Fostering Students' Creativity and Critical Thinking (original) (raw)
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This document is a summary of key readings in critical thinking and creativity, prepared for school teachers. It focuses on four topics: (a) critical thinking and its relationship to creativity; (b)an education-related concept of creativity (i.e., understanding what you are trying to promote); (c) recognizing classroom creativity when you see it (i.e., the personal and product-related components of creativity – personality, processes, products); (d) creativity-oriented pedagogy (i.e., how to teach in ways which will promote creativity as it is defined in 2).
The Australian Educational Researcher
This article details how and why we have developed a flexible and responsive process-based rubric exemplar for teaching, learning, and assessing critical and creative thinking. We hope to contribute to global discussions of and efforts toward instrumentalising the challenge of assessing, but not standardising, creativity in compulsory education. Here, we respond to the key ideas of the four interrelated elements in the critical and creative thinking general capability in the Australian Curriculum learning continuum: inquiring; generating ideas, possibilities, actions; reflecting on thinking processes; and analysing, synthesising and evaluating reasoning and procedures. The rubrics, radical because they privilege process over outcome, have been designed to be used alongside the current NAPLAN tests in Years 5, 7 and 9 to build an Australian-based national creativity measure. We do so to argue the need for local and global measures of creativity in education as the first round of test...
How Criticality Affects Students' Creativity
Teaching creativity – creativity in teaching, 2010
In this chapter, I analyse if there is an inherent paradox between creativity and criticality. With critical thinking being among the core values in higher education, can we then also foster creative thinking? In answering this question, I use the masters degree LAICS (Leadership And Innovation in Complex Systems) as a case study. Interviews with students are used to shed light on creative teaching and learning. It is shown that creativity can be taught by teaching creatively. I conclude that creativity and criticality are not entirely different ways of thinking and both are important in academia, but creativity can be hampered by our norms, rules, and structures.
OECD - Organisation for Economic Co-operation and Development , 2019
Work in Hungary took place during the entire duration of the development project. Pedagogical work was conducted over two school years between February 2016 and June 2017. The team undertook two rounds of data collection. Apart from three private schools, schools involved in the project were public. In Hungary, the local co-ordinators focused on a school population of disadvantaged students, many of them young Romani. The team already carried out work with a network of schools and teachers and added the project materials and ideas to its previous practice. It worked in both primary and secondary education and focused on mathematics and science education. In this study, Hungary reported one of the lowest shares of students with an immigrant background (2%), and a high proportion of classes with a positive class climate (60%). The time span between pre- and post-measurements in Hungary was relatively short (17 weeks), and relatively light for students (8 hours of intervention in class), although they continued working with the new pedagogical activities during the whole school year, 90 minutes a week. The difference between rounds was remarkable: the second year of the project, the intervention with students lasted considerably longer (51 hours of intervention in class), and 34 weeks passed between pre- and post-measurements. Teacher professional development in the Hungarian Team comprised one intensive induction training followed up by regular meeting sessions throughout the intervention. Professional development workshops, monitoring sessions and continuous mentoring was provided. During the first round, the team used the Creative Partnerships method (see Chapter 3 for more information on the signature pedagogies). During the second round, two kinds of pedagogies were used in the “intervention” schools: Creative Partnerships and the Step by Step approach. The Creative Partnerships approach involves continuous teacher professional development based on collaboration with an artist or a creative professional with the class teacher. The artist helps the teachers change their teaching in different subjects to make it more creative and engaging for students. The Step by Step approach focuses on structured co operation and teamwork. All intervention teachers had sessions about the OECD rubrics and the Hungarian project team closely supported teachers participating in the Creative Partnerships programme. Chapter 3. Eleven signature pedagogies related to the fostering of creativity and critical thinking - Creative Partnerships (all subjects) page 77- 79 Chapter 8 - Hungarian Team page 217- 221 At T-Tudok Centre for Knowledge Management and Educational Research and Education Authority, Budapest: Szilvia Németh (project coordinator) and Anita Kaderják; At T-Tudok Centre for Knowledge Management and Educational Research:, Judit Kádár Fülöp, Judit Lannert, Daniel Vince, Dezső Máté; At the University of Pécs: Attila Lengvárszky, Péter Lengyel, and Endre Raffay; at the Step by Step Programme Hungary, Bertalanné Zágon and Éva Deák; At the Educational Authority, Budapest: Sándor Brassói, László Ostorics and László Pongrácz
Critical and Creative Thinking in the Australian Curriculum
While there are many models and theories that have been developed to help describe and teach 'thinking skills' (for example, Marzano 1988; Perkins 1985; Swartz and Parks 1994), critical and creative thinking appear to be approaches widely accepted in today's educational arena. Consider: The Melbourne Declaration on Educational Goals for Young Australians (MCEETYA 2008) recognises that critical and creative thinking are fundamental to becoming successful learners. The new Australian Curriculum explicitly identifies critical and creative thinking as essential competencies to be addressed within the General Capabilities (Australian Curriculum Assessment and Reporting Authority 2011). The International Society for Technology in Education (ISTE) identifies Critical Thinking and Creativity and Innovation as two of six domains in their NETS-S for students (the standards for evaluating the skills and knowledge students need to learn effectively and live productively in an increasingly global and digital world) (ISTE 2000). The Partnership for 21st Century Skills also identifies Critical Thinking and Creativity as two of the 4Cs in the Learning and Innovation Skills Domain of the 21st Century Student Outcomes and Support Systems (Partnership for 21st Century Learning Skills 2010).
Educators have long been interested in teaching critical thinking, problemsolving and creativity. However, the question rises as to when pupils are ready to engage in these activities. An additional question is whether these abilities develop uniformly across disciplines, that is, in language, music, and art at the same rate. This paper provides a beginning outline of the developmental trajectory of these abilities and presents some suggestions for teachers as they engage pupils in music, language, and art activities that involve problemsolving, creativity and critical thinking.
Assessment, creativity and learning: A personal perspective
Future in Educational Research, 1–11, 2023
This paper presents a personal view (a view coloured by my cultural environment and upbringing) of young people's education. I look in particular at assessment practices and detail my understanding of the nature of learning, focusing on creativity and the tensions associated with schooling and creative behaviour. Drawing upon and developing my earlier work in the light of further research and experience, I give an overview of assessment practices and approaches to teaching and learning and argue for a learner-centred approach with a focus on practical work and an environment that promotes creative problem-solving across the whole curriculum. A pedagogical strategy is presented that is based on four areas of activity: reacting, researching, responding, and reflecting. K E Y W O R D S assessing creativity, assessment, creativity, learning and creativity, pedagogy 1 | INTRODUCTION This paper draws upon my writing, research and experiences of the past half century. During that time, I have been actively involved in creative practice and education in a number of roles-as a student, teacher, teacher trainer, senior examiner, school inspector, school governor and, not least, parent. Inevitably, I present a subjective, personal viewpoint that is coloured by my social background and culture, although this is informed by empirical research. Underpinning this account is the notion that creativity involves an internal, cognitive process that sometimes results in the manifestation of creative products-this manifestation can take many forms in many domains, including the arts, mathematics, and sciences. An ongoing issue is assessment of such manifestations and the processes behind them-how we assess, what we assess, and why we assess. In reflecting upon the topics discussed here, there are some fundamental questions that are implicit in the discussion. These include questions such as how can we assess creative learning? and, more tacitly, what are schools for? and what is the purpose of education? This is an open access article under the terms of the Creative Commons Attribution License, which permits use, distribution and reproduction in any medium, provided the original work is properly cited.