of them do not take any more pleasure from their creativity.
were set in motion the "killer of creativity" that is those mechanisms implemented by adults in the educational process and felt by children as a brake to give free rein to their emotions:
- Surveillance is incumbent on children means making them feel that they are constantly monitored as they work. This creates continuous observation of a child in the state of his creative flow, an inability to risk something new.
- Rating it means instilling a concern over the judgments of others. Children should be concerned mainly be satisfied achievement and the pleasure they feel during the creative process without focusing on how they will be judged by adults or by their own comrades
- Competition it means putting your children in a situation with no way out or you win or lose, and only one person can get to the top. Every child should instead be left to progress at their own pace, taking into account that every child is a unique being.
- Excessive control it is to tell the children exactly how devono fare una determinata cosa, nel campo dell’arte come devono disegnare una determinata immagine e quali colori devono usare . Questo atteggiamento induce i bambini a credere che ogni originalità sia un errore e ogni esplorazione una perdita di tempo
Ed in ultimo ma forse come importanza nell’assopirsi della creatività il primo, il Tempo . Se la motivazione intrinseca è un fattore chiave della creatività di un bambino, l’elemento cruciale per coltivarla è il tempo e uno dei maggiori crimini educativi che i genitori e la scuola commettono contro la creatività dei bambini consiste proprio nel privarli di questo tempo.
Rispetto agli adulti, i bambini entrano più spontaneamente in quello stato creativo per eccellenza chiamato “flusso”, nel quale il totale assorbimento può generare il massimo del piacere e della creatività. Nel processo del dipingere è come se il foglio, il colore, i gesti del bambino e le immagini che ne risultano costituissero una totalità. Nel flusso il tempo non conta: c’è solo un presente atemporale. Esso è uno stato più confortevole per i bambini che per gli adulti, dal momento che questi ultimi sono più consapevoli dello scorrere del tempo.
Promuovere creative capacity is equivalent, therefore, promote the child's awareness of his way to be. "
Each building in our mind is only possible from our past experience and as it was full of stimuli, both more fruitful will be our ability to imagine this. The circle is completed when, on the basis of inputs provided by these realities, we are able to create something new, embodied in a production, whether literary or artistic work, as well as technical or scientific.
Hence the importance of providing the child from the earliest età, stimoli di diversa natura, per arricchire di elementi la sua esperienza e offrirgli, in tal modo, maggiori possibilità di crescita.
Educare alla creatività significa, educare i bambini ad aver fiducia nelle proprie capacità personali, aiutandoli a rafforzare la fiducia in se stessi e a rifuggire da soluzioni povere e rigide. Significa, inoltre, educarli a “pensare con la propria testa”, per creare individui liberi e autonomi.
E’ così l’educazione alla creatività diventa anche e soprattutto educazione alla libertà.
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Main:
Claire Golomb - The Art of Children - Raffaello Cortina Ed
Aa Vv - Construction in school. Besides learning inert - Ed.FrancoAngeli
D. Singer Singer J. - In the realm of the possible, the child's play, creativity and imagination development. Giunti Ed
G. Rodari - The grammar of fantasy - Ed Einaudi
A.Carotenuto – La strategia di Peter Pan – Ed. Bompiani
Lawrence E.Shapiro – Il linguaggio segreto dei bambini – Ed.Fabbri
M.Di Renzo, I.E.Nastasi – Il movimento disegna – Ed. Magi
M.G.Cocconi, L.Salzillo, A.Zanolli – Il bambino creatore – Ed. FrancoAngeli
B.Munari – Fantasia – Ed. Laterza
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