Fosteringg Creativityy Andrea Muller Nicole Ginnane Tania Lattanzio
CREATIVITY – YOUR CONNECTIONS 1. 1 2. 3 3. 4.
What is creativity? Why do we need to focus on creativity? How can we focus on creativity? What is your role in placing creativity at the centre?
WHAT IS CREATIVITY? ‘ imaginative processes with outcomes that are ‘imaginative original and of value’. Ken Robinson “the tendency to generate or recognize ideas, alternatives, l i or possibilities ibili i that h may b be useful f l in i solving problems, communicating with others, and entertaining g ourselves and others” Robert E. Franken
Creativity is multi dimensional. dimensional It can be a trait, skill, ability, or an approach or all of these. these Creativity is one of those - ‘I can’t describe it it, but I know when I see it ideas”.
Where do you see creativity in your every day life? When and where do you use it?
WHY CREATIVITY? “THE FUTURE BELONGS TO A VERY DIFFERENT
KIND OF PERSON WITH A VERY DIFFERENT KIND OF MIND – CREATORS AND EMPATHIZERS, PATTERN RECOGNISERS AND MEANING MAKERS. MAKERS THESE PEOPLE – ARTIST, ARTIST INVENTORS INVENTORS, CAREGIVERS, CONSOLERS, BIG PICTURE THINKERS – WILL NOW REAP SOCIETY SOCIETY’SS RICHEST REWARDS AND SHARE ITS GREATEST JOYS.” DANIEL PINK, A WHOLE NEW MIND
“Reportt after “R ft reportt show h ‘a ‘ significant i ifi t disconnection between education systems around the world and the needs of 21st century employers’. There are repeated calls for a curriculum which would be effective at cultivating a core set of ‘generic skills and attitudes, prey the ability y to learn’”. eminently,
Building g learning g Power Guy Claxton http://www.buildinglearningpower.co.uk/why_change.html
WHAT DO STUDENTS THINK ABOUT CREATIVITY? How do schools nurture creativity? How do they hinder your ability to be creative?
DISCUSS – IN PAIRS The sheer volume of facts to be ‘The digested…..leaves little time for a deeper interrogation g of their moral worth. The result has been a generation of technicians rather than visionaries… The answer must be reform in our educational d ti l methods th d so that th t students t d t are encouraged to ask about “know-why” as well as “know know-how how” Source: OnArts: Creative New Zealand. Zealand Michael D. D Higgins, Higgins the former Irish Minister for Arts, Culture and Gaeltacht cited in ‘Creativity It’s Place in Education’ by Wayne Morris
Creativity is often the casualty of a Creativity is often the casualty of a more rudimentary traditional curriculum… Bruce Hammond, Leading and Learning blog
How can we focus on creativity? “Creativity is not just art or music, something else to tick off in our plans for Tuesday afternoon. It is not even an ingredient to add to the curriculum diet but the inspiration and motivation integral to the process of learning. In fact it is i th the underpinning d i i and d expression of true learning.”
Creativity C ti it att the th Centre off Our Curriculum
((Peter Dixon, i verbal quote provided i in interview, 2006 in Tim Burgess, 2007, ‘Lifting the lid on the creative curriculum: How leaders have released creativity in their schools through curriculum ownership’)
CREATE! A MOMENT TO …….CREATE! Visualise your learning environment and reflect on three ways that you might re-consider the environment. How could you mentor, as a leader, as teacher, rethinking the environment?
MAKING ROOM FOR WHAT IS IMPORTANT CREATIVITY IS TRANSDISCIPLINARY……… connecting Where in your curriculum do you/can you make room g relationships p and combining g in new ways? y for seeing
Cited from Lifting the Lid on the Creative Curriculum Research Associate Report Tim Burgess National College for School Leadership 2007
risking Having the self-confidence and freedom to fail and keep trying?
envisaging Being original and imaginative about what might be?
analysing Asking critical and challenging questions?
thinking Taking time for reflection and soft thinking?
interacting Sharing ideas and collaborating?
varying Testing options and trying in different ways?
elaborating
E l i Exploring and d doing d i th the unnecessary with love!
TORRANCE CQ
CREATIVITY – CAN IT BE MEASURED/SHOULD IT BE MEASURED? As Torrance asked, asked Do we want to identify only those potentialities that will flourish in spite of all efforts to thwart them? Or, do we want also to identify those potentialities that will be realized under intelligent guidance guidance, more favorable learning conditions, and the like?(1966).
Look Fors: - ideas—more ideas, original ideas, and elaboration on those ideas. - images if they tell a story story, convey emotions, emotions see things from a different angle, and have a sense of motion. - Points get knocked off for responses that are very common. Sharks are popular—so are hats— perhaps because fins and hats feel like a starting point for drawing. On the other hand, details, humour, sense of visual perspective are pluses.
PEER REFLECTION Share your ‘sketch’ sketch with your friend - treasure the interpretations
How do you think you scored? Any hats or fins!!!
A t (adult) Assetou ( d lt) Most people will turn the image into a known M t l ill t th i i t k object. However, Assetou resists the temptation to do so The openness of the lines sho s that to do so. The openness of the lines shows that she's not going to force anything into an obvious solution. solution
Joshua (adult) ( ) "What I like is that he goes completely g p y outside the box—it's just a detail," he says. However, the main problem is using the , p g stimuli lines as a hat, which is a very common p f , g response. If it wasn't a hat, but something else (hands holding chopsticks?), this would have been highly creative. g y
DAVID PERKINS
http://www.youtube.com/watch?v=A7UnupF-uJk
Whatt iis your role Wh l iin leading schools to enable creativity?
To do this we need to…….. Reconsider th place l ll d school h l - discuss di the called Conceptual change for schools requires req ires consideration of 4 structures… 1. 2. 3. 4.
Physical and virtual Schedule for learning g Groupings of students Personnel configuration
'Learning is the core purpose of schools', Stoll and Timperley S p y begin g their p paper, p , 'Creative Leadership: a Challenge of our Times‘ Stoll and Dean Fink, 'It's About Learning and it's About Time': 'these d days if you can't ' llearn, unlearn l and d relearn , you're lost because sustainable and continuous learning g is a g given off the twenty-first century.
Creative leadership: a challenge of our times, 2009, School leadership and management, management vol. vol 29, 29 Feb 2009, 2009 p.65 – 78.
TINKERING SCHOOL
http://www.youtube.com/watch?v=hvHViFc0ekw
This represents a fundamental challenge h ll ffor school h l lleadership. d hi There is Th i a need d ffor lleaders d to consider what inhibits creative l learning i and d what h conditions di i are required to encourage it.
Stoll and Timperley identified nine conditions in the research in schools to allow learning focused innovation and creativity to thrive. Their set of conditions could act as a recipe which can, in combination, produce the desired effect.
1. Model creativity and risk taking 2. Stimulate a sense of urgency 3. Expose colleagues to new thinking and experiences i 4. Self consciously relinquish control 5 P 5. People need time and space l d ti d 6. Promote individual and collaborative creative thinking and design ti thi ki dd i 7. Set high expectations about the degree of creativity f i i 8. Use failure as a learning opportunity 9. Keep referring to core values
CALGARY SCIENCE SCHOOL GRADE 8 – A RESPONSE TO T KEN ROBINSON
http://elearning-central.blogspot.com/2011/03/week-six-bloground-up-student-response.html