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Overview
Innovation and creativity are fundamental to all academic disciplines and educational activities, not just the arts. The creative process, as with reflection considered in the previous chapter, is a critical component of making sense of learning experiences. A number of approaches to teaching and learning are considered in this chapter that help to nurture creativity and innovation. See Figure 6 for a visual overview (page 58).
What are innovation and creativity?
Innovation can be broadly thought of as new ideas, new ways of looking at things, new methods or products that have value. Innovation contains the idea of output, of actually producing or doing something differently, making something happen or implementing something new. Innovation almost always involves hard work; persistence and perseverance are necessary as many good ideas never get followed through and developed.
Creativity is an active process necessarily involved in innovation. It is a learning habit that requires skill as well as specific understanding of the contexts in which creativity is being applied. The creative process is at the heart of innovation and often the words are used interchangeably.
According to Kampylis and Berki (2014, p. 6):
‘Creative thinking is defined as the thinking that enables students to apply their imagination to generating ideas, questions and hypotheses, experimenting with alternatives and to evaluating their own and their peers’ ideas, final products and processes.’
Kaufman and Beghetto (2009, p. 6) developed four categories of creativity which help to reveal the nuances between different levels and types of creativity. See Table 11 (page 54).
Chapter 4: Innovation and creativity
Electricity is not only present in a magnificent thunder-
storm and dazzling lightning, but also in a lamp; so also, crea-
tivity exists not only where it creates great historical works,
but also everywhere human imagination combines, changes,
and creates anything new.
Lev Vygotsky , 1930/1967, cited in Smolucha, 1992, p. 54
Table 11: Four categories of creativity
Big-C creativity (sometimes called ‘high’ creativity)
Big-C creativity is reserved to describe the work of an elite few who have transformed their discipline with their inventions. Their work has been generally accepted as being innovative and ground-breaking, even if it was considered controversial when it was first created. Some examples are scientific works such as Einstein’s theory of relativity and Darwin’s theory of evolution, and works of art such as Picasso’s Guernica, Jane Austen’s novel Emma or Ludwig van Beethoven’s Symphony No. 9 in D Minor. Big-C creativity is out of reach of most of us, and big-C creators themselves are often as extraordinary as their creations.
Pro-c creativity This type of creativity has involved time (usually at least 10 years) and effort to develop. A musician who showed promise as a child, has trained to degree level and now makes a living teaching and playing classical music could be classified as pro-c. A physicist working at a university who teaches and undertakes academic research could also be classified as pro-c.
Little-c creativity Little-c creativity is about ‘acting with flexibility, intelligence and novelty in the everyday’ (Craft, 2005, p. 43). This results in creating something new that has ‘originality and meaningfulness’ (Richards, 2007, p. 5). This everyday kind of creativity can be found in the kind of person who can resolve a complex problem at work, is a keen gardener with an eye for design, or takes creative photographs and exhibits them on a photo-sharing website. School-age learners may work at little-c level if they engage in purposeful practice in their discipline. Little-c creativity involves practice and may be developed over a long period of time. The internet has provided the infrastructure for little-c creativity to thrive. Websites such as YouTube, Instagram and Etsy enable creative people to share their expertise and work.
Mini-c creativity Mini-c is defined as the ‘novel and personally meaningful interpretation of experiences, actions, and events’ (Beghetto & Kaufman, 2007, p. 73). This is the kind of creativity that can be nurtured by teachers and parents. ‘Mini-c happens when a person demonstrates “flexibility, intelligence and novelty” in their thinking’ (Craft, 2005, p. 19). It is usually applied, but not necessarily limited, to children’s creativity. Mini-c creativity may not be visible to outsiders and may consist purely of ideas and connections that the learner creates. As Vygotsky (1967, p. 7) explains: ‘Any human act that gives rise to something new is referred to as a creative act, regardless of whether what is constructed is a physical object or some mental or emotional construct that lives within the person who created it and is known only to him.’ Piaget suggested that ‘to understand is to invent’ (1976, cited by Richards, 2007, p. 95) meaning that a learner ‘invents’ an understanding of new material for themselves. Mini-c creativity could describe a learner’s achievement in finding several different ways of approaching a maths problem. It could also involve making a new connection between their existing knowledge and a new piece of information which helps them to understand the subject more fully.
