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1.
Free De Backer Koen Lombaerts Tom De Mette Tine Buffel Willem Elias 《The International Journal of Art & Design Education》2012,31(1):53-66
Despite a more prominent role of arts education in the school curriculum, artistic creativity does not occur to a great extent in primary school practice. More opportunities for teachers to strengthen their know‐how in the field of artistic creativity can therefore be considered important. Arts education projects focus on pupils' development of creativity by means of introducing artists with their divergent working methods into primary schools. Beside fostering pupils' creative openness and skills, arts education organisations aim to transfer artistic enthusiasm to teachers in each project. Collaboration with artists can encourage teachers' artistic creative work. New working methods, techniques or ways of experimenting are more likely to be adopted in daily teaching practice when the project duration consists of several years. However, most projects are short‐lived and the means for a long‐term project policy are limited. Consequently, results in the area of sustainable outcomes concerning artistic creative work with teachers are limited. To create a long‐term view, the availability of financial resources is an important condition in order to realise a mentality change towards artistic creativity in education. Finally, continuing debate with several participants about making artistic creative work sustainable remains necessary. 相似文献
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《师资教育杂志》2012,38(4):413-422
Science education in the United Kingdom faces a dual challenge in the near future: that of addressing increasing disaffection from the subject by pupils as they enter adolescence coupled with the downturn in learning as they leave primary school behind. Both bridging work and teacher creativity have been identified as key ingredients in ensuring pupil engagement in learning, yet innovation requires both time and a broader vision than may be offered by a normative and centralized pedagogy. This paper proposes a four‐stage model for curriculum development to encourage creativity, based on the experiences of teachers as they designed bridging work for pupils in science. A grounded theory approach is utilized to generate four concept categories emerging from participants' comments during the study. These are described as uncertainty, visioning, realization and readiness, and this research demonstrates that ‘bottom–up’ is a very effective method of professional development promoting combinatorial thinking and creative science teaching. 相似文献
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While educators in many parts of the world grapple with what creativity means in practice, discussions about creative pedagogy usually include the elements of creative teaching, teaching for creativity and creative learning. This article stems from a research project that occurred at a Preparatory to Year 9 school in Australia where we worked with staff to explore their understandings of creativity and creative learning in the Arts. We found that while students’ creative learning is a fundamental element in a creative pedagogy framework, the notion of creative learning of teachers is largely overlooked in discourses of teachers’ professional learning. Given the important role teachers play in student learning, we argue that teachers need to be informed not only about how to teach creatively and for creativity, but also how to consider possibilities and understand things in new ways, thereby making a case that a teacher’s own creative learning is crucial. 相似文献
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Rowena Watts 《Literacy》2007,41(2):102-109
This paper explores one way that teachers can develop creativity within potentially limiting confines and pressures of curriculum guidelines. The researcher considers the inclusion of film as a creative, engaging and effective strategy for teaching reading using data from a small‐scale research project. Hypotheses are based on analysis of activities that use moving image as an alternative text to printed books. During the project's teaching sequence, children are familiarised with film as a moving image, ideas are captured, the teacher demonstrates the use of techniques in meaning making, before the children finally show their understanding through their work. In this instance, the children were involved in making their own films, acting as directors, film crew, sound technicians, illustrators and narrators. As the partial purpose of the study was to explore the practical logistics of developing a creative teaching style within a structured curriculum, tight timings were an essential aspect of the validity of the work. All the teaching was completed within the normal hourly lesson for literacy, and the basic structure of lessons was maintained – an introduction with whole‐class work, followed by individual/paired or group work and concluded with a plenary. The researcher values the creative use of film as a powerful experience in itself and the study aimed to substantiate these beliefs by exploring both the accessibility and the results of harnessing the power of film within literacy teaching. 相似文献
