Школы - убийцы креативности Учат в школе, учат в школе, учат в школе..

Случайно наткнулась на выступление Кэна Робинсона на тему «Убивают ли школы креативность в детях?»
Вспоминая свои годы обучения в школе, могу сказать, что правда, убивают. И если бы одна из моих одноклассниц не рисовала на всех предметах, не обращая внимания на ругань учителей по математике, истории, химии и др, но сейчас из нее бы, наверно, получился посредственный специалист, а не профессиональный, влюбленный в свое дело дизайнер. Но благодаря ее увлеченности и упорству с детства, она пошла по пути своего таланта… Она — да, а вот у многих других талант после школы закопали очень глубоко…

Почему советую посмотреть это видео?
1) Затронутая тема действительно очень острая. И касается непосредственно образования, с которым мы с Вами, уважаемые коллеги очень тесно связаны.
2) Презентатор уж очень хорош. И юмор у него прекрасный, и примеры — яркие. Можно поучиться у него участию в публичных выступлениях.



После просмотра стала искать информацию о наличии школ, похожих на ту, что описывал Акунин в книге «Азазель». Помните, была там женщина с необычным именем, которая в школе определяла таланты детей и концентрировала обучение на тех предметах, которые будут развивать талант ребенка. В итоге, нашла такое понятие, как «мягкая школа»… Но существуют ли подобные образовательные учреждения (как для детей, так и для взрослых) в нашей стране? — на этот вопрос так и не нашла ответа. Может быть, у Вас есть информация по этой теме?

Комментарии (3)

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Мне, пожалуй, надое его послушать 2-3 раза, чтобы понять репрезентативную часть презентации :) Для меня от слишком быстром говорит. По-крайне мере будет хорошая практика тренировки понимания беглого английского :)
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Елена, спасибо за тему. Видео, если честно, еще не посмотрела, но уже спешу Вам ответить ))
В Москве появляются подобные школы и в некоторых городах России.
Например, «Школа самоопределения»: 734.com1.ru/ Кстати, ее автор Тубельский самый настоящий новатор в педагогике! У них и садик есть с милым названием «Детство в ладошках» :)
Или лицей КОВЧЕГ (нескучная школа): www.covcheg.org/
Еще есть вальдорфские садики-школы — ссылки надо искать… в основном они не совсем официальные.
И также интересна концепция парк-школ www.park-school.ru/

Я согласна с Вами насчет системы школьного образования ;)
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Юлия, спасибо большое за ссылки. Обязательно изучу.

Попробовала несколько интересных моментов привести в виде текста — так будет легче понять:

Итак, ключевая идея ( на 2.90 — 3.00 минутах)
My contention is that creativity now is as important in education as literacy and we should treat it with the same status.

3.20 — интересная история
I heard a great story recently. I love telling it. Of a little girl who was in a drawing lesson. She was six and she was at the back, drawing, and the teacher said this little girl hardly ever paid attention, and in this drawing lesson she did. The teacher was fascinated and she went over to her and she said — «What are you drawing?» And the girl said — «I'm drawing a picture of God.» And the teacher said — «But nobody knows what God looks like.» And the girl said — «They will in a minute.» =)

5.15 — дети не бояться ошибаться...
What these things have in common is that kids will take a chance. If they don't know they'll have a go. Am I right? They're not frightened of being wrong. Now I don't mean to say that being wrong is the same thing as being creative. What we do know is if you're not prepared to be wrong, you'll never come up with anything original. If you're not prepared to be wrong. And by the time they get to be adults, most kids have lost that capacity. They have become frightened of being wrong. And we run our companies like this, by the way. We stigmatize mistakes. And we're now running national education systems where mistakes are the worst thing you can make. And the result is that we are educating people out of their creative capacities. Picasso once said this. He said that all children are born artists. The problem is to remain an artist as we grow up

10-ая минуты. Для чего наше обучение? кого оно создает, не включая в основные дисциплины — искусство — танцы, атерское мастерство...
«What's it for, public education?» I think you'd have to conclude — if you look at the output, who really succeeds by this, who does everything that they should, who gets all the brownie points, who are the winners — I think you'd have to conclude the whole purpose of public education throughout the world is to produce university professors. Isn't it? They're the people who come out the top. And I used to be one, so there. And I like university professors, but you know, we shouldn't hold them up as the high-water mark of all human achievement. They're just a form of life, another form of life. But they're rather curious, and I say this out of affection for them. There's something curious about professors in my experience — not all of them, but typically — they live in their heads. They live up there, and slightly to one side. They're disembodied, you know, in a kind of literal way. They look upon their body as a form of transport for their heads, don't they? It's a way of getting their head to meetings. If you want real evidence of out-of-body experiences, by the way, get yourself along to a residential conference of senior academics, and pop into the discotheque on the final night. And there you will see it — grown men and women writhing uncontrollably, off the beat, waiting until it ends so they can go home and write a paper about it.

14.45 История про хореграфа, которой повезло в детстве =) Ей помогли развить талант...
I'm doing a new book at the moment called «Epiphany,» which is based on a series of interviews with people about how they discovered their talent. I'm fascinated by how people got to be there. It's really prompted by a conversation I had with a wonderful woman who maybe most people have never heard of, she's called Gillian Lynne, have you heard of her? Some have. She's a choreographer and everybody knows her work. She did «Cats,» and «Phantom of the Opera.» She's wonderful. I used to be on the board of the Royal Ballet, in England, as you can see. Anyway, Gillian and I had lunch one day and I said, «Gillian, how'd you get to be a dancer?» And she said it was interesting, when she was at school, she was really hopeless.
And the school, in the '30s, wrote to her parents and said, «We think Gillian has a learning disorder.» She couldn't concentrate, she was fidgeting. She went to see this specialist. So, this oak-paneled room, and she was there with her mother, and she was led and sat on a chair at the end, and she sat on her hands for 20 minutes while this man talked to her mother about all the problems Gillian was having at school. And at the end of it — because she was disturbing people, her homework was always late, and so on, little kid of eight — in the end, the doctor went and sat next to Gillian and said — «Gillian, I've listened to all these things that your mother's told me, and I need to speak to her privately.» He said — «Wait here, we'll be back, we won't be very long.» and they went and left her. But as they went out the room, he turned on the radio that was sitting on his desk. And when they got out the room, he said to her mother, «Just stand and watch her.» And the minute they left the room, she said, she was on her feet, moving to the music. And they watched for a few minutes and he turned to her mother and said — «Mrs. Lynne, Gillian isn't sick, she's a dancer. Take her to a dance school.»
I said — «What happened?» She said, «She did. I can't tell you how wonderful it was. We walked in this room and it was full of people like me. People who couldn't sit still. People who had to move to think.» Who had to move to think. They did ballet, they did tap, they did jazz, they did modern, they did contemporary. She was eventually auditioned for the Royal Ballet School, she became a soloist, she had a wonderful career at the Royal Ballet. She eventually graduated from the Royal Ballet School and founded her own company — the Gillian Lynne Dance Company — met Andrew Lloyd Weber. She's been responsible for some of the most successful musical theater productions in history, she's given pleasure to millions, and she's a multi-millionaire. Somebody else might have put her on medication and told her to calm down.

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