Introduction
This paper will attempt, within its restricted parameters, to reflect all the learning that has taken place during the university sessions on the Creative and Effective Curriculum and synthesise this with my individual practice experience in school.
First we will explore the contextual background to the focus on creativity in schools today. Where did the idea of creativity in education stem from? We will travel rapidly through the twentieth century research before coming to more recent developments and initiatives.
Then we will endeavor to understand creativity and creative thinking. Is it possible to define either? Is it easier to understand it in terms of processes rather than outcomes?
From here we will visit a variety of lines of research advocating the development of Creative Thinking, giving light to their exponents and opponents alike.
Strategies of Teaching Creatively, Teaching for Creativity and developing Creative Integration within a curriculum will follow. What does it mean in practice when the plates of Theory and Practice collide?
So how do I know if what I do in class makes a difference? I will evaluate and reflect upon my practice gathering evidence from personal reflections give a critical commentary on what I have learned.
Finally I will conclude with summarizing my personal view of Teaching Creatively and Teaching for Creativity and my learning at the end of the module.
Contextual Background
To begin to think about creativity we must look back at the historical context in which our current understanding is set.
A natural point to start might be the Plowden Report, Children and their Primary Schools (1967). It can be seen as an anchor to much of todays thinking around learning and educati...
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National Advisory Committee on Creative and Cultural Education (1999). All our futures: Creativity, culture & education : report to the Secretary of State for Education and Employment, the Secretary of State for Culture, Media and Sport. Sudbury: DfEE.
Piaget, J, Inhelder, B, Parsons, A, & Milgram, S 1958, The Growth Of Logical Thinking From Childhood To Adolescence : From Childhood To Adolescence / Jean Piaget, Barbel Inhelder; Translated By A. Parsons, S. Milgram, n.p.: London, Routledge & Kegan Paul PLC, 1958.
Sternberg, R. J. & Lubart, T. L. (1999). "The Concept of Creativity", in ed. Sternberg, R. J.: Handbook of Creativity. Cambridge University Press.
Vygotsky, L.S. (1978). Mind and society: The development of higher mental processes. Cambridge, MA: Harvard University Press.
Shaughnessy, M. F., & Wakefield, J. F. (2003). Creativity: Assessment. In N. Piotrowski & T. Irons-Georges (Eds.), Magill's encyclopedia of social science:Psychology (pp. 459-463). Pasadena, CA: Salem Press. Van Hoose, W.H. (1980).
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...would be further motivated to love and study their subjects, and not be just thinking only about grades. If all teachers dedicate their human potential to their students, then students wouldn’t be scared to participate in discussions in spite of many stumbling barriers. The issues Ernest Boyer discusses in “Creativity in the Classroom” are of current interest not only in American educational system, but in my country as well. So,I would recommend this article to be discussed at teachers’ meetings in different types of educational institutions because the criteria of successful and creative teaching the author identifies in his article are universal and simple at the same time: just be dedicated to your job, care about your students, and don’t be afraid to learn and use new ideas in your classroom. Hence, creativity in the classroom often begins with a good teacher.
Shaughnessy, M. F., & Wakefield, J. F. (2003). Creativity: Assessment. In N. Piotrowski & T. Irons-Georges (Eds.), Magill's encyclopedia of social science:Psychology (pp. 459-463). Pasadena, CA: Salem Press.
In their article, “The Creativity Crisis”, authors Po Bronson and Ashley Merryman explore the urgency of the downfall in the public’s “creativity quotient.” Bronson and Merryman emphasize the necessity for young children to be imaginative. Through an IBM poll, they verify that with the decrease of creativity in our society comes an array of consequences seen in the work field. The authors remind readers of another reason for the importance of creativity; they argue that creative ideas can solve national matters. Hence, Branson and Merryman believe that original ideas are key for a better world. Though I concede that creativity is a vital key to the solution of many national problems, I still insist that teaching creativity,
Imagination is one of the most unique and fascinating elements of the human mind. It is essentially using one’s mental abilities and memories to create specific imagery. This imagery helps people to be innovative, conceptualize, and come up with clever solutions to solve difficult problems. Imagination allows people to go outside of reality in order to envision ideas that they could not visualize otherwise. Without imagination, there would be very little originality and ingenuity. Unfortunately, people are slowly becoming less imaginative because of mind-numbing activities, society’s lack of encouraging creativity, and an educational system that emphasizes
In Sir Ken Robinson’s Ted Talk video, he had many major points that relate to the definition and importance of creativity. A major point how creativity is as important in education as literacy. According to Sir Ken Robinson, “we should treat it with the same status. He explains is that education is used to prepare use for the future, but the future is unpredictable.”.