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This article explores the idea that in order to improve the ways we teach children to write creatively it is worth exploring how we, as teachers and writers, do that ourselves. It describes some of the stages of a curriculum development project undertaken in the Portsmouth and Southampton Postgraduate Certificate in Education (PGCE) English teams, begun in 2004. The project was supported by funding from the Esmee Fairbairn Foundation and was designed to foster a range of learning activities for trainee teachers in the area of teaching creative writing to pupils in schools. The project that was developed had multiple aims: subject knowledge development in trainee English teachers; pedagogic exploration amongst all teachers involved looking at how the difficult area of teaching creative writing might be better addressed. This article evaluates the aims of the project and some of the outcomes and argues for recognition of the training year as a vital area for exploring issues in teaching, beyond competence. The article draws on a variety of sources, including participant observation notes made in writing workshops, responses to a questionnaire completed by project participants and excerpts from writing collected across the project produced by teachers and pupils. 相似文献
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唐婉 《宁波教育学院学报》2010,12(5):35-38
创造力内隐理论(implicit theories of creativity)是指一般公众(专家和外行人)在日常生活和工作背景下所形成的,且以某种形式存在于个体头脑中的关于创造力概念、结构及其发展的看法(也称为"内隐观"或"公众观")。研究教师的创造力内隐理论有助于研究者了解教师对于创造力的观念以及他们对待创造性儿童的态度,从而把握教师实施创造性教学的状况,有针对性地对教师进行培训,改进教师的教学,从而有利于在教育教学中对学生创造力的培养。通过教师对创造力的理解,对创造性学生的态度及人格特征的认识,对创造力的培养等论述,以期有助于我国教师创造力内隐理论的研究。 相似文献
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Susan Gebbels Stewart M. Evans Lynne A. Murphy 《British Journal of Special Education》2010,37(3):139-147
In this article Susan Gebbels and Stewart M. Evans from Newcastle University and Lynne A. Murphy who is a practising school teacher in north‐east England discuss how they worked collaboratively on a programme of science education with a group of 16 Key Stage 3 pupils with moderate learning difficulties. The project lasted for one academic year and was part of Creative Partnerships, the Government's flagship creative learning programme. The authors describe some of the challenges faced by teachers to cater for the needs of all pupils within an inclusive school setting. The programme of science education focused on local marine and coastal environments with a special emphasis on fieldwork, enquiry‐based learning and cross‐curricular approaches to learning. The project was evaluated through the use of questionnaires, pupil interviews and informal discussions with teaching staff. Evaluations of the programme were positive. Pupils were more motivated to learn about science, had a sense of pride in their achievements and claimed that participation in the project helped them in forming friendships. The class published and distributed an information booklet on the coast to other schools and the general public. 相似文献
8.
Ros Fisher 《Cambridge Journal of Education》2006,36(2):193-206
In the UK, teachers have moved from a process approach to the teaching of writing to a more didactic and objectives led programme. This has given rise to concerns about the suppression of creativity and enjoyment. Writing is a convention bound activity where spelling, punctuation and expectations about different text types imply a right and wrong way of writing. On the other hand, the best writers are able to use and subvert conventions in creative and individual ways. Teachers of young writers are faced with the difficulty of teaching the correct conventions at the same time as encouraging individual responses. This paper considers evidence from a small‐scale study that may shed some light on how teachers cope with these potentially opposing demands. Evidence points to teachers giving very clear guidance to pupils about what is expected of them and carefully scaffolding pupils' learning. However, scaffolding implies a stage where control is handed over to the learners and in this study there was little evidence of these teachers handing over the control. It is argued that for children to learn the conventions at the same time as developing confidence to use these conventions in individual and creative ways, this handover of control is essential. 相似文献
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This paper draws on results of a research project InterActive Education: Teaching and Learning in the Information Age (see www.interactiveeducation.ac.uk). The overall aim of the project was to examine ways in which new technologies can be used in educational settings to enhance learning. Research was carried out across a range of school subjects: English, history, geography, mathematics, modern foreign languages, music and science. Within this paper we report on the work of two teachers within the same primary school who devised an initiative to support the development of composition skills of children aged 10 and 11, using Dance eJay software. We explore the ways in which collaborations took place between the pupils, arguing that eJay provides a rich mediational tool where creative outcomes are negotiated. We suggest that the computer workstation provides the mediational means by which all pupils – whether or not they possess formal instrumental skills – can be creative, working within a musical style in which they are culturally located. Furthermore, we propose that the teacher is central to the creative–collaborative process and suggest implications for teachers when planning for creative, collaborative work in the classroom using music software such as eJay. 相似文献
