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In this paper, I would like to summarize the book, entitled Being Creative: The Challenge of Change in the Classroom. It was written by Chaz Pugliese. It was published by Delta Publishing in England. It has 96 pages and it was first published in 2010. The International Standard Book Number of this book is 978-1-905085-33-0. It was edited by Mike Burghall and designed by Christine Cox. It was printed in England by Halstan & Co..
The Journal of Positive Psychology
Nurturing creativity in the classroom, edited by R.A. Beghetto and J.C. Kaufman2013 •
In recent years there has been a growing interest in creativity in education. The publication of All Our Futures (DfEE, 1999) laid the foundations for a more expansive and outward looking ideas about the nature of education. More recent government statements such as Excellence and Enjoyment (DfES 2003) and Every Child Matters (DfES, 2004) have encouraged schools to be innovative in the construction of a creative curriculum. At the same time, the government has funded a national programme, Creative Partnerships, to help bring the creative talents of practitioners into the classroom. Since its inception in 2003, the Kent branch of Creative Partnerships (CP Kent) has worked at a number of different levels with over 100 schools. This book describes a research project into creative teachers and creative teaching undertaken between 2004-2005. The research involved a survey of 20 schools which had worked with Creative Partnerships Kent since the start of the programme all of which had rece...
Internationally, the first decade of the 21st century was characterised by considerable growth in creativity research (e.g. Einarsdottir, 2003; Cremin, Burnard and Craft, 2006; Beghetto and Kaufman 2007; Mirzaie, Hamidi and Anaraki, 2009; Chappell, 2007; Sawyer, 2010). While some researchers focused upon conceptual challenges (e.g. Beghetto and Kaufman, 2007; Lin, 2011; Megalakaki, Craft and Cremin, 2012), others documented and examined classroom practices; both those of teachers (e.g. Jeffrey and Woods, 2009; Craft, Cremin, Hay and Clack, 2014) and of visiting subject specialists, often artists (e.g. Galton, 2010; Hall and Thomson, 2005). Empirical studies in this area, with an observational eye on classroom practices, have tended to pay attention to both teacher and learner orientations, to ‘creative teaching’ and ‘teaching for creativity’, thus encompassing Dezuanni and Jetnikoff‘s (2011:265) assertion that creative pedagogies involve ‘imaginative and innovative arrangement of curricula and teaching strategies in school classrooms’ to develop the creativity of the young. However whilst recognition of the role and nature of creativity, and interest in creative pedagogical practice has grown, tensions persist at several levels, particularly in accountability cultures where international comparisons such as the Progress in International Reading Literacy Study (PIRLS) and the Programme for International Student Assessment (PISA) frame and shape policy, practice and curricula. These ongoing large scale surveys are seen as key reference points for policy makers across the world; students’ performance in them (in reading, mathematics and science in PISA for example) is increasingly seen as a measure of individual country’s comparative success on a worldwide scale. Yet neither encompasses attention to children’s lived experience of learning or creativity within or beyond school. A focus on learners and their creative potential, and on teachers and their innovative pedagogic practice, is absent. A focus on arguably narrow notions of attainment dominates. This book, based on a Special Issue of Education 3-13 which was planned with Anna Craft before her untimely death, responds to this performative context (Ball, 1998) and draws together the work of a number of eminent scholars of creativity and creative pedagogies. It offers diverse perspectives from Colombia, Denmark, England, France, Poland, Hong Kong, and the USA and highlights differences as well as similarities across cultural contexts. Individually and collectively, the authors, framed by their own stances on creativity, reveal both the complexities and the possibilities of creativity and creative pedagogies.
2013 •
Creativity has emerged over the last decade as an important dimension of 21 Century professional practice (Florida, 2002), as a significant gap in the focus of school education (Robinson, 2000), and has been increasingly promoted as a graduate attribute in higher education (McWilliam & Dawson, 2008). The kinds of capabilities and behaviours that characterise creativity relate to other widely promoted graduate attributes such as independent learning, innovative problem-solving, interdisciplinarity and global citizenship. As creativity is increasingly understood as multi-faceted and contextualised, it may be usefully characterised as a 'threshold' concept or disposition (Meyer & Land, 2003). Examination of teaching creativity in 'creative' disciplines shows that creativity as an outcome is rarely explicit in curriculum documents, and that the teaching and assessment of creativity often relies upon the teacher's ability to model and guide creative practice through c...
Canadian Journal of Educational Administration and Policy
Creative arts disrupt educational status quo: A review of Christine Hall and Pat Thomson’s Inspiring school change: Transforming education through the creative arts2019 •
Teachers College Record: The Voice of Scholarship in Education
A Call to Action: The Challenges of Creative Teaching and Learning2015 •
Background/Context In spite of the widely acknowledged importance of creativity to society and the economy, scholars have had difficulty providing research-based recommendations for how to foster creativity in schools. The article extends three strands of research that have attempted to provide such recommendations: studies of whether creativity training enhances domain-general creativity; studies of whether arts education and arts integration enhance cognitive skills that transfer to other content areas; and studies of collaborative learning environments, designed to foster deeper conceptual understanding in the content areas. Purpose/Objective The focus of the article is to provide recommendations for how to design learning environments to foster greater creativity. I bring together arts education research, creativity research, and learning sciences research to provide recommendations for how to design learning environments to foster creative learning outcomes. Research Design Thi...
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