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1.
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   

2.
In order to foster creative engineers, a creativity training programme was carried out in medialogy education in a Problem and Project-Based Learning (PBL) environment at Aalborg University, Denmark. This paper focuses on the question of how engineering students perceive the strategy of integrating creativity training into a PBL curriculum. A total of 20 medialogy students in the training programme were interviewed. The data shows that the training programme was thought useful and students get benefits such as gaining project work skills, creative concepts and confidence of being creative. However, limitations of the programme show that only five days of training did not fit the requirements of learning skills in PBL. So the supervisors are suggested to offer more creativity techniques and process engagement to move projects forward.  相似文献   

3.
This study explored how educational robotics (ER) was implemented in classrooms to foster creativity among elementary school students and identified challenges associated with its implementation. Twenty-six teachers at different elementary schools were interviewed. In-depth teacher interviews and grounded theory were used to collect and analyze the interviews. We found that the intended creative learning outcome for students was mastery of the developmental process of creativity. The teachers generally reported using a four-phase instructional framework consisting of eight sub-phases and targeted teaching strategies to support students’ learning outcomes. Challenges included insufficient appropriate learning materials, a lack of expansive learning activities and tasks and limited opportunities to engage students in the process of design thinking and developing metacognitive abilities. The findings have practical implications for teachers and researchers who are interested in developing pedagogical practices (PP) incorporating ER to support students’ creativity. The study also has theoretical value, offering insights into teachers’ PP in implementing ER.  相似文献   

4.
Studies on the development of creativity have highlighted the impact of learning environments. In particular, pedagogical approaches are hypothesized to differ concerning their emphasis on individual initiative, and action-based learning. A semi-longitudinal study was conducted during two consecutive years with 210 children in elementary schools with traditional and alternative pedagogical approaches. Our results highlight (1) an influence of pedagogy on children's creative performance; (2) a positive influence of alternative pedagogy on creative development from year 1 to year 2 mainly for Montessori school. Children's creative performance was influenced not only by the type of task but also by the type of school.  相似文献   

5.
This article describes the studio model—a cultural model of teaching and learning found in U.S. professional schools of art and design. The studio model includes the pedagogical beliefs held by professors and the pedagogical practices they use to guide students in learning how to create. This cultural model emerged from an ethnographic study of two professional schools of art and design. A total of 38 professors from a total of 15 art disciplines and design disciplines were interviewed and their studio classes were observed. A grounded theory analysis was used to allow the studio model to emerge from audio recordings of interviews and video recordings of studio classes. The model was then validated by 16 different professors at six additional art and design schools. The studio model was found to be general across art and design disciplines and at all eight institutions. The central concept of the studio model is the creative process, with three clusters of emergent themes: learning outcomes associated with the creative process, project assignments that scaffold mastery of the creative process, and classroom practices that guide students through the creative process.  相似文献   

6.
Curriculum and pedagogy in undergraduate fine art can promote an approach to learning creativity that is more about being an artist than knowing about art. Lecturers can provide a road map for developing particular dispositions, in relation to student ideas and perceptions, to foster personalised creativity. This requires that lecturers have an ability to harness the range of learning approaches and interests that students bring to their studio learning environments. One way of doing this is to construct learning activities in ways that engage students' multiple intelligences so they may acquire deeper understandings of their own creative processes. Fostering this kind of creative think tank is artistry of an educational kind. In this article we explore such a creative think tank by examining a particular lecturer's pedagogical approach. We discuss how and why this lecturer designs activities in a way that draws on multiple intelligences to stimulate learning and foster creativity. Using narratives, we analyse this particular curriculum through the lens of multiple intelligence theory and explore how the pedagogical approach develops the whole person. We found that by attending to relationships and focusing on a plurality of intellect this particular curriculum and pedagogy promotes transformative learning in students studying fine art.  相似文献   

7.
For the past few years, creativity has gradually become an important element in the national cultivation of talent in Taiwan. Although traditionally art education is closely linked with creativity, the academic research on general art education is very insufficient. Therefore, the goal of this research is to investigate how creativity could be cultivated in curriculum planning for general art education at technology universities as well as what students’ learning process was when they participated in a course's creative activity. The research applied the theory and steps of creative problem‐solving (CPS) on a general art course to design a group practical activity combining with the local community. This involved converting the steps of creative problem‐solving into different stages of group design activities with the goal of constructing a design process equivalent to the process of problem‐solving. The main research results revealed that students could experience the problem‐solving process through group design activities and develop their divergent and convergent thinking at the same time. Moreover, the cooperative learning model is the most appropriate teaching strategy for students from non‐art‐related departments when cultivating their creativity.  相似文献   