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In this article, we address how the design of educational scenarios can support teachers’ adoption of both technology and open-ended projects indorsing creativity and innovation. We do that by describing how groups of teachers develop digital learning environments supporting using a combination of GeoGebra and Google sites. Both teachers and pupils work with the concept of “game” as something they design, and furthermore, the pupils immerse themselves into the scenarios that the teachers create in a way similar to “playing a game.” We investigate teachers participation in collaborative development and testing through qualitative means, aiming to describe the teachers’ appropriation of (1) GeoGebra as a tool for doing and teaching mathematics, and (2) game as a metaphor supporting open-ended projects addressing creativity and innovation in the classroom. The data from the project suggest that the notion of “game” can support collaborative scenario design is a viable way of introducing technology and open-ended projects to primary school teachers. 相似文献
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This article describes the outcomes of a research project conducted at the Ministry of Stories (a London‐based writing centre) which sought to develop an online, mentor‐assisted, writing platform. Across a 3‐month period, at four different sites across the UK, more than a hundred Year 7 pupils took part in the project, using the platform to write stories and get feedback from mentors who came from a variety of backgrounds. For reasons of space, pupil/mentor interactions are not discussed extensively in the article; however, these stories were collected and analysed alongside a range of other survey and interview data to establish how creative writing might be developed through online mentoring, the use of an online interface and the intersection of both these tools. The article seeks to answer some questions raised by the data collected in the project, and in turn, uses both the questions and the data to interrogate some of the discourses which surround the teaching of creative writing both in and outside the classroom, and in particular the tensions that occur between the teaching of writing skills, ‘official versions’ of writing in the classroom and children's use of their own cultural resources in creative writing. 相似文献
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Effective teachers are often creative ones, yet an examination of creative teaching is largely invisible in the North American creativity literature. Even within education there is little about teachers’ own creative practice. Nonetheless, there are benefits to studying creative teachers: in education it can explicate ways of enhancing teachers’ creativity and enriching praxis; and in psychology it can extend our understanding of social and interpersonal creativity, as well as everyday creativity. This paper reviews 12 Canadian case studies of creative teaching conducted by a creative teaching research group. An in-depth elaboration of two themes, creative person and community, is presented. 相似文献
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Abstract Educational theorists and researchers have often overlooked potential links between successful teaching and a teachers personal qualities. This investigation explored associations among three psychological characteristics and classroom performance ratings of prospective teachers. Fifty‐three students enrolled in a teacher education program participated in the study. The students were assessed on personality style, creative thinking, motivation, and classroom performance competency during student teaching. Correlational statistical analysis found significant relationships among three creativity measures and ratings of preservice teachers’ classroom performance. Further, regression analysis revealed originality, one subscale of creativity, was a significant predictor of effective student teaching. Findings indicate that creative constructs may have potential value in assessing teacher education candidates. 相似文献
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The concept of the ‘creative’ in creative writing has a vexed history. This article explores the myths surrounding creativity and how they have influenced the way teachers have approached playwriting pedagogy. It reports on research into the teaching and learning experiences of students and teachers in secondary schools, focusing on the participants’ understanding of creativity and the impact this had on the pedagogical process. The research found that a counterproductive idealist view of creativity persists in classrooms: the teachers and students were operating on a conception of creativity and creative practice that reflected a belief in a mystical and unknowable creative process. This article explores the experiences of creativity through systems theory and argues that this approach can inform teaching and learning for creative processes and products. The article concludes that the teaching and learning practices were unnecessarily tentative and that knowledge of creativity theory would improve the students’ development of both playwriting proficiency as well as creativity-relevant skills. It suggests that demystifying the creative process should result in greater student proficiency and improved teaching and learning experiences for teachers and students. 相似文献
