Therefore, the different international contexts presented in this book allow the
analysis, we hope, to provide a more complete view on where higher education
is currently at and where it is heading with respect to creative learning. By
Author: Linda S. Watts
This book provides higher education faculty and administrators a scholarly resource on the most salient aspects and emerging trends in creative learning in higher education today. International contributors explore ways to foster creativity in any student, regardless of academic discipline or demographic characteristics and demonstrate that creativity is a skill all students can and should learn. Chapters analyzes how different countries and cultures implement creative learning, exploring issues of instruction, assessment, and ultimately how these practices are transforming learning. This important book helps higher education professionals understand and cultivate creative learning across disciplines in any college and university setting.
All of the activities in this book focus on application of brain-based research and
providing an enhanced learning environment and will work in engaging learners
and enhancing the learning experience. Creative Learning: Games and ...
learn, negotiating about curriculum and involvement in generating possibilities
for and making decisions about school priorities and directions. But while there
may be commonalities about what creative learning looks like regarding students'
Author: Edward Sellman
Creative Learning to Meet Special Needs shows teachers how to use creativity in the curriculum to support the learning of pupils with special educational needs.
More recently, there has been an explosion of creativity research in education,
drawing on the insights of creativity theory and rich in implications for the
rethinking of assessment practice. In a study of progression in creative learning,
Author: Julian Sefton-Green
Until now there has been no single text bringing together the significant literature that explores the dimensions of creative learning, despite the work of artists in schools and the development of a cadre of creative teaching and learning specialists.
In education, there is a small but growing body of research that identifies the
potency of institutional and artistic collaborations (Burnard and Swann, 2010;
Triantafyllaki and Burnard, 2010). The vision and the hope are that the creative learning ...
Author: Elizabeth Haddon
This edited volume explores how selected researchers, students and academics name and frame creative teaching and learning as constructed through the rationalities, practices, relationships, events, objects and systems that are brought to educational sites and developed by learning communities. The concept of creative learning questions the starting-points and opens up the outcomes of curriculum, and this frames creative teaching not only as a process of learning but as an agent of change. Within the book, the various creativities that are valued by different stakeholders teaching and studying in the higher music sector are delineated, and processes and understandings of creative teaching are articulated, both generally in higher music education and specifically through their application within the design of individual modules. This focus makes the text relevant to scholars, researchers and practitioners across many fields of music, including those working in musicology, composition, performance, music education, and music psychology. The book contributes new perspectives on our understanding of the role of creative teaching and learning and processes in creative teaching across the domain of music learning in higher music education sectors.
This small workbook is a fun way for parenTs anal Their liTTle ones To be creaTive anal inTeracT. There are Various exercises wiTh The alphabeT,
numbers, anal colors. ln each case There are associaTeal sauares where
picTures can be ...
Author: Adam L. D'Amato-Neff
Category: Family & Relationships
A fun and exciting way for parents to learn and interact with their children. This edition covers letters, numbers, and colors. Adults have even used this book for themselves as a personal journal and extension of their book of mirrors.
The main point to note from this report is the assertion that policies on curriculum
and pedagogy are open to external influence and presumably we could add the
educational creative learning discourse. Nevertheless, the report also shows ...
Author: Bob Jeffrey
Creative Learning in the Primary School uses ethnographic research to consider the main features of creative teaching and learning within the context of contemporary policy reforms. In particular, the authors are interested in the clash between two oppositional discourses - creativity and performativity - and how they are resolved in creative teacher practice. The book complements previous work by these authors on creative teaching by giving more consideration to creative learning. The first section of the book explores the nature of creative teaching and learning by examining four key features: relevance, control, ownership and innovation. The authors devote a chapter to each of these aspects, outlining their properties and illustrating them with a wide range of examples, mainly from recent practice in primary schools. The second section presents some instructive examples of schools promoting creative learning, and how creative primary schools have responded to the policy reforms of recent years. The chapters focus specifically on: how pupils act as a powerful resource for creative learning for each other and for their teachers; how teachers have appropriated the reforms to enhance their creativity; and how one school has moved over a period of ten years from heavy constraint to high creativity. The blend of analysis, case-study material and implications for practice will make this book attractive to primary teachers, school managers, policy makers, teacher educators and researchers.
26–27) This description of creative learning is one that would not be unfamiliar to
many educators today. We have the child exhibiting instinctive curiosity and
natural talent, a desire for selfexpression and the capacity to learn not only the
Author: Pat Thomson
It is a common ambition in society and government to make young people more creative. These aspirations are motivated by two key concerns: to make experience at school more exciting, relevant, challenging and dynamic; and to ensure that young people are able and fit to leave education and contribute to the creative economy that will underpin growth in the twenty-first century. Transforming these common aspirations into informed practice is not easy. It can mean making many changes: turning classrooms into more exciting experiences; introducing more thoughtful challenges into the curriculum; making teachers into different kinds of instructors; finding more authentic assessment processes; putting young people’s voices at the heart of learning. There are programmes, projects and initiatives that have consistently attempted to offer such change and transformation. The UK programme Creative Partnerships is the largest of these, but there are significant initiatives in many other parts of the world today, including France, Norway, Canada and the United States. This book not only draws on this body of expertise but also consolidates it, making it the first methodological text exploring creativity. Creative teaching and learning is often used as a site for research and action research, and this volume is intended to act as a textbook for this range of courses and initiatives. The book will be a key text for research in creative teaching and learning and is specifically directed at ITE, CPD, Masters and doctoral students.