Creative learning activities, like any other, need to respect Vygotsky’s zone of proximal development with appropriate scaffolding provided by the teacher.
This is an area in which cultural sensitivity may be particularly important. If students are not used to being asked to demonstrate creative habits and skills they need to be guided. How the creative activity links to broader learning objectives needs to be clearly understood by teachers and students.
Having a creative habit, the disposition to behave creatively is critical. Csikszentmihalyi (2002, p.99) emphasises the importance of having a playful attitude while remaining disciplined. Whenever possible, play should be used to extend the range of opportunities to think. There are several character traits and learning habits that affect a learner’s personal disposition, motivation and confidence to be creative. For example:
- resilience: an ability to tolerate uncertainty and persevere at a task to overcome obstacles - not being afraid to make and learn from mistakes - an ability to suspend judgement while generating ideas - willingness to take sensible risks or go out of their comfort zone in their work. A creative learner needs to be able to develop and apply a set of skills that they can use in the creative process. These include being able to: - clarify, analyse and re-define the problem or question to uncover new ways of looking at it - ask thoughtful questions - notice connections between seemingly unrelated subject matter - challenge established wisdom by asking: how would I improve this? - recognise alternative possibilities - look at things from different perspectives. Creative processes usually require self-regulation, and the ideas relating to reflection and metacognition considered in Chapter 3 apply. These include learners: - being aware of their own skills, both strengths and limitations - thinking of a range of different strategies or approaches to use in response to a problem or question - planning which approach to use - monitoring their work, and being flexible enough to change to a different approach if necessary - critically evaluating their work at appropriate points
Creating a culture of creativity in schools and classrooms
We are all born with a creative instinct and all people have creative potential. Young children naturally engage in play – a state when the imagination is used to ‘try out’ situations and possibilities. A cardboard box becomes a car, grass becomes food, a toy comes alive. As children mature and move through their school career, creativity can be stifled as an unintended consequence of other pressures. Students can become fearful of making mistakes if they only receive recognition for giving an answer
Figure 4: A revised version of Bloom’s taxonomy
understand the discipline as a whole is spaced delivery of content in lessons. This involves teachers revisiting related subject matter over a long time rather than just teaching each topic as a separate entity.
Creating a climate in the school by providing an environment that supports innovation can be very powerful, as Case study 10 shows:
the teacher is looking for rather than valid original thinking and ideas. A study on creativity and innovation in education in European member states (Craft, 2005, p.21) found that teachers preferred their learners to be ‘conforming’ or ‘considerate’ to ‘risk taking’ and ‘playful’ (Ferrari, Cachia & Punie, 2009, p.21). A culture of ‘one right answer’ stops learners from being willing to make mistakes. They quickly learn to guess what answer the teacher has in their heads. As von Oech (1998, p.14) points out, ‘many of us have been taught that the best ideas are in someone else’s head’.
Like any habit, creativity can be encouraged or discouraged. Having a learning rather than a performance orientation, considered in Chapter 3, helps to create an environment where creativity is encouraged. Schools that are successful at stimulating creative learning:
- value and celebrate learners’ creative and innovative contributions - do not overcrowd the curriculum. They focus on depth as well as breadth. They manage time effectively, providing opportunities for pupils to explore, concentrate for extended periods of time, reflect, discuss and review. Students are expected to reflect deeply on the material that they are learning and to make connections between subjects and topics - encourage a broad and balanced curriculum so that students experience a range of subjects and activities, including the arts - encourage students not studying the arts as qualifications to pursue creative activities in the co-curricular programme - develop codes of behaviour and classroom procedures that value and promote creativity - encourage sensible risk taking, for example, teachers trying something new in their lessons.
