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1.
The Government's recent Creative Partnerships initiative in England represents part of the resurgence of interest in creativity which was stimulated by the NACCCE's 1999 National Advisory Committee on Creative and Cultural Education. 1999. All our futures: creativity, culture and education, Suffolk: DfEE Publications.  [Google Scholar] All our futures report. However, many questions remain about the impact and processes of creative partnerships. The field of creativity research has been dominated by two key questions: how should creativity be defined and is it possible to teach creativity? Much has been written which attempts to shed light on the answers to these questions so it is important that creative partnerships' work is understood in the context of what it already known from research and theory. A welcome aspect of Creative Partnerships is the desire to ensure an evidence base to support the creative work happening in schools. Frequently this evidence base has been built in part by using action research methodology which has a strong track record in the context of practitioner research. This paper reports on work done with Creative Partnerships which involved the use of an action research framework to support creative work. It is concluded that there are potential problems with assuming that creativity will be enhanced by approaches such as multiple intelligence without careful thought about the way in which creativity is defined. It is also shown that action research does have the potential to enhance creative work but that one of the most important aspects of this is the relationships that are built between mentors and teachers.  相似文献   

2.
Recently, creativity has begun to be talked about as a twenty-first-century competency [UNESCO (United Nations Educational, Scientific and Cultural Organisation). 2006. The World Conference on Arts Education: Building Creative Capacities for the 21st Century: Working Document, Lisbon, Portugal, 6–9 March 2006. Lisbon: UNESCO]. Several government-endorsed publications have also stressed the importance of fostering creativity in the classroom [Robinson Report. (1999). Great Britain Department for Education and Employment. Department for Culture, Media and Sport. National Advisory Committee on Creativity and Cultural Education. All Our Futures: Creativity and Culture in Education. London: DfEE; DfES. (2004). Excellence and Enjoyment: A Strategy for Primary School. London: DfES; QCA. (2005). Find It! Promote It! London: QCA]. This study aims to explore opportunities to foster creativity following the new National Curriculum’s introduction (DfE (Department for Education). [2013a. National Curriculum for Art & Design. London: DfE; DfE. 2013b. National Curriculum for History. London: DfE; DfE. 2013c. National Curriculum for Science. London: DfE]). It explores provision and attempts to go beyond this into daily classroom practices by interviewing teachers. Analysis indicates a wide variation in terms of in-school provision. Certain schemes of work may be more successful at fostering creativity and that relying purely on the National Curriculum can hinder opportunities for creativity. Teacher responses indicate that they value creativity but find it hard to accurately describe incidents of creativity being fostered and teaching creatively is often confused for teaching for creativity. Training has been designed to address this, although a pervading emphasis on schools’ performativity will mean creativity is not embedded into daily learning to the extent it can be a twenty-first-century competence unless there is a major policy change.  相似文献   

3.
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 NACCCE 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.  相似文献   

4.
A review is offered of Hong Kong's current education reform that sites a key role for creativity. This key role leads us to ask “Creativity in the Hong Kong Classroom: what is the contextual practice?” To address this question 27 Primary classroom teachers across three subject areas were observed and rated using the Classroom Observation Form [Furman, A. (1998). Teacher and pupil characteristics in the perception of the creativity of classroom climate. Journal of Creative Behavior, 32(4), 258–277]. The creativity potential of these teachers was then measured against the Creativity Fostering Teacher Index [Soh, K. C. (2000). Indexing creativity fostering teacher behavior: A preliminary validation study. Journal of Creative Behavior, 34(2), 118–134] and the Creative Personality Scale [Gough, H. G. (1978). A creative personality scale for the adjective check list. Journal of Personality and Social Psychology, 37(8), 1398–1405]. Their class students then completed the Chinese Creativity Tests [Wu, J. J., & Chen, F. X. (1998). A study on the new creativity test. Taiwan: Education Bureau and Foundation for Scholarly Exchange]. Findings support and extend current understandings of both system and componential theory [Csikzentmihalyi, M. (1996). Creativity: flow and the psychology of discovery and invention. New York: Harper Collins; Amabile, T. M. (1996). The social psychology of creativity. New York: Springer–Verlag; Amabile, T. M. (1996). Creativity in context. Boulder: Westview Press]. Instrument limitations and a need for interpretative cautions are discussed and their significance for further research indicated.  相似文献   

