On the Nature of the Creative Mind (original) (raw)
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Promoting the Development of Creativity in Education
2019
Creativity is progressively recognized as a key element of success in education. The various aspects and conditions of creativity have been identified by researchers, but currently, it appears to seem as a more important subject of interest towards many scientists. This article highlights the importance of developing the creativity of primary school children in the context of education. In a creative learning environment, primary school children expand their skills and strategies on various aspects of creative development. Creativity is an important part of education, making learning itself a social activity. The success of progress and evolution should be at the forefront of developing children creativity. First, it should be able to organize, select the right information, secondly to develop critical and original thinking and, last but not least, to manifest its creativity in its own affections and desires. The critical thinking and inner motivation of children influence the devel...
Seminare. Poszukiwania naukowe
Creativity is a positive word in a society that constantly aspires to innovation and progress 1. Conveying an image of dynamism, the concept of creativity arouses an ever-growing interest. As J. Piirto 2 (2007) stated, the term was used in over 16,500 references to titles of scholarly books and articles by late 2003. This result will multiply many times if the same inquiry is updated in 2015. Many topics referred to creativity in business, creativity in psychology, creativity for parents, creativity and spirituality, creativity and teaching, creativity and aging, creativity and the arts, creativity and the sciences, creativity and mathematics, creativity and problem finding, creativity and problem solving. Actually, what is creativity? Exploring the review of literature, we realize that this question, very simple in formulation and in appearance, is very difficult to answer. Nevertheless, it represents the obliged gate we have to cross before going any further in our study of the concept of creativity. Concepts are important in research and theory. Clear conceptual understanding leads to well-designed research with clear operational definitions of variables and well-developed theories with clear theoretical definitions of concepts 3. 1 See DGEC (Directorate-General for Education and Culture), The impact of culture on creativity.
Advances in human and social aspects of technology book series, 2015
The goal of this chapter is to respond to the scarcity of literature on creativity that is relevant both to CHAT and in the field of education. The authors explore Vygotsky's writings on creativity, imagination, art, and play in relation to three Swedish preschool projects that practice a pedagogy of exploratory learning. Also included are discussions of imagination versus realistic thinking, syncretism in children's creative work, and play as a creative activity. Because this study was a formative intervention, the pedagogy of exploratory learning became significant in the analysis. The bulk of the chapter consists of thick descriptions of the projects and discussion of aspects of creativity as they appear in the projects. The data was collected by teachers and a research team that consisted of the authors of this chapter. Data collection in the three projects took place before the intervention took place, during the initial phases of the intervention, and after the intervention had become an annual theme for the preschools. The research was initially guided solely by a cultural historical understanding of creativity, while the analysis brought CHAT into dialogue with postmodern writings that are related to exploratory learning.
The Variable of Creativity and Pre-School Education
Pro Edu. International Journal of Educational Sciences, 2020
Preschool education as the first stage of institutionalized education comprises a series of activities that have as their origin the creation of a creative and autonomous personality that makes subsequent social integration possible. Thus, the variable of creativity plays a special role in the process of modeling the human personality and it is necessary that its stimulation be realized early. Given that the variable of creativity has multiple forms of manifestation, the role of education is to model it and stimulate it by virtue of a holistic formation. The purpose of this study is to identify the ways of expressing creativity among preschool children, as well as parents' opinions about the activities carried out in order to stimulate children's creativity. "Creativity is a social need." (Roco, p. 12) Education, as a factor of human educability, assumes an imperative role in the process of modeling human personality. The variable of creativity, through various forms of manifestation, influences the adaptability process of the human being and has defining influences in terms of building a personality according to the requirements imposed by the present, but also future society. Being a social need, creativity has the potential needed for a holistic, harmonious development that will lead to improvement and innovation. The need to stimulate creativity from an early age derives from the developmental needs and individual characteristics of children. Creativity should be seen as a necessary tool for a harmonious development that has the power to shape the human personality. Therefore, preschool education, as the first stage of institutionalized education, has to make early use of the creative potential of the child.
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
Cultivating creative mentalities: A framework for education
Thinking Skills and Creativity, 2006
Is it possible to organise life in schools and classrooms in such a way that young people not only have the opportunity to express their creativity, but systematically become more creative? That is the question addressed by this paper. It draws upon and synthesises a range of different kinds of evidence-anthropological, phenomenological, experimental and neuroscientific, as well as classroom-based action research studies-that clarify what it means to have a 'creative mentality'; and suggest that the answer to the question whether such mentalities are capable of cultivation is 'probably yes'. Clearing the desks The study of 'creativity' seeks answers not to one but to a family of complementary questions that need distinguishing if we are not to suffer unnecessary confusion. For example, 'What counts as a creative product or performance?', concerns the social and psychological processes of judgement. It asks how value is ascribed. And the answer depends critically on specifying 'for whom?' An idea can validly be judged novel, insightful and useful by its creator, and how this attribution is made is quite a different question from how the accolade 'creative' is bestowed and negotiated socially. There is no need to get hung up on whether a 'true' creative product can be 'new for me', or whether it has to be 'new in human history': they are different questions.
Some Aspects of the Creative Potential in Primary School Children
Research Papers in Economics, 2021
A notable theme in much recent primary education has been the concept of creativity. Nowadays it is highlighted the fact that creativity is directly responsible for the progress of the society. Creativity and creative potential are still seen as two abstracts concepts because literature in the field is updating day by day. The curriculum contributes the developing of trans and interdisciplinary activities. Throughout time, the most important innovations in different domains were possible only with the help of human who wanted to create something new, original and innovative. In this case, creativity plays a very important role. Developing the capacity of being creative, it is essential for surviving, as each of us is in great need of novelty and originality. The link between creativity and creative potential is very thin because it positively influences at the same time the educational process. In the article, the novelty is highlighted through the connections between creativity and creative potential in education and also, there are presented few theoretical interpretations of each concept. In order for an adult to become creative, fostering creativity and stimulating creative potential from an early age is required. The school system remains the main instrument, which society uses to cultivate and enhance creativity in young members, of school age. In this sense, the systemic modernization of education, in the light of pedagogy of creativity, is necessary. Although, the school play an essential role in training primary school children in order to be able to use their full creative potential in future productive activities. At the same time, creativity represents a condition of efficiency in both work and education. Creativity and creative potential in education stands for an important factor in developing primary school children in order to obtain an autonomous and creative personality.
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.