在小學美術課堂中培養(yǎng)學生的創(chuàng)新能力

1、在小學美術課堂中培養(yǎng)學生的創(chuàng)新能力伴隨二十一世紀的來臨，人類將步入一個快速發(fā)展變化的知識經濟時代，創(chuàng)新是知識經濟發(fā)展的動力，創(chuàng)新是人才素質的核心。江澤民主席的幾次講話中指出：“迎接未來科學技術的挑戰(zhàn)，最重要的堅持創(chuàng)新，創(chuàng)新是一個民族的靈魂，是一個國家興旺發(fā)達的不竭動力”。并進一步強調“創(chuàng)新的關鍵在人才，人才的成長靠教育”小學美術課是實施素質教育的主戰(zhàn)場，也是培養(yǎng)生創(chuàng)新能力的重要途徑。這就要求教師在教學的各個環(huán)節(jié)中確立發(fā)揮教師的主導地位學生的主體地位，以提高課堂教學質量、效率和學生的創(chuàng)新。 一、時代需要創(chuàng)新教育、美術教育不可替代 藝術的生命在于創(chuàng)新。特別是美術課相對于其它科目來說，美術本身對于規(guī)

2、范的絕對性，結果的唯一正確性等要寬松的多，通過美術教育能有效地發(fā)展學生的創(chuàng)造力基本上已經成為教育界的共識。 創(chuàng)造和超越是美術的靈魂，可以說，沒有創(chuàng)造，就不會有美術，而美術作品的價值在很大程度上是由獨創(chuàng)性體現(xiàn)出來的，著名學家馬蒂斯曾宣稱：“一幅新畫是一種唯獨一次的事跡，一種新的誕生，對人的精神所把握的世界觀增加了一種新形式”。美術家的超越是通過不斷的自我超越而超越他人，走在前列。大藝術家畢加索就不僅是作品的創(chuàng)造者，而且是方式的創(chuàng)造者。 在每節(jié)課的學生完成作業(yè)過程中，我引導學生冥思苦想尋求靈感，引導著學生發(fā)現(xiàn)一個個新奇的構思，輔助大家將想法付諸實現(xiàn)，共同分享著他們完成與眾不同的作品時的成功所帶來的

3、愉悅。美術課的課堂輔導與培養(yǎng)二十一世紀創(chuàng)新型的人才是密不可分的。 二、創(chuàng)新教育的實處應落實在課堂輔導環(huán)節(jié)中 然而在日常聽評課過程中，我發(fā)現(xiàn)還存在著這樣的現(xiàn)象，一節(jié)課的前十五分鐘的講授新課：欣賞、討論、范畫、講解可以說是跌蕩起伏、精彩紛呈。而布置完學生作業(yè)，課堂輔導時，美術教師或是緘默不語，來自走遛；或是寥寥幾句，不得要領，再有依舊喋喋不休，絮絮叨叨，打斷學生思路。其后果是學生的作業(yè)要么普遍問題、大量存在；要么學生好的想法，無力實現(xiàn)；更可怕的是學生作品千人一面，沒有特色，學生的創(chuàng)新能力被扼殺在教師的不經意中。歸根結底是未將學生做為學生的主人，未能深入的實施素質教育、創(chuàng)新教育。將學生當做木偶、容器

4、，過分強制猛灌或者放任自流，失掉了點播學生創(chuàng)新的機會。這樣的輔導可能在具體教學方法上，學生技法學習上（帶有某種強制性）是成功的。而在教育上則是失敗的，所在我在日常教學中對課堂輔導模式進行初探。 三、構建新型美術課課堂輔導模式 輔導是美術課教學主要形式，即不能講完課就完事大吉，也不能將輔導與全面教學等同。課堂輔導也是教學的延續(xù)。教師應按本課教學目的，作業(yè)步驟，課業(yè)類型等有計劃的對學生提出明確的要求，貫徹以點帶面的原則，通過提示、輔導個別典型帶動全班。 例如五年級“立體化工課”長城，不再要求學生完成一份自己的作業(yè)，而是發(fā)給每組一張大底紙，要求將長城連接成串，還可以用廢紙制做山脈、士兵、樹木、河流。

5、這節(jié)課課堂輔導重點，我沒有放在技法的精雕細刻，而是將主要精力用來協(xié)調各組關系，造成一種創(chuàng)新技術的氣氛，學生自發(fā)濃厚的興趣，天馬行空般的想，無拘無束的做，各組作業(yè)展示時欣起了高潮，一個個小紙人（手拿長矛）形成方陣、整隊待發(fā)，一棵棵小樹郁郁蔥蔥。創(chuàng)新是一件多么神奇的事情，賦與我們生活瑰麗的色彩。 課堂輔導為教師培養(yǎng)創(chuàng)新型人才，提供了寬廣的舞臺。課堂輔導是一種過程，要突出過程教育，淡化結果教育。羅恩菲德曾說：在藝術教育里，藝術只是一種達到目標的方法，而不是一個目標，藝術教育的目標是使人在創(chuàng)造的過程中變得更富創(chuàng)造力，而不管這種創(chuàng)造力施用于何處。假如孩子長大了，而由他的美感經驗獲得較高的創(chuàng)造力，并將之應

6、用于生活、職業(yè)中，那么藝術教育的一個重要目標已經達成。 所以在小學美術課課堂輔導中，要將培養(yǎng)學生創(chuàng)新意識為重點。我們的小學生正是江總書記所說“人的思維創(chuàng)造活動最好年齡，一般是二十幾歲到三十幾歲”的前奏，在這個前奏期通過美術課加強創(chuàng)新教育，讓創(chuàng)新的精神、創(chuàng)造能力或為小學生的“第二天性”，成為二十一世紀的創(chuàng)造型人才，對整個民族創(chuàng)新能力的提高和持續(xù)所產生的影響，將是無法估量的。qcwa3ptgz7r4i30ka1dkaghn3xtkknbycudxqa7fhyi2chhi92tgkqcwa3ptgshls50clmtwn60eo8wgqv7xav2ohum32wgeauwydiawgmer4i30k

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