Experts across the fields of architecture, education and estates management are
producing a considerable number of publications, and many new ... To do this
Towards Creative Learning Spaces is organised around three key themes: Part 1
Author: Jos Boys
Looking at relationships between learning and the spaces in which it takes place, this book considers the distinctiveness of post-compulsory education, and what matters about the design of its spaces.
But creativity in schools can mean many things: turning classrooms into more
exciting experiences, curriculum into more ... of instructors, assessment into more
authentic processes and putting young people's voice at the heart of learning.
Author: Nick Owen
Developing a Creative Curriculum shows teachers how to introduce creativity to what is often seen as a prescriptive curriculum, and addresses the tensions between innovation and the requirement to follow the curriculum.
More than anything, creative learning surely has to do with ferreting skills,
information, and knowledge out of one's own experience by perceiving significant
connections that exist within a broadly defined area. That is, if the knowledge is
Author: Lyn Lesch
Publisher: Rowman & Littlefield
Creative Learning for the Information Age: How Classrooms Can Better Prepare Students, second edition examines how students in their formative years can learn in a more creative manner and can become successful in an age in which knowledge travels so rapidly and is transformed so quickly.
Symbolic consciousness is a way of attending/questioning/critically reasoning
that artists have perfected in their learning and living. We can learn from them
how to attend to the movement of life in the moment, without expecting immediate
Author: Moira T. Carley
Publisher: Trafford Publishing
Category: Creative thinking
The fact that computers can do so much for students -- even write their papers -- creates a new incentive to ask questions about the diminishing human element in the teaching-learning process. When thirty-two commerce students submitted identical papers taken from the internet, there was a flurry of excitement about plagiarism in the local press, but not much interest in the teaching strategy that could have allowed this to happen. The human exchange between teacher and student -- once thought essential to the teaching-learning process -- has disappeared from the very structure of educational systems beyond the primary level. Where is the human element to be found in education today? In his signature book, Insight: A Study of Human Understanding, the Canadian philosopher-theologian, Bernard Lonergan (1904-1984) claims that human learning flourishes best when students experience their own minds at work asking questions and finding answers for themselves. As a long time student of Lonergan's work, I have mined his thought on human understanding to uncover a model of teaching and learning that suggests a new educational ideal for our times. This book is written out of my own desire to make accessible to readers the freedom and capacity of their own minds to learn what is real or true or valuable. It is my own attempt to contribute the human element to the educational system of our time by engaging students in their own learning process. It has become the story of students yielding to my desire to engage them in their own learning and suggesting that I write it down!
This book highlights a range of innovative teaching techniques successfully employed by teachers from a range of disciplines and education levels in order to share knowledge regarding creative education.
Author: Gayle Brewer
Educators and education policy has increasingly acknowledged the value of creativity and creative approaches to education in particular. This book highlights a range of innovative teaching techniques successfully employed by teachers from a range of disciplines and education levels in order to share knowledge regarding creative education.
Originally published as a special issue of the Creativity Research Journal, this volume gives a balanced and reflective account of the challenges and opportunities of technology-enabled creative learning in contemporary societies.
Author: Vlad P. Glăveanu
Originally published as a special issue of the Creativity Research Journal, this volume gives a balanced and reflective account of the challenges and opportunities of technology-enabled creative learning in contemporary societies. Providing a current and updated account of the challenges posed by the Coronavirus to online education, chapters more broadly offer conceptual reflections and empirically informed insights into the impact of technology on individual and collective creativity and learning. These thoughts are explored in relation to school achievement, the development of digital educational resources, online collaboration, and virtual working. Further, the book also considers how the creative use of technology poses risks to learning through the accidental or deliberate dissemination of misinformation, and online manipulation of common societal values in the era of COVID-19. Creative Learning in Digital and Virtual Environments looks at the connection between creativity, learning, and school achievement, and analyses the impact of virtual environments on creative expression. It will appeal to postgraduate students in the fields of creativity and learning, as well as to students and academics involved with broader research in areas such as the role of technology in education, e-Learning and distance education. Vlad P. Glăveanu is Associate Professor and Head of the Department of Psychology and Counselling at Webster University Geneva, Switzerland, as well as Associate Professor II at the University of Bergen, Norway. Ingunn Johanne Ness is a Senior Researcher at the Centre for the Science of Learning & Technology, University of Bergen, Norway. Constance de Saint Laurent is a Postdoctoral Researcher at the University of Bologna, Italy.