Changes in the Landscape for Creativity in Education

Craft, Anna; Hall, Emese

doi:10.4135/9781473909403.n2

Cited by 51 publications

(66 citation statements)

References 14 publications

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“…Research into creative teaching has been particularly prominent over the 1990s in primary schools (Woods, 1990(Woods, , 1993(Woods, , 1995Woods & Jeffrey, 1996;Craft, et al 1997Craft, et al , 2001Beetlestone, 1998;Woods, et al 1999;Craft, 2000Craft, , 2002Jeffrey, 2001a,b;Jeffrey & Woods, 2003) and is now developing in other sectors, for example Higher Education (Gale, 2001) and has been taken up by the Department for Education and Skills and Qualifications and Curriculum Authority who have indicated the necessity of incorporating creativity into all curriculum subjects (DfES/ QCA, 1999a,b).…”

Section: Discussionmentioning

confidence: 99%

Teaching creatively and teaching for creativity: distinctions and relationships

Jeffrey

Craft²

2004

Educational Studies

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390

233

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The distinction and relationship between teaching creatively and teaching for creativity identified in the report from the National Advisory Committee on Creative and Cultural Education (NACCCE, 1999), is examined by focusing on empirical research from an early years school, known for its creative approach. The examination uses four characteristics of creativity and pedagogy identified by Peter Woods (1990): relevance, ownership, control and innovation, to show the interdependence of the NACCCE distinctions. We conclude that although the NAC-CCE distinction between teaching creatively and teaching for creativity has been useful as an analytical tool, it may, at the same time, have dichotomised an integrated practice and we suggest that a more useful distinction for the study of creative pedagogies would be the relationship between teaching creatively and creative learning.

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Section: Discussionmentioning

confidence: 99%

Teaching creatively and teaching for creativity: distinctions and relationships

Jeffrey

Craft²

2004

Educational Studies

Self Cite

390

233

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“…The course has been run annually since 2007 and since 2014 has aimed to be particularly interdisciplinary and pedagogically multimodal as a means to engage with and give voice to a multiplicity of learner subjectivities. The course combines theory with practice where the focus is on students' experience of creative practice in a range of contexts (Burnard 2012;Craft 2001;Sannino and Ellis 2014;Greenland 2000, Dewey 1934). These include the art studio, computer lab, and performing arts spaces.…”

Section: Moving Bodies Re-making Bodiesmentioning

confidence: 99%

Diffractive pedagogies: dancing across new materialist imaginaries

Hickey-Moody

Palmer

Sayers

2016

Gender and Education

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Women, as a class, have provided thought for far too long with images or metaphors for whatever vice or virtue. (Gatens, 1996: 135) Ontological indeterminacy, a radical openness, an infinity of possibilities, is at the core of mattering. (Barad, 2012: 16) These quotes identify two issues central to our argument. Firstly: that what is uncomfortable, unthought, indeterminate, is unconsciously feminized. Secondly: this process of feminizing the new, puts finite boundaries on what might be made to matter. We reflect on our experiences of some of the political and pedagogical problems encountered when the university curriculum is opened up to arts practice based learning. We consider ways that bodies involved in such generative processes of mattering can become controlled by fear and what is made to matter is thus policed. Drawing on the design and delivery of a university level practice based arts subject, we argue that embodied creative processes employed in pedagogical contexts can challenge and extend those who learn from reproducing stereotypical constructions of their identity, or being reproduced in line with dominant tropes of representation. For example, many of our students are Muslim women. These students made dance films in which their identities were constructed and performed in relation to landscape ('Urban Dreams') or power relationships ('Puppet Dance'). The presentations of British Islamic femininity these dance films offer are critical, aesthetic engagements with lived contexts and the power relationships embedded in everyday life. Both stand against the perception of the silenced or subservient woman, and were produced after initial anxiety about whether or not contemporary movement practice could be seen as congruent with a religious identity. Not only did the contemporary movement practice end up sitting with our students' articulations of femininity, it provided a means of critically reflecting on, and developing religious identity. Yet in order to arrive at this point, the students had to embrace the unknown and sit with the discomfort that the unknown can bring.We write with the conviction that creative practices can remake reductive, historically determined and governed images, figures or metaphors assigned to differently gendered, differently abled, diversely classed and raced bodies. Building on a feminist investment in the agency of materiality, we think through the problem of the body as a site of learning in the university. As Elspeth Probyn writes in her article "Teaching Bodies", We may often teach potentially 'messy' topics like embodiment or sexual identity. At the same time the zone of contact between student and teacher is heavily policed by ourselves and our institutions. So while we offer material that potentially sets off lines of flight, we then have to continually re-territorialize the very bodies that have been set in motion through our teaching. It's a situation that is bound to veer towards abstraction, and at times a lifeless rendition of hot subjects. (Probyn 2004: ...

