Creativity and Education: A Philosophical Analysis (1968) (original) (raw)
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This paper starts with a brief background of the link between creativity and education, including the beginning of the most recent interest in the two. There is a short summary of the reasons for this renewed interest. This is followed by a discussion into the dissatisfactions over current education and its changing role in the light of increasing importance being accorded to creativity. Lastly, evidence in educational policy documents from around the world is presented to show the steps being taken for implementation of creativity in education.
This paper starts with a discussion of the conceptual difficulties around defining, understanding and assessing creativity and subsequently refines this discussion within the context of education. It directly addresses some of the key limitations to the manifestation of creativity specifically in schools and examines key areas of debate in educational policy and practice, pointing to increasing and, in some cases, renewed in the creativity in education agenda. These areas include: the curriculum, the arts and external (that is, out-of-school) partnerships. This paper ultimately argues – and concludes – that there is a place for creativity in education and there is evidence of good creative practice. This paper was submitted as a final assignment of my Bachelor's Degree in Education. It scored a 77.
1999
The systematic fostering of creativity is part of a liberal/humanistic approach to education that goes back to the ancient world. Creativity brings benefits both to society and to the individual, and the need to support it is accepted in principle by most teachers, even if there is uncertainty about what this means in practice. In modern discussions, creativity was initially conceived of as primarily a matter of thinking, especially divergent thinking. This approach was particularly attractive to educators, because it provided an explanation of many behaviors seen in the classroom (it was plausible), and it generated simple suggestions for fostering creativity (it was practical). Various forms of creativity training were developed and applied in schools. However, despite its value, an approach limited to thinking is too simple. Creativity arises from a combination of cognitive, affective, motivational, personal, and social factors, but many creativity packages fail to take this sufficiently into account. Special provision for fostering creativity such as building enrichment sessions into the curriculum are also less effective than they could be, particularly because they are isolated from regular classroom activities. What is needed are creativity facilitating teaching and learning methods and approaches that permeate the entire curriculum in all content areas and at all age levels.
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.
The turbulent times of creativity in the national curriculum
Policy futures in education, 2005
This article traces the demise of creativity in the national curriculum in England and Wales. It is argued that the creative dimension in the national curriculum has been purged by various government directives since the Ruskin speech in 1976, all aiming to introduce provisions of standardisation, centralisation, and vocationalisation of education. The plethora of centralised testing regimes and quality assurance measures has not only damaged the esteem of teachers and pupils, but has also turned education into a game where teachers teach the art of passing exams, and pupils realise the academic dangers of nonconformity. In the second section of this article it is suggested that despite New Labour's infatuation with measurable standards, it seems the assault on creative subjects is being reversed somewhat, and various efforts have been introduced to bolt creativity onto the national curriculum with the aim of re-energising teachers' and pupils' creative spirits. The article finishes by offering further avenues of thought and concludes by suggesting that a truly inspiring, satisfying and rewarding curriculum can only result from moving from a business-education-orientated education system to a child-centred learning experience.
Extracting the Creativity Within: A Review of "Education and Creativity", edited by Elżbieta Osewska
The Person and the Challenges. The Journal of Theology, Education, Canon Law and Social Studies Inspired by Pope John Paul II, 2016
One would expect a book with such a title-Education and Creativity-to be about pedagogy within a school context, which it is not1. Or rather, it is much more than that. Although essays such as Stanko Gerjolj's on emotional, moral and religious intelligences deal specifically about the class community, the book is not just about schools. Thankfully, the word education, which appears in the title, is used more broadly. So is the word creativity. Creativity is mostly understood as discovery, or as the innovative re-combination of ideas, but it is also linked to dialogue and communication. Naturally, there is, within the book as a whole, an evident attempt on the part of the editor, to establish the relationship between creativity and education. Throughout the book, the reader learns about creativity within the field of education, about creative teaching, about creative learning, and about creative learning environments. We are also made to reflect upon teaching for creativity, learning for creativity, the relationship between different kinds of intelligences and creativity, as well as upon the more practical possibility of establishing a policy of creativity in education, and of introducing the education