The creative process requires time and collaboration, so creating time for creative thinking activities is important. Using a flipped classroom approach for example, where learners prepare content and do written exercises preparing for lessons in advance at home, allows teachers to plan for higher-level creative thinking activities during class time. Another approach that helps students to make connections across topic areas and
Figure 5: A creativity orientation
Watch the video at https://vimeo.com/ Makerspaces have become ubiquitous in schools all over the world to encourage students to apply creativity and critical thinking through design. A similar approach to learning, transforming a traditional environment into a Learnerspace can also be a great catalyst for moving pedagogy towards a learner-centred model. Of all the many spaces in school, the school library lends itself to becoming an emblem for a new learning paradigm. In that context, we set out to embody the principles of 21st century learning through a transformation that was as profound as it was bold, and that went far beyond architectural modifications. The first dimension of change entailed making true on the principle that learning is continuous, and transcends the physical and chronological boundaries of the classroom. By de-centralising books from the library and sending them out to school corridors and departments, we sent out the message that learning is not restricted in space and time. By allowing students to freely check out books without restrictions or controls, throughout the school, we explicitly stated that learning is a transcendent value that knows no limits or constraints. In moving from a library to Learnerspace, the most important element of change was making sure that the redesign of the space was conducive to joyful learning. Three distinct spaces were created: a large, flexible workspace with furniture that could be rearranged freely to suit multiple configurations; a cave-like, forest-themed silent room; and a collaborative room with two projectors and floor-to-ceiling walls that students can write on. All throughout the Learnerspace, blackened walls invited students to express themselves using chalk.
Case study 10:
St. Andrew’s Scots School, Buenos Aires, Argentina – The Learnerspace: a new pedagogy by design
Student reactions surpassed our best expectations. From being a space that students mostly used to seek refuge from cold weather, the library almost immediately became the centre of gravity of the school. Students naturally tended to occupy and make spaces come alive in ways that were hitherto unforeseen. Teachers started delivering their lessons at the Learnerspace, often sharing space with colleagues, and increasingly applying differentiation of teaching to the needs of individual learners. And then the true joy of the learning process gradually emerged. Midday philosophy talks, quiz show-type contests, educational board games, and even a chessboard with a clock for blitz games also became manifestations that learning could be an enjoyable process. The Learnerspace embodies most of the desired learner attributes: students discuss their learning and naturally engage in metacognitive reflections, propitiated by the collaborative environment and the literal writing on the walls; they become less teacher dependent; exercise their creativity by expressing themselves actively within the space; work on the development of creative projects; take possession of the space in meetings related to their leadership roles; and create new extracurricular projects. Many of the community forums and discussions also take place in the agora-like open space, with an openness that inspires the discussions and projects that emerge from such gatherings. The importance of the physical learning environment is often underestimated in how it can truly foster a new learning modality consistent with the modern information-rich world. Sometimes schools are daunted by the magnitude of the change required, but our Learnerspace has joyfully demonstrated that a few changes in the layout can have a substantial and inspiring effect.
Common misconceptions about creativity
Runco (1999, cited in Ferrari, Cachia & Punie, 2009, p.16) explains that people sometimes hold tacit beliefs or theories about the nature of creativity which can have detrimental effects on attempts to nurture creativity in an educational context. These theories are different from what research suggests is in fact the case. For example, many people believe that creativity is a natural talent which cannot be taught, whereas studies have shown that learners can improve their creative thinking skills with the right type of input.
Creative teachers: How can teachers help learners to
develop their creative habits and skills?
‘Cambridge teachers are creative, experimenting with new ideas and pursuing an enquiring approach in their teaching. They are open to new challenges, being resourceful, imaginative, and flexible. They are always ready to learn and apply new skills and techniques.’
Chapter 4 of the Developing your School with Cambridge guide considers the attributes of effective teachers (available at www.cambridgeinternational.org/teaching-and- learning/). It highlights that effective teachers have a deep knowledge of their subject as well as an understanding of how students think about subject content at different developmental stages (pedagogical knowledge). They are able to make thinking visible, helping learners to recognise misconceptions and manage their own learning. Because the creative process is fundamental to student learning, nurturing creativity is also an aspect of good teaching in all subjects. Fostering a creative climate in the school, supportive of creative teacher professionalism, is another theme considered in the Developing your School with Cambridge guide. It is very hard for a teacher to be creative if they are following a prescribed curriculum and given little or no room for their own creative input into their teaching practice. Syllabuses, textbooks and teacher support material are extremely important in helping to structure and support learning but they also need to allow for the teacher’s professional creativity. Teachers can support creativity and innovation by:
- Role modelling creative habits Nothing is more important than the teacher exemplifying the habits, behaviours and thinking they want students to demonstrate. They need to exemplify creative traits such as curiosity and the development of creative skills (see thinking routines later in this chapter).