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“…La función de la educación se está re-conceptualizando y se entiende que la formación de capital humano implica no sólo la transmisión de conocimientos sino también equipar a los jóvenes con capacidades de innovación y creatividad (Craft, 2005;Sawyer, 2004). El ser humano busca perfeccionarse en su actividad creativa, no sólo por ser una exigencia cotidiana para crear el futuro, sino para autorrealizándose con ello (Maslow, 1983).…”

Section: Introductionunclassified

Estudio Piloto Sobre Una Tarea Para Medir La Creatividad Musical

Valverde

Ferrando

Sainz

et al. 2015

Rev. Electrón. Complut. Investig. Educ. Music.

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La creatividad es un fenómeno complejo que se expresa en los distintos ámbitos de la actuación humana. Un importante impedimento a la hora de valorar la creatividad musical es la experiencia con la que cuenta el alumno en términos de uso de instrumentos musicales y composición. El test propuesto por Wang (1985) INTRODUCCIÓNComo indica Craft (2005) y Shaheen (2010), desde los años noventa el fomento de la creatividad se ha convertido en un tema de interés global que refleja los cambios socio-económicos y la necesidad de incrementar la competitividad. La función de la educación se está re-conceptualizando y se entiende que la formación de capital humano implica no sólo la transmisión de conocimientos sino también equipar a los jóvenes con capacidades de innovación y creatividad (Craft, 2005;Sawyer, 2004). El ser humano busca perfeccionarse en su actividad creativa, no sólo por ser una exigencia cotidiana para crear el futuro, sino para autorrealizándose con ello (Maslow, 1983).Las habilidades creadoras son educables; y por tanto, susceptibles de ser desarrolladas, siendo las más vulnerables al retroceso e involución. Por ello, es importante prestar atención desde la escuela al desarrollo de las mismas. En nuestra sociedad se ofrece gran importancia al fomento de la creatividad, como lo refleja la LOE, 2006: cap. 2 art. 16. La creatividad es un constructo complejo que abarca el producto, la persona que lo realiza, el proceso por el cual lo realiza y el contexto en el que esto ocurre. A menudo se define la creatividad como aquello que es "novedoso y valioso", que encaja con los requisitos de la tarea (Hennessey & Amabile, 2010;Lubart & Guignard, 2004;Sternberg & Lubart, 1995). Plucker y Beghetto (2004) definen la creatividad como "la interacción entre la capacidad y el proceso por el cual un individuo o grupo produce un resultado o producto que es a la vez novedoso y útil dentro del contexto social" (p. 156). No debemos olvidar que, como sostiene Romo (1998), la creatividad es un fenómeno altamente complejo porque en él se combinan tanto procesos cognitivos superiores, como procesos nocognitivos; la creatividad no se limita a las áreas artísticas del conocimiento humano, ni a las puramente científicas: se da en cada uno de los quehaceres del ser humano. A esto hay que añadir que, contrariamente a la concepción clásica de la creatividad en la que ésta se asumía como una habilidad general transversal, aplicable a cualquier dominio, aunque, el conocimiento específico juegue un papel importante

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Changes in the Landscape for Creativity in Education

Cited by 51 publications

References 14 publications

Teaching creatively and teaching for creativity: distinctions and relationships

Teaching creatively and teaching for creativity: distinctions and relationships

Diffractive pedagogies: dancing across new materialist imaginaries

Estudio Piloto Sobre Una Tarea Para Medir La Creatividad Musical

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