What is a Creative Curriculum? In few simple words it is to promote a student's social, emotional and intellectual development. Though the course work varies with each school, this strategy often uses unconventional means that lean toward project-based learning environments. (www.ehow.com)
In this notable Ted Talk video "Do schools kill creativity?", Sir Ken Robinson discusses how public education systems demolish creativity because they believe it is essential to the academic growth and success of students. Robinson created a broad arrange of arguments to persuade the viewers to take action on this highly ignored issue, and he primarily focuses on how important creativity is. There are classes within schools that help utilize creativity, but they are not taken seriously by adults in society. Therefore, the value of creative knowledge decreases. Robinson uses an unusual combination of pathos and ethos to make an enjoyable dispute for implementing an education system that nurtures rather than eats away at creativity.
By educating children, we need to prepare them for the life in a fast changing society where they can be responsive, fulfilled and innovative. The ability to use methods of teaching and learning within the curriculum is important when trying to make it possible. Countless amounts of schools have already been familiarising themselves with the importance of creativity and ways of how to teach, how to make the learning more holistic, more engaging and more creative. With the new curriculum complete, there are consequently many more opportunities and challenges for teachers to provide the best and most appropriate learning opportunities for the pupils they teach. The White Paper on education, publicising the new curriculum, stated it ‘creates scope for teachers to inspire’. It foresees ‘teachers taking greater control over what is taught in schools, innovating in how the...
Abraham, A., Pieritz, K., Thybusch, K., Rutter, B., Kröger, S., Schweckendiek, J., … Hermann, C. (2012). Creativity and the brain: Uncovering the neural signature of conceptual expansion. Neuropsychologia, 50(8), 1906–1917. doi:10.1016/j.neuropsychologia.2012.04.015
Vygotsky, L.S. (1978) Mind in Society: The development of higher mental processes, Cambridge, MA: Harvard University Press
What exactly is creativity? To be creative is to understand and connect the small details of our experiences, both good and bad (creative something). Creativity involves a person using his or her original ideas to create something. Artists such as poets, writers, painters, designers, and more use creativity on a regular basis. They use creativity to come up with new ideas and create original works of art. A poet would use his or her creative abilities to write and produce a poem just like a painter would use creativity to paint a painting.
Herein lies the problem. The children that we are educated are and will be faced with new challenges that current education systems all over the world have been failing to meet. It would seem that structures of mass domain education suppress the innately imprinted creativity found in every living person and widely known specialist on the subject, Sir Ken Robinson, goes as far as saying that we are, “educating people out of their creativity” (Giang, 2013). But if the school system is to make adjustments to explore and cultivate creativity more how are they to do so without losing total structure? Robinson acknowledges this by saying that, “in every creative approach some of the things we’re looking for are hard, if not impossible to quantify. But that doesn’t mean that they don’t matter.”
Creative Arts in early childhood education refers to children’s participation in a variety of activities that engage their minds, bodies and senses (Sinclair, Jeanneret & O’Toole, 2012; Kearns, 2017); to inspire all children with the opportunity for creative and imaginative expression. Duffy (2006) and Sinclair et al. (2012) state that creativity is the process where children use their imagination to problem solve, develop new ideas, independence and flexibility to accomplish tasks. Furthermore, when educators foster creativity, they are assisting children in making meaning through play and developing their growing capacity to communicate, collaborate and think critically to meet the demands of life in the 21st century (Duffy, 2006; Korn-Bursztyn, 2012; Sinclair et al., 2012).