8.
The current study aimed at examining the efficacy of technological projects as learning tools by exploring the following questions: the extent to which projects in technology develop students as independent learners; the types of knowledge the students deal with in working on their projects; the role of problem-solving in technological projects; and how projects integrate into traditional schooling. The subjects were 53 high school (12th grade) students who prepared graduating projects in technology under the supervision of nine teachers. Data were collected by observing the students in the laboratory, administrating two questionnaires to both the students and the teachers, and analyzing 25 portfolios prepared by the students of their projects. The findings indicate that projects in technology provide a good opportunity to engage students in challenging tasks that enhance their learning skills. To maximize this potential, it is necessary to employ the project method from the early stages of learning technology. It is especially important that teachers having a strong engineering orientation also acquire pedagogical knowledge on issues such as fostering independent learning, creativity, peer learning and reflective practice in the technological classroom.  相似文献   

9.
There are many evidences of motivational and educational benefits from the use of learning software. However, there is a lack of study with regards to the teaching of creative writing. This paper aims to bridge the following gaps: first, the need for a proper framework for scaffolding creative writing through learning software; second, the lack of technical scaffolding in creative writing learning software; third, the need for customizable learning software that requires little programming knowledge; and fourth, personalized learning. To develop our initial framework, Merrill??s First Principles of Instruction is used as pedagogical scaffold and story setting, characters and story structure as component-based technical scaffolds. These were tested in a low-fidelity prototype. User testing indicates an increase in creativity, improvement in story development, clarity of ideas and language skills. We also derive two design principles, i.e. identity and interactivity. Based on these findings, a high-fidelity prototype, named Storyworld, is developed. T-test analyses on results indicate significant improvement in overall creative writing skills, as well as grammar, structure and creativity. The prototype utilizes component-based design in the technical scaffolds, which is encapsulated in a tidy framework that can be personalized for individual learning needs. Our most important contribution is a proper framework combining technical scaffolds and pedagogical scaffolds that not only makes learning more effective and motivating for students, but is also cost-effective in redesigning and personalizing lessons and systems.  相似文献   

10.
"温州精神"是一种敢为天下先,特别能创业的进取精神。温州的高职院校教师在培养学生的创造能力时,应该充分发挥"温州精神"的作用。对如何贴近"温州精神",培养高职院校的学生创造力,提出了:精心设计能培养学生创造力的社会、家庭、高职院校环境;创设宽松的学习环境,给高职院校的学生更多生活、学习自由发挥的空间;培养学生发现问题和提出问题的能力;注意学生创造性人格的培养;把浙江商人的创业史、故事传奇、名人名企等等,温州人艰苦奋斗、白手起家、走南闯北、建功立业的经历变成高职院校学生竞相传诵的经典故事等。  相似文献   

11.
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   

12.
研究性学习在小学数学中的应用着重点在于小学生对于知识的再创造过程,本文从小学数学学科特点出发,提出了几种研究性学习的教学策略,希望促使小学数学与研究性学习紧密结合,并试图为小学数学教师培养小学生创造性提供可借鉴的操作策略。  相似文献   

13.
In this paper I will explain what I see as some of the core attributes of Communities of Innovation, or communities fostering collaborative creativity, and what we have learned from the research literature about each attribute. There is a critical need to design learning environments that foster creative thinking in students, particularly in the area of collaborative creativity. Many of the current problems and challenges graduates will face in society and industry are too large to be faced alone. However, the research and pedagogical understanding of how to develop skills in collaborative creativity is still underdeveloped. In seeking to understand what collaborative creativity would look like in education, I reviewed the literature on organizational and social creativity, along with social learning theory, to develop a framework of characteristics common to most environments that foster collaborative creativity in students (West, 2009). This framework describing Communities of Innovation explains some of the similar characteristics at the individual, group, and organizational levels of innovative communities.  相似文献   

