Educating for Creativity within Higher Education

McIntyre, Phillip; Fulton, Janet; Paton, Elizabeth; Kerrigan, Susan; Meany, Michael

doi:10.1007/978-3-319-90674-4

Cited by 10 publications

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“…É uma abordagem particularmente robusta para estudos baseados na revisão sistemática de literatura de pesquisa. Por meio desse método, inicialmente formamos um corpus de pesquisa, contemplando textos com foco em questões de currículo e criatividade na educação superior (MCINTYRE et al, 2018;PEREIRA, 2017;BERECZKI, 2016;SEFTON-GREEN et al, 2011;BOVILL;BULLEY;MORSS, 2011;STEILS et al, 2015;KAUFMAN;STERNBERG, 2006;JACKSON, 2006b;BARNETT;COATES, 2005;DONNELY, 2004;KNIGHT, 2011;BARAK;DOPPELT, 2000;TOOHEY, 2000). Em seguida utilizamos o método para elaborar uma síntese teórica, na forma de princípios ou diretrizes gerais para a elaboração de currículos favoráveis ao desenvolvimento da criatividade, em cursos de graduação.…”

Section: Algumas Direções Para O Currículounclassified

Currículo e Criatividade na Educação Superior

Garcia

2021

Avaliação (Campinas)

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Este artigo apresenta uma investigação qualitativa teórica sobre currículo e criatividade na educação superior. A expressiva expansão desse nível de ensino, em diversos países industrializados, originou uma ampla agenda de pesquisas sobre a formação universitária, que englobam diversas questões a indagar, tais como sobre a educação para a criatividade. É nesse contexto que situamos esta investigação, que tem por objetivo analisar um conjunto de princípios para orientar o currículo, tendo em perspectiva sustentar o desenvolvimento da criatividade dos estudantes em cursos de graduação. Nas seções de fundamentação teórica do texto, são exploradas questões sobre criatividade e currículo, bem como o pensamento de teóricos destacados na literatura educacional internacional sobre tais temas. Na parte principal do artigo são apresentados e analisados três princípios teóricos gerais para orientar a elaboração de currículos da graduação, na perspectiva da educação para a criatividade. Eles foram sintetizados de um conjunto recente de investigações teóricas sobre currículo e criatividade na educação superior, com o auxílio de um método de análise qualitativa temática aplicada a um conjunto recente de investigações teóricas sobre currículo e criatividade na educação superior. Os princípios elaborados referem-se tornar o currículo aberto, líquido e inspirado em transdisciplinaridade. Segundo as análises teóricas do artigo, tais proposições trariam mudanças no alcance dos currículos da graduação, na sustentação do desenvolvimento da criatividade dos estudantes.

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Section: Algumas Direções Para O Currículounclassified

Currículo e Criatividade na Educação Superior

Garcia

2021

Avaliação (Campinas)

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“…Creativity is defined as “the process of sensing problems or gaps in information, then identifying the difficulties and seeking solutions through trial and error or through forming hypotheses” (Torrance, 1966). Creativity has been found to significantly improve students’ academic performance, employability, productivity at work, and career promotion prospects (Jackson, 2006; Jahnke et al, 2017; McIntyre et al, 2018; Sharif, 2019). Increased creative thinking abilities are highly correlated with higher entrepreneurial activity, enhanced leadership practice, and more avenues for innovation (Hughes et al, 2018; Rambe et al, 2017).…”

Section: Introductionmentioning

confidence: 99%

Cultivating Creativity of Graphic Design and Multimedia Students: The Perceptions of Arab Faculty and Experts

Elkilany

Yousef

2021

Sage Open

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While a consensus has emerged on the importance of creativity in graphic design and multimedia field, little systematic research has attempted to understand its facilitators or inhibitors in the graphic and multimedia education across colleges and universities. The current investigation surveys a sample of experts as well as professors teaching across the Arab World concerning their perceptions on the most significant correlates of creative thinking among students. Results point to the importance of: (1) instructors’ engagement; (2) appropriate use of instructional strategies, tools, and resources; (3) institutional support; (4) peer support; and (5) the removal of red-tape regulatory frameworks. Most importantly, this research highlights the need to move away from the rigid higher education creativity model assuming perfection, precision, accuracy, and optimal effectiveness to a more flexible creativity framework. The Multi-Layered Autonomous Phases Model (MLAPM) is proposed as an alternative approach to cultivating creativity at the higher education level. The MLAPM applies to all levels beginning with the students and the instructor in the classroom and all instructional tools applied, moving upward to the institutional administration levels. The model offers cost-effective, flexible, dynamic, and effective practices that improve levels of creativity and creative thinking among students without the need to invest in new costly equipment, tools, curriculum, or instructional programs.