- Appreciating the critical importance of questions, both their own and those asked by students Considered later in this chapter.
- Treating mistakes as learning opportunities and encouraging learners to take sensible risks in the classroom Encouraging learners to take ‘sensible risks’ in their work is important for building up their creative confidence. It is important that this takes place in a supportive environment, and that the teacher and learner have discussed what boundaries are acceptable in their context. It is also important to set some ground rules in collaboration with learners.
Figure 7: Common misconceptions about creativity
One line of questioning that can encourage creative input is ‘possibility thinking’. This requires learners to explore ideas and use their imagination to generate lots of possibilities. If a teacher regularly asks questions that have more than one answer during lessons, this can develop an atmosphere where learners feel that their unique contributions are welcomed and valued. This helps learners to develop their creative disposition as described earlier in this chapter.
Using questions to trigger creative thinking
Socrates (470–399 BC), popularised through Plato’s writings, believed the best form of teaching was through using skilled, disciplined questioning to deeply explore ideas resulting in improved understanding. This technique has become known as ‘Socratic questioning’ and is a fundamentally important teaching and learning approach in all disciplines. A good question, from the teacher or student, has the power of making student thinking visible and is a natural part of the ongoing feedback loop in classrooms between students and teachers, helping to guide the instructional process.
On average, teachers ask between 300 and 400 questions a day (Leven & Long, 1981, p.29). If a teacher carefully plans the type, wording and delivery of questions that they are going to ask in a lesson, research shows that the quality of learners’ thinking and responses will improve (Budd Rowe, 1986, pp.43–50). Questions that stimulate responses that require complex mental processing can encourage creativity. What if...? and Why…? questions tend to stimulate creative and critical thinking, especially if followed by more questions that probe and encourage the learner to go further (Kazemi, 1998, pp.410–414).
Asking learners to think of their own questions is a particularly valuable activity. Guy Claxton (cited in Scales, 2013, p.250) points out: ‘Asking good questions is the basis for becoming a successful learner. If children aren’t asking questions, they’re being spoon- fed.’ A learner formulating a question can illuminate their current thinking, helping to guide instruction, as well as being a creative activity in its own right. Encouraging learners to ask questions can:
- develop their curiosity about the subject, helping with engagement - stimulate learners to ‘think hard’ about a topic - consolidate a learner’s understanding of the material - enable learners to look at a topic from different perspectives - clarify a goal or plan for their own investigations - inspire them to want to find out the answer.
Consider asking your learners questions that have more than one possible answer In maths: ‘How many ways can you find to make 24 using any mathematical operation?’ What was the question? ‘The answer is… 1989, … what was the question?’ Give learners a word or number that could be the answer to many different questions in your subject. For example, the question could be:
- When did the Berlin Wall fall?
- In which year did South Africa start to dismantle the apartheid system?
- In which year did the Cold War end?
- Which year saw the dissolution of the Soviet Union?
- Which year saw the end of the Soviet Union’s occupation of Afghanistan?
- When did Tim Berners-Lee produce the proposal that led to the World Wide Web?
Table 12: Examples of possibility thinking
Thinking routines, introduced in Chapter 3 (see Harvard University’s Project Zero ‘Visible Learning’ resources at the end of the chapter) can be helpful in generating questions and nurturing critical and creative thinking skills, emphasising the use of discussion and collaboration in the classroom. One example of a thinking routine is below in Table 13. This can be adapted to almost any subject or context to prompt thinking and questions from learners.