14.
This article takes a reflective stance on the development of practice in scaffolding and mediating for creativity and potentially better performance in gymnastics. The pedagogical approach outlined illustrates how an experienced practitioner can adopt mediational (rather than meddling) and scaffolding techniques to focus on supporting the development of creativity. Various teaching tactics and their influences on the nature and direction of learning are described. Dialogic reflections from the students as well as examples of task outcomes offer insight into the impact of this approach on learning processes and performance outcomes. Reflections-in-action, on-action and post-action from this study offer suggestions about how a learning programme could be re-focused, tasks structured and mediational approaches adapted to support more creativity in the teaching and learning of gymnastics specifically and in learning in general.  相似文献   

15.
In order to prepare engineering students for a changing future and to help them develop their own capacity for independent innovative thought and creative problem‐solving, we are faced with the need to explore ways of fostering creativity in students within engineering programmes. We see the need to focus on how to access creativity, how to develop an environment which is less constrained and which will allow creative flow. Three case studies are presented which demonstrate the importance of establishing the freedom of the learning process as well as providing motivation, whether extrinsic, in terms of the assessment scheme, or intrinsic. This latter might take the form of helping students to realize that the process of learning is a process of invention in itself and that students need to recognize their existing creativity and capacity for engagement. The very important and yet elusive issue of evaluation is also considered for each course. We discuss how to monitor the level of success in achieving the given objective of fostering creativity in students.  相似文献   

16.
The author presents a critical review of counselor education literature that has focused on student acquisition of theoretical orientations in order to identify the potential of these practices to facilitate critical self‐reflection and theoretical fit among students. Two reflective, awareness‐based pedagogical models—radical constructivism (E. von Glasersfeld, 1984) and transformative learning (J. Mezirow, 1997)—are also examined. The author concludes by briefly outlining an alternative pedagogical framework called the “Emergence Model,” which may enhance the ability of counselor educators to facilitate self‐reflection and theoretical fit among counseling students.  相似文献   

17.
As creativity is likely to become a crucial aspect of living in the future, it is important for educators to teach students to think creatively when solving constantly evolving and increasingly complex problems. Supported by the idea that creativity can be taught and learnt, elements of creativity are now embedded in secondary school education. Among all school subjects, design and technology (D&T) is one of the best examples for fostering and cultivating students?? creativity, as the subject offers creative activities that enable students to realize their ideas in the context of the real world. This paper analyzes the creative elements in the D&T curriculum in Hong Kong as seen in the exemplar projects on the Education Bureau website. Some problems and difficulties encountered in fostering creativity in the context of Hong Kong are identified, based on the current teaching environment. The paper also draws attention to East Asian beliefs and implicit theories, which greatly influence teachers?? underlying assumptions about learning and teaching, and at the same time notes that these beliefs may be detrimental to the development of creativity among students. The paper then identifies the problems and inadequacies in fostering creativity in design at the secondary school level and expects to raise awareness of the importance of creativity in D&T.  相似文献   

18.
The role of teacher is increasingly related to designing and arranging collaborative learning situations in which fruitful and creative group work may occur. This thematic review presents recent studies on creativity and collaborative learning from the perspective of the teacher as conductor of learning processes. The precondition for the design and orchestration of these kinds of learning situations is analysing and understanding of creative and collaborative processes and their contextual adaption. Thus, the first section of this review focuses on the theoretical vantage points of creativity and collaborative learning mainly from socio-cultural perspective. Based on this theoretical grounding, the second section describes principles for orchestrating productive collaborative learning and supporting creativity from the teacher’s perspective. We discuss three dimensions related to how teachers can bring about collaborative learning and creativity: (1) general pedagogical bases, (2) teachers’ pre- and real-time activities and (3) opportunities and challenges for teacher activities. The review is concluded with theoretical and practical implications regarding collaborative learning and creativity.  相似文献   

19.
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20.
Creative intelligence is relevant to all aspects of the school curriculum, yet it is through art and design that pupils may come to experience the significance of creativity as a means of exploring innovative and original ideas which offer credence to the individual and affect approaches to learning. This article analyses creativity and the creative process and addresses the links between creativity and intelligence by examining the implications such factors may hold for the teacher when developing approaches to learning in art and design. It focuses in particular on the use of sketchbooks within the context of a number of Art and Design GCSE courses and explores how students have been provided with opportunities to develop creative responses to set tasks. In addition, it sets out to challenge the notion that the requirements of GCSE assessment criteria inevitably restrict creativity and lead to non‐creative formulaic practice.  相似文献   

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