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“…The approach, which was developed as a means of blending theory with practice for media and communication students, is particularly relevant to the study of PR education as it looks at “agents” within the creative process that sits beyond the educational environment. In what can be described as a confluence understanding of the creative process, it delineates the relationships between “ – a domain of knowledge and its subset, in this case termed a course; – a field of experts and its sub-set called a teacher; and, – a group of agents that are often referred to as students” (McIntyre et al , 2018, p. 114). A focus of the model has been to challenge “the idea that the emergence of creativity depends first and foremost on individuals” (McIntyre et al , 2018, p. 104) and, in doing so, can diminish the sense of mystery or inaccessibility that often surrounds the phenomenon.…”

Section: Introductionmentioning

confidence: 99%

“…In what can be described as a confluence understanding of the creative process, it delineates the relationships between “ – a domain of knowledge and its subset, in this case termed a course; – a field of experts and its sub-set called a teacher; and, – a group of agents that are often referred to as students” (McIntyre et al , 2018, p. 114). A focus of the model has been to challenge “the idea that the emergence of creativity depends first and foremost on individuals” (McIntyre et al , 2018, p. 104) and, in doing so, can diminish the sense of mystery or inaccessibility that often surrounds the phenomenon. Importantly, SCL characterises the educator as representing the industry and future work conditions, with, for example, the completion of assessment and its evaluation framed by real-world processes.…”

Section: Introductionmentioning

confidence: 99%

“…Importantly, SCL characterises the educator as representing the industry and future work conditions, with, for example, the completion of assessment and its evaluation framed by real-world processes. Another notable dimension of SCL is its articulation of the importance of failure; the mistakes of varying sizes that emerge along the pathway to a successful creative outcome (McIntyre et al , 2018, p. 221). The ultimate goal of SCL is to have students internalise enough domain-specific knowledge to eventually be able to produce a novel variation of what the field has previously considered to be a creative object.…”

Section: Introductionmentioning

confidence: 99%

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Practically there? Exploring public relations educators' perceptions of creativity in the curriculum and classroom

Barker

McDonald

2021

JCOM

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PurposeThe purpose of this paper is to identify the position of creativity within Australian public relations courses and explore how academics embed what is often identified by industry as a core skill for future and current practitioners.Design/methodology/approachThe study consists of semi-structured interviews with 15 public relations academics to examine their views on the value and delivery of creativity in the public relations curriculum.FindingsThe findings of this exploratory study indicate creativity is addressed implicitly by educators who rely on personal and internalised knowledge rather than the application of a specific theory or body of knowledge pertaining to creativity. In addition, it identifies a series of challenges educators face including students' lack of confidence when required to be creative and a lack of clarity on how to successfully evaluate creativity in assessment tasks.Originality/valueCreativity has been identified as a vital future workplace skill and highlighted as an important capability in global best practice frameworks for public relations professionals. However, the successes and barriers experienced by educators who are responsible for building and evaluating students’ creative abilities have yet to be specifically explored. In response, this study considers educators' perceptions of their practice with regard to this prominent professional attribute and applies this knowledge to argue for theory-led pedagogies, particularly the use of models that emphasise the social nature of creativity, to demystify creativity and enhance students' work readiness as future practitioners.

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Educating for Creativity within Higher Education

Cited by 10 publications

References 0 publications

Currículo e Criatividade na Educação Superior

Currículo e Criatividade na Educação Superior

Cultivating Creativity of Graphic Design and Multimedia Students: The Perceptions of Arab Faculty and Experts

Practically there? Exploring public relations educators' perceptions of creativity in the curriculum and classroom

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