Mathematics, creativity and innovation
‘Creativity is what maths is all about… We’re coming up with some completely unexpected patterns, either in the reasoning or the results… We’re thinking in terms of beauty and creativity, but the outside world thinks of us like a computer’ (Sir Andrew Wiles, who proved Fermat’s Last Theorem). The Fields Medal is the mathematical equivalent of the Nobel Prize, awarded to mathematicians who have made major contributions to the field. In 2014, it was awarded to a successful young mathematician called Manjul Bhargava. His achievement was to simplify a very complicated mathematical ‘proof’ from the 18th century into a few lines. He was inspired by seeing a Rubik’s Cube in his room, and imagined that the numbers that he was working on were applied to the corners of the Rubik’s Cube. ‘If you think about things the way someone else does, then you will never understand it as well as if you think about it your own way,’ he said about the creative process that led to his breakthrough. That mathematics is still being created often comes as a surprise to most students, and many teachers. Their perception is that mathematics is the one subject in which you know conclusively that you have the right answer. Indeed, many students prefer mathematics over other subjects precisely because of this. The misconception arises because they believe that calculation, and solving routine problems such as those assessed in qualifications, is mathematics. In fact the whole point of learning mathematics is to solve problems, including those which are non-routine, and that of course involves thinking creatively. While Fields medallists – who are certainly exhibiting Big-C creativity – come along only once in a while, there are plenty of opportunities in mathematics lessons to support students in becoming creative mathematicians of the small-c or mini-c variety. Indeed, a mathematics scheme of work that does not include opportunities for students to think mathematically – to explore, discover, imagine and produce some mathematics which is original to them – needs serious adjustment. So what does creativity look like in the mathematics classroom? Firstly, creativity is considerably inhibited if students do not have an adequate mathematical toolbox. In other words, they need to have a reasonably secure base of
Table 13: Harvard Project Zero – Artful thinking routine: See/Wonder/Connect
This thinking routine is useful to trigger questions and thinking about a topic for which you have a related photograph, artwork or object. For example, photographs of a specific place for a geography case study.
See: Show learners an artwork, photograph or object that relates to your subject. This could be in an art gallery, or the classroom.
Wonder: Brainstorm a list of 3–5 questions about the artwork. Use these question stems as starters:
I wonder… Why… What are the reasons… What if… I am puzzled by… How would it be different if… What if we knew…? If I could interview the artist/ maker, I’d ask…
Connect: Compare the artwork/object/photograph to others you’ve seen. How are they similar? How are they different?
The questions that learners formulate should be recorded and displayed if possible, to show the value that the teacher places on them
2. Ask their own questions
The mathematics in Got It! is quite trivial – adding small numbers. However, to ‘solve’ the question, students have to work out how to win. This requires asking the right questions and trying out lots of strategies. The question includes some ‘high ceiling’ hints such as changing the target – but students have to choose wisely if they are to succeed. For an interactive version visit nrich.maths.org/
3. Discover relationships
This interactive task allows students to play around with the characteristics of squares, using visual clues initially. To solve the last question, they have to focus on the coordinates and are then confronted with the idea that points in certain relationships have coordinates that fit a pattern. This activity highlights the power of digital technology to provide instant feedback – a hugely important part of working creatively. Visit nrich.maths.org/10733 to find out more.
Science and creativity
Science is not only a body of knowledge to be learned and understood, it represents a powerful method in identifying and solving problems with a significant creative component. Well-planned, structured enquiry is fundamental to science teaching as it reflects the scientific method: curiosity based on existing knowledge, hypothesis
formulation, systematic observation, measurement and experimentation leading to new insights. A deep understanding of the scientific method provides powerful knowledge to students, preparing them for further study in science and helping them to understand applications beyond science. One simple example of enquiry-based learning in science that offers the potential for creative thinking is in Table 14, below.