5.
以过程哲学为基础的过程教育相信真正的善来自深度的互动,因此,它致力于在教师、学生和教育活动的相关性中进行创造性转化。创造性转化要求我们开放地倾听他人讲话,逐渐从中获得自己对他们的理念、观点和价值的意识。创造性转化的过程是螺旋式的,它包括了呈现、整合、扩展和深化。  相似文献   

6.
Education restructuring is often based on the claim that markets have been shown to efficiently distribute goods to individuals who need and desire them, and that services should therefore be altered so that the market can also become the ultimate arbiter of what is included in them as well. However, restructuring has also been said to have negative effects on education values such as humanism and creativity. The present article has been developed from an ethnographic case study in relation to these values. It is supported by recent ethnographic research in adult Swedish language courses for immigrants (SFI) within a particular municipal region in Sweden.  相似文献   

7.
Background:?‘Creative learning conversations’, are methodological devices developed in two co-participative qualitative research projects exploring creativity and educational futures at the University of Exeter in England.

Sources of evidence:?Framed by Critical Theory, the projects, one on dance education partnership, the other on student voice and transformation, sought to open space between creativity and performativity to initiate emancipatory educational change. This was undertaken over the course of five years in English primary and secondary schools, prioritising humanising, wise creativity.

Purpose:?This paper re-analyses data and methodological processes to characterise and theorise creative learning conversations in terms of social spatiality and dialogue. The characteristics are: partiality, emancipation, working from the ‘bottom up’, participation, debate and difference, openness to action, and embodied and verbalised idea exchange.

Main argument:?This re-analysis theoretically adapts Bronfenbrenner's ecological model (The ecology of human development; Cambridge, MA: Harvard University Press, 1979) to situate layered engagement. Utilising Lefebvre's conceptualisation of lived space (The production of space; Wiley-Blackwell, 1991) and Bakhtin's work (Problems of Dostoevsky's poetics; ed. and trans. Caryl Emerson; Minneapolis: University of Michigan Press, 1984) on open-ended dialogue, the paper theorises creative learning conversations as producing living dialogic spaces.

Conclusions:?Creative learning conversations are a way of contributing to change, which moves us towards an education future fit for the twenty-first century. From a living dialogic space perspective, a creative learning conversation is the ongoing process without forced closure of those in the roles of university academic, teachers, artists, students co-participatively researching and developing knowledge of their ‘lived space’ together. Given traditional lethargy in the educational system as a whole commitment to changing education for better futures demands active involvement in living dialogic space, where our humanity both emerges from and guides our shared learning.  相似文献   

8.
Over the last six years there has been a massive increase in the number of students studying for practice-based doctorates in Art and Design. It is now possible to do a practice-based PhD in over forty departments, although what is expected from doctoral students varies considerably across institutions. In 1997 the United Kingdom Council for Graduate Education (UKCGE) addressed the variance between practice-based doctorates in the report Practice-Based Doctoratesin the Creative and Performing Arts and Design. This paper examines the recommendations made by the report and asks to what extent does it acknowledge art as a legitimate research practice within the university. The UKCGE report recommends that all practice-based PhDs have a substantial theoretical and  相似文献   

9.
新世纪的教育是创新教育。创新教育的核心是个性、主体和创造性  相似文献   

10.
The history of education as a distinct field has been the focus of study, research and writing in Australia for over a century. It achieved maturity with the establishment of the Australian and New Zealand History of Education Society in 1970 and the subsequent establishment of the Society’s journal, History of Education Review. Since then, Australian scholars have been major contributors to the field, with certain individuals being key players on the world stage. Taking cognisance of this background, this paper considers current trends and directions for the future. It does so by focusing on three areas: scholarship on topics relating specifically to Australia; the use of new methods; and Australian-based scholars contributing to scholarship where the focus is beyond their immediate geographical boundaries.  相似文献   

