Book review of The Creative Turn (original) (raw)

BEING CREATIVE: THE CHALLENGE OF CHANGE IN THE CLASSROOM by CHAZ PUGLIESE - BOOK REVIEW

In this paper, I would like to summarize the book, entitled Being Creative: The Challenge of Change in the Classroom. It was written by Chaz Pugliese. It was published by Delta Publishing in England. It has 96 pages and it was first published in 2010. The International Standard Book Number of this book is 978-1-905085-33-0. It was edited by Mike Burghall and designed by Christine Cox. It was printed in England by Halstan & Co..

Rethinking Creativity and Approaches to Teaching

International Journal of the Book, 2007

Creativity is a term much used but seldom defined. Given that creativity has been seen as a mystical gift, inherited genius, a form of madness, a series of personality traits or a collective social experience it is easy for misunderstandings to occur when discussing books and creative writing. This paper deals with the development of ideas on creativity, including common misconceptions that have real world implications for cultural production. Despite the common assumptions about creativity and the continuing existence of the inspirational and romantic frames of reference, as well as their strongly held adherence by the general populace, there is now enough research at the empirical and rational level to identify a more useful conception of creativity. For example Mihaly Csikszentmihalyi (1988,1997,1999) contends that creativity is the result of a system of interactions between the individual writer and the broader social and cultural context in which they write. The system is comprised of a domain of knowledge, a field or social organisation that understands that knowledge and an individual whose task it is to make changes in the domain. This systems model of creativity not only contextualises creative writing and the production of books but provides an insight into a rational basis for the teaching of creativity that goes beyond romantically inspired approaches.

Capturing Creativity through Creative Teaching

This chapter outlines the use of various arts-informed teaching methods for use in a non-arts graduate classroom in order to promote transformational learning, cognitive development, and creative capacity. In addition to a description of various instructional strategies, a pilot project examining the impact on student thinking will be discussed.

Creativity and creative pedagogies exploring challenges, possibilities and potential .docx

Internationally, the first decade of the 21st century was characterised by considerable growth in creativity research (e.g. Einarsdottir, 2003; Cremin, Burnard and Craft, 2006; Beghetto and Kaufman 2007; Mirzaie, Hamidi and Anaraki, 2009; Chappell, 2007; Sawyer, 2010). While some researchers focused upon conceptual challenges (e.g. Beghetto and Kaufman, 2007; Lin, 2011; Megalakaki, Craft and Cremin, 2012), others documented and examined classroom practices; both those of teachers (e.g. Jeffrey and Woods, 2009; Craft, Cremin, Hay and Clack, 2014) and of visiting subject specialists, often artists (e.g. Galton, 2010; Hall and Thomson, 2005). Empirical studies in this area, with an observational eye on classroom practices, have tended to pay attention to both teacher and learner orientations, to ‘creative teaching’ and ‘teaching for creativity’, thus encompassing Dezuanni and Jetnikoff‘s (2011:265) assertion that creative pedagogies involve ‘imaginative and innovative arrangement of curricula and teaching strategies in school classrooms’ to develop the creativity of the young. However whilst recognition of the role and nature of creativity, and interest in creative pedagogical practice has grown, tensions persist at several levels, particularly in accountability cultures where international comparisons such as the Progress in International Reading Literacy Study (PIRLS) and the Programme for International Student Assessment (PISA) frame and shape policy, practice and curricula. These ongoing large scale surveys are seen as key reference points for policy makers across the world; students’ performance in them (in reading, mathematics and science in PISA for example) is increasingly seen as a measure of individual country’s comparative success on a worldwide scale. Yet neither encompasses attention to children’s lived experience of learning or creativity within or beyond school. A focus on learners and their creative potential, and on teachers and their innovative pedagogic practice, is absent. A focus on arguably narrow notions of attainment dominates. This book, based on a Special Issue of Education 3-13 which was planned with Anna Craft before her untimely death, responds to this performative context (Ball, 1998) and draws together the work of a number of eminent scholars of creativity and creative pedagogies. It offers diverse perspectives from Colombia, Denmark, England, France, Poland, Hong Kong, and the USA and highlights differences as well as similarities across cultural contexts. Individually and collectively, the authors, framed by their own stances on creativity, reveal both the complexities and the possibilities of creativity and creative pedagogies.

A risky business: creative learning in education

Teacher Education Advancement Network Journal, 2011

This paper explores the challenges that professional educators encounter as they endeavour to engage learners creatively. The recent change of government offers an opportunity to revisit assumptions about creativity that have been enshrined in policy, and evidenced in practice through such programmes as Creative Partnerships. Early indications of new coalition government policy suggests an increasingly constrained and measured curriculum and an approach to pedagogy that is less open to creative approaches to learning. Concomitantly pupil and student ‘voice’ have acquired a degree of status, arguably as a measure to assure quality and frequently framed within a discourse of ‘value for money’. Of rather less importance is ‘voice’ when it is framed within the context of being listened to, nurtured, encouraged to take risks, supported in managing uncertainty, learning from failure, and critiquing the learning process. This paper argues that if learning is to develop and flourish, it is ...