In this activity the participants choose from a wide selection of recycled materials and low-tech tools (for example, scissors, sticky tape, cardboard, elastic bands, pipe cleaners) to achieve the goal of ‘getting a marble to move from the top of the pegboard to the bottom as slowly as possible’. The imposed condition ‘as slowly as possible’ is important. Without it, it’s too easy, and the goal is too closed. Through their explorations, participants may engage in ‘engineering’ (for example, working out the best materials to create a funnel), ‘making’ (for example, building a run from cut-up tubes) and ‘tinkering’ (playfully experimenting with the different materials as they develop their thinking and set new short-term goals). In a science lesson, this could be a starting activity to help learners to encounter ideas about forces and motion before any of them have been taught the ideas theoretically. By imposing the ‘as slowly as possible’ condition, learners use intuitive ideas about friction. They also use ideas about rotational movement, linear movement, acceleration and velocity. When they have misconceptions about those topics, this activity can help expose them, and enable the learners to discover that they have misconceptions. However, most of the time, this is not used in the context of a specific topic in science. It is more there to foster skills, and understanding of the nature of science, including hypothesis setting (albeit informally), testing, controlling for Cambridge teachers exploring the idea of scientific tinkering variables and collaboration.
Table 14: An example of a low-tech tinkering activity: Marble Machines (Winterbottom et al, 2016, p.14)
What can we learn from the arts?
Arts subjects such as art and design, music, drama and dance are often associated with creativity and innovation. A broad and balanced curriculum (see Chapter 2) recognises that encouraging the arts can help students to develop their own creative voice and creative thinking skills. Studying an arts subject can also build learners’ self-confidence as they feel valued for their unique contributions and talents. When encouraging creativity across the curriculum, it can be useful to look at the ideas and techniques that underpin the teaching of creative subjects such as art, drama and music.
Learner autonomy: Arts subjects can be popular with learners because of the perceived high level of learner choice that is involved. Learners often work on projects that they have devised themselves, according to their own interests and passions. Unique and original work is particularly valued, in both informal and formal assessments. When learners take control of their work in this way, their levels of intrinsic (internal) motivation tend to increase (Craft, 2005, p.56).
Valuing uniqueness: Every learner’s outcome will be different in arts subjects. The idea of there being ‘no one right answer’ is deeply embedded in both the teachers’ and the learners’ approaches. Although other subjects have more fixed subject matter, it is important for students to learn that there is often more than one correct answer or more than one way to arrive at an answer.
Experimentation and play: In all arts subjects, there is an emphasis on experimentation and ‘play’. An art teacher will introduce a technique or material, for example acrylic paint, and learners try it out. This may initially involve copying examples and practising. Boden (2001, cited in Ferrari, Cachia & Punie, 2009, p.19) describes this as ‘exploratory creativity’, and likens it to a jazz musician learning to improvise based on a defined set of chords or scales. Having developed some degree of skill, learners can then start to experiment and push the boundaries of the material or technique. They may choose to combine it with another technique or idea to produce something that is original to them. Boden calls this ‘combinatorial creativity’ – the generation of new ideas by combining or associating existing ideas.
There is a role for experimentation and play in all disciplines so that students learn to use their imagination and develop engagement. As in arts subjects, this must be balanced with, and be supportive of, skill development so that it supports students’ basic literacies.
Looking at and discussing artworks: The study of artworks is not necessarily limited to art or art history lessons. Images of artworks can be used to prompt thinking in any subject area. Teachers can use carefully chosen artworks to prompt discussions and deeper critical thinking about a topic. Visual Thinking Strategies (VTS), developed by Yenawine (2014, p.25; see the Resources section) uses art to help learners of any age to develop their visual literacy, thinking and communication skills, and is an excellent resource. Journals, notebooks and sketchbooks: Keeping a notebook, sketchbook or journal is an essential part of an art and design education. All the creative skills can be practised through the discipline of keeping a record of a learner’s observations, ideas, reflections and collections. By recording and collecting a wide range of information, a learner can then start to cultivate creative connections between different elements and come up with more unique and original ideas. Notebooks and journals have been used by many great creators, such as the poet Lord Tennyson, who recorded fragments of thought and then generated connected words and images which led to his poetry (Michalko, 2001, p.58). Charles Darwin kept detailed journals on his travels to the Galapagos Islands, and his journals contain a record of his tentative diagrams of the branching system on which he eventually based his theory of evolution. Guy Claxton (2006, p.353) recommends encouraging learners ‘to keep a commonplace book… in which they keep scraps of overheard conversation, images, quotes, fleeting thoughts that didn’t go anywhere… as most creative writers, scientists, composers do’.