11.
This paper describes the development and use of the Creative Learning Assessment (CLA) as a means of evidencing, supporting and promoting children's creative learning in arts‐based contexts. The research team at the Centre for Literacy in Primary Education (CLPE) worked with a group of teachers in inner‐city Lambeth primary schools to develop an assessment system to record the impact of a creative curriculum on children's achievement and to enable schools to justify a broad‐based provision. The Assessing Learning and Communication in Creative Learning Contexts project, funded by CfBT Education Trust (CfBT), aimed to offer teachers a view of creative learning development and a framework for teacher assessment. It set out to provide a close focus on the learner and a valuable source of information for curriculum planning. This article discusses the effect of working with the CLA on children's learning and on teachers' practice through a case study of one project school, and the implications for schools and classrooms from the perspectives of the researcher and the teacher.  相似文献   

12.
This paper prompts us to consider ‘representation’ with respect to a committee structure ‘managing’ the development of the Irish senior cycle physical education framework. The paper is timely due to the national interest in the senior cycle subject development in Ireland and complements work undertaken on the development of policy in senior physical education internationally. Bernstein's [(1990). Class, Code and Control: Volume 4. The Structuring of Pedagogic Discourse. London: Routledge] construction of ‘pedagogic discourse’ and Pitkin's [(1967). The Concept of Representation. University of California Press] notion of ‘representation’ provide a framework for exploring the process by which Senior Cycle Physical Education (SCPE) was ‘managed’ by the Physical Education Course Committee. Interviews were conducted with nine stakeholders who were members of the Committee and the constant comparative method was used to analyse the interview data. The results revolved around representation of individual views in favour of representative roles, interacting within the remit of the Committee structure and activity outside of the formal meetings. A number of conclusions arise in examining the extent to which ‘representation’ provides a framework for exploring the process by which curriculum development within Irish SCPE was ‘managed’ by the appointed Committee. Such a study provides significant points for discussion for those charged with drawing together groups to advise on curriculum development.  相似文献   

13.
ABSTRACT

The PhD by Publication offers doctoral students an opportunity to focus on publishing during their candidature. A considerable body of literature has explored questions of legitimacy, consistency and quality of this model of scholarship, while students have reflected on how this approach helped build a publishing track record and develop skills associated with writing scholarly articles [Jackson, D. (2013). Completing a PhD by publication: A review of Australian policy and implications for practice. Higher Education Research & Development, 32(3), 355–368; Robins, L., & Kanowski, P. (2008). PhD by publication: A student’s perspective. Journal of Research Practice, 4(2), 1–20]. However, there is a need to explore how this approach both shapes and reflects the student experience of doctoral studies. This auto-ethnographical article analyses my own experience of the PhD by Publication. On the one hand, this method suited my multidisciplinary research topic and approach to research and assisted the flexibility and creativity of my research. On the other, I began to view my value as a researcher and the value of my research, in terms of the quantitative performance metrics of research in output, citation counts and h-index. Concept of performativity, I analyse how the PhD by Publication potentially reshapes what it is to be a doctoral student, and how the value of doctoral students is construed by themselves and others within their university.  相似文献   

14.
Across continents, creativity is a priority for education and is central to the discourse on 21st century learning. In this article, we explore how a greater focus on ‘everyday creativity’ in schools changes the dynamics of teaching and learning. We look briefly at the main concepts in the literature on creativity in education. We then focus on examples from the Centre for Creative Education's creative partnerships, which bring together educators, learners and creative professionals. This is followed by a discussion on how teachers assess learners’ creative dispositions, as well as the quality of creative processes and products. We conclude with recommendations for school-level strategies and policy and research to support learner and teacher creativity.  相似文献   

15.
This conceptual exploration inquires, what is scholarship reconsidered in the age of social media? How ought we to conceptualize social scholarship—a new set of practices being discussed in various disciplines? The paper offers a critical examination of the practical and policy implications of reconsidering scholarship in light of social media's affordances toward a conceptualization of social scholarship. For each dimension of Boyer's original framework, we explain its epistemologies and practices. Next, we take a critical approach to inquiring how each dimension, reconsidered through the lens of social scholarship values and social media affordances, might be envisioned today. This exploration provides concrete examples of how scholars might enact social scholarship with what benefits and challenges.  相似文献   

