Since the turn of the century, there have been frequent expressions of concern about a perceived lack of creativity in UK schools, in both curriculum content and in teaching. Recently, as the ...emphasis on mathematics, science and technology has strengthened, serious concerns have also been expressed about the marginalisation of the arts and creativity in schools. In the light of these concerns, this paper reports in-depth, qualitative research into the pedagogies of practising artists experienced in working with young people and highly valued by the schools that employ them. We use the notion of ‘signature pedagogies’ to argue that the artist–teachers adopted a particular stance and set of pedagogic practices that are coherent and distinctively different to those that are currently officially promoted in UK schools, and that this distinctive pedagogy enhanced both creative practice and engagement in the arts in the schools in which the artists worked. In this paper, we identify the signature pedagogies of the artists, theorise their stance and argue that the findings of our study provide a heuristic which can be valuable to all teachers who are interested in expanding their teaching repertoires and fostering students’ creativity.
La creatividad en la educación es fundamental ya que nos permite encontrar nuevas soluciones a problemas individuales, descubrir algo nuevo y pensar de manera diferente a lo preestablecido. Lo ...anterior hace posible que nos adaptemos a sociedades cambiantes y complejas; por eso, es primordial el desarrollo de la capacidad creativa. En este sentido, este estudio pretende comprobar desde la asignatura de Ciencias Naturales en los grados séptimos de la Institución Educativa Distrital Bosanova, si la aplicación de metodologías docentes creativas potencia verdaderamente la creatividad. Para tal fin se ha llevado a cabo un estudio comparativo pre-post-test entre las metodologías creativas: «Lista de chequeo» y «enseñar por curiosidad». La muestra la conformaron 86 estudiantes repartidos en dos grupos de igual número. A ambos conjuntos se les aplicó un programa de intervención creativa con diferentes estrategias bajo la finalidad de observar y comparar los resultados finales obtenidos e identificar la metodología que proporcione un incremento creativo de los estudiantes desde las Ciencias Naturales. Se utilizó EZAnalyze de Excel —Microsoft—, un programa estadístico para el análisis de datos. Los resultados obtenidos muestran un incremento en la creatividad después de aplicar la metodología creativa en ambos grupos, aunque este incremento fue mayor en uno de los grupos —grupo A—. Además, se analizó la relación entre el rendimiento académico y la creatividad en los dos grupos, sin que dicha correlación fuese significativa. Las actividades propuestas con las dos metodologías contribuyen al incremento de la creatividad en la muestra de estudio. Esto se explica desde el punto de observación en que los estudiantes se convierten en personas propositivas y curiosas.
Understanding the receiving side of creativity has both scientific and practical value. Creativity can add value to organizations after it is perceived, evaluated, and eventually adopted. In this ...paper, we review four decades of empirical research on the receiving side of creativity scattered across several business and social science fields. A comprehensive framework surfaces out of our review, indicating four groups of factors affecting the evaluation and adoption of creativity, namely, characteristics of target, creator, perceiver, and context. Although the receiving side of creativity has received far less attention than the generative side in management literature, vibrant research efforts in other scientific fields have built a solid foundation to understand creativity receiving in the workplace. We call for more studies on this important topic and discuss how future research could contribute to its development by advancing conceptual clarity, methodological precision, and integration between theories, disciplines, and different sides of the creative process.
We propose that supervisors' own level of creativity is a core component of effective leadership that can be associated with subordinates' self-concept and creativity. Specifically, drawing on the ...identity theory framework, and role identity theory in particular, we argue that subordinates' creative role identity is an important underlying mechanism in the relationship between supervisors' level of creativity and their subordinates' creativity. Using a sample of 443 employees working with 44 supervisors in an IT firm, we hypothesized and found support for a moderated mediation model. There was a positive indirect relationship between supervisors' creativity and their subordinates' creativity via the subordinates' creative role identity, and this indirect relationship was stronger when employees perceived higher levels of organizational support for creativity.
Creativity has become an essential skill in today's competitive business environment, leading to the expansion of the notion of "creative workspace" beyond traditionally creative industries. Despite ...growing managerial interest in creating organizational spaces that support creativity and innovation, little is known about how these spaces affect and are affected by creative work. In this dissertation, I examine creativity and its underlying processes of collaboration and learning by foregrounding the effects of work environment. The first study is a qualitative study in makerspaces - shared workspaces with communal resources - investigating how developing creative projects in a space shared with other independent creators influence creators' experiences and their projects. I theorize the ways in which the copresence of multiple independent creative processes affects the creators' perceptions of themselves and their work, and, consequently, the collective experience in the makerspace. The second study focuses on how organizations use spaces to harness their members' personal interests for creativity, innovation, and learning. Based on a qualitative investigation at two design agencies, I uncover two distinct ways organizations and their members co-create spaces for exploration and play by negotiating their diverging needs and interests. In the final chapter, I review and synthesize research on physical space and creative work and propose an agenda for future research on creative workspaces.
The word "knot," a term borrowed from early medieval art, was used to distinguish the distinct projects which unfolded at each site, and to describe how each element of the project weaved together ...discrete strands of thought and practice and in turn formed part of the whole "spiral." Among many other words, the word scildweall (shield-wall) was painted on the gallery wall, as was treow (tree, also truth) with an illuminated capital "T." There was a particularly large group of words wriYen near the ground at child's height, words that captured a child's imagination like wyrm (dragon/snake/worm) and wyrd (fate). A Midsummer Water Day Programmed as part of a series of public events organized by LIFT (London International Festival of Theatre), Somerset House, and King's Cultural Institute, the Midsummer Water Day offered the students another chance to develop the pedagogic tools and activities formulated during the Colm Cille project. From this perspective, the project relates to the debates around the role of the "public medievalist" that have been unfolding recently online and at conferences.4 Indeed, the events which constituted and sprang from the Spiral revealed to us that the medieval is always public-at St Peter's, Furtherfield, Somerset House, and on the crypt tour, we met members of the public who, while they identified as non-specialists, were deeply invested in and knowledgeable about the Middle Ages.
La experimentación del entorno escolar por parte de los escolares, y la reflexión sobre las sensaciones provocadas por los estímulos que alberga; son de interés para determinar la calidad estética de ...los centros educativos. Son necesarios nuevos instrumentos de recogida de datos que permitan aproximarse a las voces de los escolares de temprana edad. A partir de la Investigación basada en las Artes y mediante técnicas de fomento de la creatividad proponemos un instrumento que combina: la observación participante, como forma de acercamiento; la entrevista y el lenguaje visual para la expresión de respuestas; y el análisis documental por categorías, para la obtención de información. El estudio muestra los resultados de una investigación plural, desarrollado en 3 escuelas de la ciudad de Alicante, y categoriza los lugares preferentes entre el alumnado infantil. Las conclusiones demuestran la relación entre el placer estético, las actividades pedagógicas estimulantes a nivel sensorial y el entorno educativo.
Thought and creation in contemporary education Cupertino, Christina; Arantes, Denise RB; Melcher, Mariangela F
Gifted education international,
05/2016, Volume:
32, Issue:
2
Journal Article
Peer reviewed
This article discusses the role of creation and thought in contemporary life, education and, in particular, gifted education. Beginning with traditional approaches to creativity, some implications of ...diverse ways of understanding these two human activities in education are discussed, and reflections upon ways in which the particular concepts of educators could favor (or not) the thinking and creating patterns of students. Based on Marion Milner's theory and highlights from the philosophy of Heidegger, ideas around activities offered to students enrolled in special programs for the gifted, which possibly foster thinking and creation for life are provided.
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