It is everyone's wish to write a good hand. But many parents always say that their children's handwriting is ugly. In the process of tutoring children to write, I found that some children's handwriting strokes are crooked, the spacing is improper, the font sizes are different, the arrangement is irregular, and the appearance is ugly. Parents are worried about this, often complaining that their children are careless in writing, and some even sharply reprimand and abuse, which can be described as a combination of fists and feet. Many teachers often give criticism.
Parents' mood is understandable, but it must be pointed out that children's writing disorder is by no means a simple problem of learning attitude, and rude intervention is ineffective. Children like this have already had the results of psychological research. They are called "dysgraphia" children. It seems that solving this problem depends on scientific methods.
So, how is the child's writing disorder formed? According to a lot of data, I know that the root cause of children's writing difficulties is "sensory integration disorder". In other words, the overall coordination function of various senses can't be coordinated with each other, so it can't function normally, which leads to poor writing effect.
Writing Chinese characters is a delicate movement with multiple senses cooperating with each other. Hand-eyes must be coordinated, and the coordinated movement of hand-eyes is dominated by the brain. Children have dyslexia because their brain functions have not been developed and they can't manipulate their hands with their senses. As a result, hand-eye disharmony appears when writing, which has little to do with "attitude" and does not blame children. Fortunately, psychological research also shows that sensory integration disorder can be corrected. Here are some commonly used methods in psychology.
Method 1: Train the sense integration ability in colorful activities and games.
Primary school 1 to grade 2 is the best period for this kind of training. Specific methods, such as directional crawling, walking on the balance beam, skipping rope, patting the ball, pressing plasticine, screwing the bottle cap, connecting at fixed points, painting red, etc. It is to let the children's various senses have various experiences at the same time and get training at the same time. As long as you stick to it, you will find that your child's calligraphy level will improve unconsciously. In the case that children's hands and eyes are not in harmony, there is no need to rush to strengthen calligraphy training, otherwise children will subjectively dislike calligraphy and have a negative impact on future practice.
Two, China calligraphy training must pay attention to the actual situation of children, do what you can.
Children with dyslexia have poor pen control ability. When they begin to learn basic stippling, they must be taught by hand and "help them walk", which requires appropriate and diverse forms and encourages children at every step. At the same time, these children often have attention deficit, so each training time should not be too long. We should cultivate their interest and arouse their initiative and enthusiasm in learning. When the feeling and information of correct writing are repeatedly input into the brain, this feeling and experience will be stored in the brain, and the writing obstacle will be eliminated. As long as the guidance is correct, the path is correct and the steps are steady, this Japanese goal can be achieved completely.
Third, the training of "combining hard and soft" is also a good prescription.
"Soft" refers to writing tools with soft texture such as brush. "Hard" refers to hard writing tools such as pencils and pens. Combining hard and soft means practicing writing with a brush and a pen at the same time. This two-pronged approach has multiplier effect.
Secondly, starting from the actual characteristics of children, strengthen the efficiency of guidance.
Many people think that learning calligraphy means practicing more. Indeed, more practice is the only way to succeed. But when teaching students to practice calligraphy, they should "think twice before you act". That is to say, we should use our brains more and think about what rules can be followed to improve the efficiency of children's practice.
First, stroke simplification.
There are more than a dozen strokes in calligraphy, which are easily confused by primary school students. So I classify them into horizontal, vertical and double strokes. Horizontal strokes include horizontal lines, strokes and dots. Vertical strokes include vertical strokes, left strokes and right strokes. Compound strokes include various folds and hooks. The rest of the strokes are consolidated by repeated practice and understood by analogy according to the strokes that children have learned.
Second, the structure summary
Traditional calligraphy has many structures. There are as many as 92 kinds of ancient posts in the Tang Dynasty. It is not convenient for children to remember. After the combination, I summarized them into four words: stability, unity, change and self. Stability: refers to the stability of center of gravity; Uniform: refers to uniform white cloth; Change: refers to striving for change and not sticking to the rules; Ego: It means that every word should be natural and not artificial. With this "four-character formula", we can achieve the effect of "changing with the same".
Third, practice fun.
Calligraphy teaching, like all teaching, should avoid blind indoctrination and spoon-feeding boring methods. We can take various forms to encourage students to practice calligraphy actively and get a successful experience in a short time.
Finally, sum up experience from practice and pay attention to the artistry of guidance.
Calligraphy is an art, and it is also an art to guide students to be happy to write, be good at copying and be brave in innovation in calligraphy teaching.
I. Analytical guidance
To guide students to practice calligraphy, we must first teach them to observe and analyze. The so-called observation is to let students calm down and analyze the style characteristics of copybooks (also called reading copybooks). The general teacher first analyzes and explains the text (traditional), historical materials and creative background of the copybook; Then, students observe the methods and morphological characteristics of strokes; Then, combined with Mi Zige's analysis of the radical and frame structure of model figures, the model figures are deeply remembered in the students' minds, so that they can know fairly well and finally reach the level of accurate writing.
Second, comparative guidance.
It can only be identified by comparison. The advantage of contrast is that it can broaden students' thinking and deepen their understanding of some font features. This is also the best way for students to test the writing effect by themselves. For example, in teaching, I explain the process of writing, sketching and hanging needles with square points and dots by comparing with morphological characteristics, and distinguish their similarities and differences, so that students can deepen their understanding and master them easily, and the effect is remarkable. When students are training, every time they finish writing, I ask them to open the copybook and model essay in time to find out the advantages, find the problems and correct them in time. Compare this week's homework with last week's homework regularly, so that students can see the steps, analyze the shortcomings, enhance their confidence and improve their learning enthusiasm.