16.
教育中,什么在妨碍创造   总被引：44，自引：0，他引：44  
创造教育是重要的 ,但是 ,十分必要的是 ,应弄清楚现有的教育中有些什么在妨碍创造。事实上 ,妨碍创造与创造教育的因素并不少 ,如独立个性的缺乏 ,社会本位的强旺 ,教育民主的贫弱等等。这些障碍不消除 ,创造教育将实际上离我们很远  相似文献   

17.
ABSTRACT

In this paper, the author discusses the interrelationship between creativity, children’s experiences of the natural world and pastoral education. Based on a research design developed whilst undertaking a professional doctorate in education (EdD), and grounded in a theoretical framework of children’s rights, the author explores the creative uncertainties of collaboratively researching children’s educational experiences with nature. The paper considers the ways in which the research design supports a pastoral care agenda, whilst encouraging the emergence of ‘creative artefacts’, alongside the extent to which the focus of the research, encounters with the natural world, might be deemed pastorally minded in its own right. The children who have participated in the research then draw the paper to a close, sharing what their involvement in the project has meant to them. Images and excerpts of children’s own creative reflections are offered as illustration of the powerful confluence of the Creative and the Pastoral.  相似文献   

18.
Book Reviews     
Book reviewed: All Our Futures: Creativity, Culture and Education National Advisory Committee on Creative and Cultural Education. John, Matthews The Art of Childhood and Adolescence: The Construction of Meaning Art 20–The Thames and Hudson Multimedia Dictionary of Modern Art CD-ROM for Apple Macintosh or PC Edward, Lucie-Smith Lives of the Great 20th-Century Artists Ken, Vieth From Ordinary to Extraordinary: Art & Design Problem Solving Maxine, Berg and Helen, Clifford Consumers and Luxury: Consumer Culture in Europe 1650 to 1850 Susan, Balson Artists in Wales Jo Dahn Mark, Gelernter A History of American Architecture: Buildings in their Cultural and Technological Context  相似文献   

19.
ABSTRACT

There has been significant interest in developing academics through Teaching Scholar Development Programs across the USA, Canada, the UK, and more recently in Australia. At their core, such programs develop academics across teaching scholarship, leadership, promotion, and award opportunities, where universities reap the benefits of developing such a cadre of leaders. This paper pays witness to one such a program in an Australian university to highlight enactments of caring passionately. We use qualitative survey evaluation data, metaphor analysis and reflective practice to nuance the pleasures, passions and challenges of the lived experiences using phenomenological and metaphor lenses to describe our experiences. Metaphors provide powerful insights into the dimensions of experience as they open up how programs are perceived and experienced. Our paper disrupts traditional linear writing through rhizomatic, multivocal and multitextual encounters to challenge dominant authorial voicing. The academic identity work and emotional work required in the program is unfolded through evolving, experiencing and reflecting on the program to inform design and highlight what we have come to (re)value in our academic work when we come together to learn, share, and lead. We forge ways to be and become with and against neoliberal agendas that have choked the soul of ‘the university’ to evolve rich spaces and practices of/for reciprocity and kindness where not only learning can thrive, but where love acts – a much needed revolutionary praxis for our time.  相似文献   

20.
ABSTRACT

Proving a child has been adequately educated is manifest through assessments evaluating the recall of facts or the deciphering of codes. How this information is taught and learned is the issue. Webb's depth of knowledge (DOK) and Bloom's taxonomy are cognitive models that drive instruction in today's classrooms. According to these models, creativity is a higher-order learning process. Although creativity has gained a renewed prominence in theoretic academic arenas, on the battleground of the typical classroom, creativity takes a back seat to instructional strategies with the goal of successful standardization of knowledge. Creativity, however, is the cornerstone of arts instruction. Creative learning principles (CLPs) is a system of instructional tasks developed in the arts and used to facilitate the metacognitive act of learning through creativity to solve problems. This article discusses how the CLPs create rhizomatic learning by facilitating connections between art and other disciplines and how they are used in planning.  相似文献   

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