Relations with teachers, Relations with peers - Sociology

Relations with Educators

Relations with teachers acquire special relevance on the second, significant for the development of creativity, the stage-in that age period when young people make their professional choice, enter the university and master the profession - in adolescence and adolescence - 13-20 years . During this period, based on the general creativity is being formed and is developing special creativity - the ability to creativity, associated with a certain sphere of human activity.

E. S.: "In my teens I have already channeled all my energy into music. I neglected school, day and night sang, composed, traveled through competitions, festivals, participated in musicals, took prizes, laureates - in general, was "gifted" teenager. Absolutely did not communicate with peers, did not have fun - there was simply no time for it. But I liked my life.

At this stage a particularly important role is played by a professional model, support of the family and peers. But most importantly, the young man defines for himself the "ideal image" creator, which he seeks to imitate. The second phase of the development of creativity ends in the negation of their own imitative production and often with a negative attitude toward their own ideal.

Impression phase not just important, but, most likely, necessary for the development of the creative potential of the individual. Imitation, as it were, elevates the individual to the last step of development of the socio-cultural environment achieved by people: only the unknown goes further. The individual must and can step into the unknown, only by pushing away from the previous stage of development of culture.1

Ian Parandovsky remarked: "Absolute creative originality is a myth and reminds the Greek legends about people who did not have parents and grew up from the ground". Obviously, imitators remain those who imitate badly. But the emotional acceptance of another person as a model is a necessary condition for overcoming imitation and entering the path of independent creativity.

With. K: "My first guitar teacher was a big guy, always drinking tea at my lessons. I was even a little afraid of him. Relations with us did not turn out somehow at once: I came to one of the lessons, proud that I learned a couple of chords (my father showed it). And when my superhad already went and made himself a seagull, instead of the scales he told me while playing, I started playing these chords, naively hoping that I just have to praise! The mountain man looked at me somehow unkindly and said a very pedagogical phrase, something like "let's not show off here." I was frightened and began to cut scales. Joys, as you know, did not deliver lessons. But suddenly it so happened that in two months he had to leave school. Teachers give me a 21-year-old as a teacher. A small, puny, but at the same time sick on the whole head with a guitar! I saw before a man with joy and love doing his job. Imagine: I really wanted to do and give me a person who really wants to teach !!! It was he who instilled in me the love of music. And if it were not for him, apparently, I would not have become a musician. "

Relationships with peers

In gifted children, relationships with peers are often the most problematic area.

D. D: "When I was a teenager, it seemed to me that I did not fit anywhere. I do not know how to communicate, joke, I could not find a common language with my peers ...

L. K: "I always expected sincerity from others and did not find it."

The development of creative potential is not easy. L. Hollingworth has proved that children with an intelligence level significantly exceeding the average level (above 180) experience special social and emotional problems.

A high level of giftedness leads to isolation. Gifted adolescents seem strange socially and emotionally - highly motivated, unconformal, independent thinkers. They spend more time alone than in peer society. They prefer solitude not only because they have a deep inner life, but then} 'that they need the opportunity to develop their talent.

Prefering loneliness more than ordinary children, gifted adolescents also tend to communicate. But it is difficult to find like-minded people who are so different from other children. This desire to find like-minded people is one of the strongest arguments for creating specialized classes for gifted children, starting with the level of secondary school. This experience of communication with children like them allows gifted children to gain experience of positive communication and feel less isolated.

As E. Winner notes, the "total" the development of creative abilities and creativity as a personal orientation can be viewed in different meanings:

- the most positive option - the development of children's giftedness in the present work;

- loss or decrease in the level of creative needs and aspirations;

- the result as the ultimate goal to which the upbringing of gifted children should lead.

The highest and most valuable variant of development of children's giftedness can be considered its development into "great creativity", connected with the discovery of a fundamentally new one. Still, one can not expect that all gifted children will grow up to be real creators. Objectively, society needs much more highly qualified specialists than innovators. In any field of culture, chaos would prevail if all gifted children grew into creators and reformers and each strived to make a revolution in their sphere. Yes, and many gifted children themselves, growing up and becoming good specialists in their fields, are happy.

Only a small part of gifted children become real creators and innovators, turn from gifted people - in the sense of well-trained and easily trained - children into Creators - people who make a fundamental revolution in culture.

This is not surprising. All young children, regardless of whether they are gifted or not, have a developed fantasy. This type of creative thinking is significantly different from the "big creativity" adult innovators-reformers.

For example, a six-year-old child with high intelligence, able to multiply three-digit numbers in his mind or perform algebraic actions, is universally admired. But when it comes to a gifted adult, it is expected of him otherwise - finding fundamentally new ways to solve problems or opening new problems, i.e. making a significant contribution to mathematics. At the same time, he can connect himself with mathematics for life as an excellent teacher, engineer, economist, without becoming a reformer in his field. The same goes for art.

Those people who demonstrate "big, adult creativity" are significantly different from children also on personal characteristics and integral personality structure. They are rebellious, have a desire to destroy the status quo, often suffered in childhood, experiencing stress and trauma1. Creative people live with the desire to turn the world around.

Given these arguments, we can not expect gifted children to be truly great creators. Those who succeed in this are more likely to be excluded from the rules.

The second, quite dramatic, opportunity to realize the life path of a gifted child is associated with a decrease in the desire to realize their abilities, the loss of the need to develop their talents. The reasons for such a sad development of events can be different, as the most likely to consider two.

The first is typical, rather, for those whose activities began with public speeches and applause - musically or artistically gifted children, children-geeks, exhibited as a miracle - they find it difficult to retreat from this public admiration for their technicality and courage be creative. Such a course of events threatens the danger of being stuck at the level of performance.

Another development of events is likely for those gifted children who experienced too much "stimulating" the pressure of parents and teachers whose inordinate efforts and perseverance have ruined their own internal motivation for the child, giving rise to only resistance and rejection of everything imposed from the outside, as well as resentment against parents, resulting from the feeling that they deprived him of normal childhood.

These two possible developments show us what happens when parents' social influences and ambitions surpass natural inclinations and suppress giftedness.

How to avoid possible mistakes and failures in the education of gifted children? What should I strive for?

The traditional argument in the education and teaching of gifted children is utilitarian. These children are our national treasure, and we must protect and guard them as future leaders and innovators. However, there is also a non-utilitarian argument. Adults should remember and care not only about the productivity of capable children, but also about their happiness and mental health. For positive emotional well-being of gifted children, they require a high level of stimulation. Otherwise, they not only begin to get bored (and, as a result, slide down to the level of the weak), but also feel socially isolated, as they realize their differences from the others.

However, if special efforts are spent to train gifted children, these efforts must return to society. In our society, a one-sided understanding of the meaning of self-actualization as realization for oneself is common. Society should teach gifted children the care of other people and mutual assistance, because they have a rich potential in the form of their abilities, in order to make other people's lives better. This ethical imperative must be introduced into the mind of any child, and gifted children in this sense are no exception.

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