The value of failure: The arts, perhaps more naturally than other subjects, accept and celebrate failure as a learning opportunity and understand that it is an inherent part of the creative process. As West-Knights (2017, p.49) points out: ‘One of the mainstays of drama classes… is the notion that mistakes are OK, as long as you are trying things out.’
Peer review and feedback: Peer review sessions (sometimes called group critiques) are commonly used in art and design as a method of informal interim assessment. Learners present their work to small groups of their peers and receive constructive feedback. The process is carefully scaffolded by the teacher, who leads initial sessions, modelling the types of questions and comments that are appropriate. When successful, peer reviewing helps learners to build independence, gain insight into their peers’ working and thinking processes, and develop confidence in themselves as creative individuals.
Creativity lends itself to self-evaluation, peer evaluation, process/progress learning diaries (sometimes called process or progress journals), portfolio assessments, blogs, presentations and exhibitions. As Rachel Logan, Product Manager for Art and Design at Cambridge explains: ‘We are assessing how well they have thought “around” a problem, not necessarily how well the solution works.’ She adds: ‘It’s vital that learners have critically evaluated their outcomes, but in the end it’s mostly about the process that they went through to get there.’
Ellis and Barrs (2008, p.78) have developed a generic rubric to informally assess creative learning. Rubrics are designed to clarify criteria and standards against which students’ work can be assessed. This focuses on the processes involved in creative work, including investigation, skills, discussion, evaluation and reflection. The rubric is intended for use in a primary classroom, but could be adapted for any level.
References
Beghetto, R. A., & Kaufman, J. C (2007). Toward a broader conception of creativity: A case for mini-c creativity. Psychology of Aesthetics, Creativity and the Arts, 1, 73-
Budd Rowe, M. (1986). Slowing down may be a way of speeding up! Journal of Teacher Education , 37, p. 43.
Buzan, T. (1986). Use Your Memory: Understand Your Mind to Improve Your Memory and Mental Power. UK: Pearson.
Claxton, G. (2006). Thinking at the edge: developing soft creativity. Cambridge Journal of Education , 36(3), pp. 351–362.
Collins, A. M. & Quillian, M. (1969). Retrieval time from semantic memory. Journal of Verbal Learning and Verbal Behavior , 8, pp. 240–247.
Craft, A. (2005). Creativity in Schools: Tensions and Dilemmas. UK: Routledge.
Ellis, S. & Barrs, M. (2008). The assessment of Creative Learning. In: J. Sefton-Green, ed., Creative Learning. [pdf] UK: Arts Council England. Available at: https://www.sussex.ac.uk/webteam/gateway/file.php?name=creative-learning- sept-2008&site=45 [Accessed November 2016].
Ferrari, A., Cachia, C. & Punie, Y. (2009). Innovation and creativity in education
and training in the EU member states: Fostering creative learning and supporting innovative teaching. European Commission Joint Research Centre. Hattie, J. (2009). Visible learning: A synthesis of over 800 Meta-Analyses Relating to Achievement. London: New York Routledge. Kampylis, P. & Berki, E. (2014). Nurturing creative thinking. [pdf] International Academy of Education, UNESCO, p. 6. Available at: http://unesdoc.unesco.org/images/0022/002276/227680e.pdf Kaufman, J. C. & Beghetto, R. A. (2009). Beyond Big and Little: The Four C Model of Creativity. Review of General Psychology , 13(1) pp. 1–12. Kazemi, E. (1998). Discourse that promotes conceptual understanding. Teaching Children Mathematics , 4, pp. 410–414. Krathwohl, D. R. (2002). A revision of Bloom’s taxonomy: An Overview. Theory into Practice , 41(4) pp. 212–218. Leven, T. & R. Long. (1981). Effective Instruction. Washington, DC. Association of Supervision and Curriculum Development. Michalko, M. (2001). Cracking creativity: the secrets of creative genius. California: Ten Speed Press. Nakamura, J. & Csikszentmihalyi, M. (2002). The concept of flow. Handbook of positive psychology , pp. 89–105. Nesbit, J. & Adesope, O. (2006). Learning with concept and knowledge maps: A meta-analysis. Review of Educational Research , 76(3), pp. 413–448. Park, J. & Brannon, E. (2013). Training the Approximate Number System Improves Math Proficiency. Psychological Science , 24(10), pp.2013–2019. Richards, R. (Ed) (2007). Everyday creativity and new views of human nature: Psychological, social, and spiritual perspectives. Washington, DC: American Psychological Association p.349. http://dx.doi.org/10.1037/11595- Scales, P. (2013). Teaching in the Lifelong Learning Sector. Maidenhead: Open University Press.