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Ronald A. Beghetto 《Roeper Review》2013,35(4):265-270
This article considers how teachers can begin to reconcile their value for creativity with a pedagogy that supports it. First, teachers’ experiences of finding themselves caught in the middle between valuing creativity and helping students conform to the constraints of the classroom are considered. Next, the role that constraints play in creativity is discussed. Finally, a new way of thinking about creative expression, called ideational code‐switching, is proposed. Ideational code‐switching represents the ability to move between intrapersonal creative interpretations and interpersonal creative expression. The article closes with suggestions for how teachers can support students’ ideational code‐switching and thereby encourage creative expression in their classroom. 相似文献
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This paper reports on an experimental project in digital video editing with 10 year olds in the UK which explored their interactions with creative digital technologies. Data on the pupil’s interactions with the software was gathered on video and analysed. A theoretical framework drawn from second generation activity theory was applied and tensions resulting from mismatches between pupil’s approaches to the task and the ways the task were framed are reported on. The paper argues that pupils exhibit a number of behaviour based roles in relation to the technology dependent on compliance with the instructions of the teachers, creativity and their desire to explore the affordances of the technology. The paper concludes by asking questions about how new forms of cultural production such as digital video work can be incorporated authentically into school settings, and how a pedagogy to support learning with new types of technology can be developed by drawing on insights provided by socio-cultural approaches to understanding technology use in human activity systems. 相似文献
18.
Trevor Davies 《Journal of Educational Change》2013,14(1):51-71
The study explores what happens to teachers practice and professional identity when they adopt a collaborative action research approach to teaching and involve external creative partners and a university mentor. The teachers aim to nurture and develop the creative potential of their learners through empowering them to make decisions for themselves about their own progress and learning directions. The teachers worked creatively and collaboratively designing creative teaching and learning methods in support of pupils with language and communication difficulties. The respondents are from an English special school, primary school and girls secondary school. A mixed methods methodology is adopted. Gains in teacher confidence and capability were identified in addition to shifts in values that impacted directly on their self-concept of what it is to be an effective teacher promoting effective learning. The development of their professional identities within a team ethos included them being able to make decisions about learning that are based on the educational potential of learners that they proved resulted in elevated standards achieved by this group of learners. They were able to justify their actions on established educational principles. Tensions however were revealed between what they perceived as their normal required professionalism imposed by external agencies and the enhanced professionalism experienced working through the project where they were able to integrate theory and practice. 相似文献
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How creativity in education is applied by teachers to secondary school contexts is dependent on how the term ‘creativity’ is grounded, politicised, and practised. This paper reports on an international study of secondary schools in Australia, USA, Canada, and Singapore investigating how creativity is understood, negotiated, valued and manifested in secondary schools, focusing on teacher and student understandings, actions, benefits and impediments to creative and critical thinking. Participant reflections revealed inter-, trans- and cross-disciplinary learning shaped by teacher collaboration, dialogue and classroom organization that fosters critical and creative thinking. Implications are made for the ways practicing teachers develop and foster creativity via pedagogical approaches that enhance connectivity and interdisciplinarity of teaching practices between domains of learning. An education-based Creativity Index through which administrators and teachers can gauge, assess and implement creative skills, capacities, pedagogic practices and assessment of creativity within secondary schools is posited. Implications for STEM/STEAM education and centralizing creative capacities in teaching, learning, and educational change are offered. 相似文献