Smolucha, F. (1992). A reconstruction of Vygotsky’s theory of creativity. Creativity Research Journal , 5(1), 49-67.
Sternberg, R. J. (2012). The Assessment of Creativity: An Investment-based Approach. Creativity Research Journal , 24(1), pp.3–12.
von Oech, R. (1998). A Whack on the Side of the Head: How You Can Be More Creative. 3rd ed. New York: Warner Books.
Vygotsky, L. S. (1967). Play and Its Role in the Mental Development of the Child. Soviet Psychology , 5(3), pp.6–18.
West-Knights, I. (2017). Why are schools in China looking west for lessons in creativity? The Financial Times. Available at: https://www.ft.com/content/b215c486-e231-11e6-8405-9e5580d6e5fb [Accessed 21 April 2017].
Winterbottom, M., Harris, E., Xanthoudaki, M., Calcagnni, S. & De Puer, I. (2016). Tinkering: A practitioner guide for developing and implementing tinkering activities. Tinkering: Contemporary Education for the Innovators of Tomorrow project.
Resources
Questioning
Rothstein, D. & Santana, L. (2015). Make just one change: Teach students to ask their own questions. Cambridge, MA: Harvard Education Press.
This practical teachers’ guide describes the ‘question formulation technique’ as developed by the authors over several years of working with learners across a range of socio-economic backgrounds, including bilingual learners. The book goes through the strategies step by step and gives examples of how teachers of different subjects have implemented the technique.
Essentially, the strategy is to prompt learners’ curiosity with a ‘question focus’ which could be an image, statement or audio-visual stimulus. Learners then create questions through divergent thinking routines. They then prioritise and improve these questions with help from their teacher. Finally, a range of possible next steps are suggested as to what learners might do with the questions. These include ‘do-now’ activities,
identifying topics for further research and investigation, preparing for tests, providing formative assessment information for teachers or preparing a research agenda for the next unit of study. Educating for Creativity: Level 1 Resource Guide www.creativeeducationfoundation.org/wp-content/uploads/2015/06/EFC-Level-1- FINALelectronic.pdf This guide from the Creative Education Foundation gives lots of useful tips about how to encourage your learners to solve problems creatively. The creative problem solving (CPS) process is based on the Osborn-Parnes CPS model. There are descriptions of brainstorming-type activities for cross-curricular projects. The ethos behind this model is to encourage an environment in which creativity and innovation can thrive using a range of techniques and strategies. The authors aim to nurture creative skills which will become an integral part of learners’ work and life in future. Buzan, T. (1996). The Mind Map book. New York, NY: Penguin. One of many publications by Tony Buzan that explores the possibilities of mind maps and explains how they are best generated. De Bono, E. (1993). Serious Creativity: Using the Power of Lateral Thinking to Create New Ideas. USA: Harper Business. Although primarily aimed at a business market, this book contains very detailed descriptions of how to implement Edward De Bono’s many lateral thinking tools, including Six Thinking Hats, Provocations, Random Input and more. There are also suggestions for how to run training or set up a creative thinking session, which could easily be adapted for use in schools. Online resources from Edward De Bono Edward De Bono’s CoRT thinking tools are described in this resource, along with many other ideas for using questions to trigger critical and creative thinking: www.nsead.org/downloads/Effective_Questioning&Talk.pdf Instructions and descriptions of De Bono’s CoRT thinking tools with examples: http://elearnmap.ipgkti.edu.my/resource/gkb1053/sumber/CoRT1-4.pdf Simister, C. J. (2009). The Bright Stuff: Playful ways to nurture your child’s extraordinary mind. Harlow: Prentice Hall LIFE.
