Cummings / Blatherwick Creative Dimensions of Teaching and Learning in the 21st Century

1. Auflage 2017
ISBN: 978-94-6351-047-9
Verlag: SensePublishers
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, 358 Seiten

Reihe: Advances in Creativity and Giftedness

In a rapidly changing world the importance of creativity is more apparent than ever. As a result, creativity is now essential in education. Creative Dimensions of Teaching and Learning in the 21st Century appeals to educators across disciplines teaching at every age level who are challenged daily to develop creative practices that promote innovation, critical thinking and problem solving. The thirty-five original chapters written by educators from different disciplines focus on theoretical and practical strategies for teaching creatively in contexts ranging from mathematics to music, art education to second language learning, aboriginal wisdom to technology and STEM. They explore and illustrate deep learning that is connected to issues vital in education - innovation, identity, engagement, relevance, interaction, collaboration, on-line learning, dynamic assessment, learner autonomy, sensory awareness, social justice, aesthetics, critical thinking, digital media, multi-modal literacy and more. The editors and authors share their passion for creativity, teaching, learning, curriculum, and teacher education in this collection that critically examines creative practices that are appearing in today's public schools, post-secondary institutions and adult and community learning centres. Creativity is transforming education in the 21st century.

Autoren/Hrsg.

Cummings, Jill B.

Blatherwick, Mary L.

Inhaltsverzeichnis

1;TABLE OF CONTENTS;6
2;FOREWORD;10
3;ACKNOWLEDGEMENTS;14
4;INTRODUCTION;16
5;OVERVIEW OF THE BOOK;18
5.1;SECTION I FRAMEWORKS AND ISSUES;18
5.2;SECTION II CREATIVE APPROACHES;20
5.3;SECTION III EXAMPLES FROM THE CLASSROOM AND BEYOND;22
6;1. UNDERSTANDING CREATIVITY;24
6.1;INTRODUCTION;24
6.1.1;Challenges;26
6.1.2;Definition;26
6.1.3;Assessment;27
6.1.4;Cognitive Approaches;29
6.1.5;Brainstorming;30
6.1.6;Creative Problem-Solving;32
6.1.7;Synectics;33
6.1.8;Purdue Creative Thinking Program;34
6.1.9;The Productive Thinking Program;35
6.1.10;TRIZ;36
6.2;OTHER COGNITIVE APPROACHES;36
6.2.1;Lesser-Known Cognitive Approaches;36
6.2.2;De Bono Thinking;37
6.2.3;Cognitive Modelling;37
6.3;NON-COGNITIVE APPROACHES;37
6.3.1;Attitude;37
6.3.2;Flow;38
6.3.3;Self-Statement Modification;38
6.3.4;Domain Knowledge;38
6.3.5;Metacognitive;39
6.3.6;Motivation;39
6.3.7;Meditation;39
6.3.8;Discussion;40
6.3.9;A Complex Systems Theory of Creativity;40
6.4;NOTES;42
6.5;REFERENCES;42
7;2. TIME TO LEARN WITH CREATIVITY IN MIND;45
7.1;INTRODUCTION;45
7.1.1;A Modern Education System;45
7.1.2;Time Shapes us;46
7.1.3;From Machines to Clouds – A Turbulent Shift;47
7.1.4;Seeking Insights through the Laws of Media;47
7.1.5;Time;49
7.1.6;Sensory Spaces;50
7.1.7;Space of Flows;52
7.1.8;Time, Space and the Creative Mind;52
7.1.9;A Creative Pedagogy for New Times;53
7.2;REFERENCES;56
8;3. DEVELOPING CREATIVITY AND IMAGINATION BY ACCUMULATING LOTS OF USELESS KNOWLEDGE;58
8.1;INTRODUCTION;58
8.1.1;Learning in Depth;59
8.1.2;Imagination and LiD;61
8.1.3;Minds and Bodies;62
8.1.4;Useless Knowledge;64
8.2;CONCLUSION;66
8.3;REFERENCES;66
9;4. RE-IMAGINING RELEVANCE IN EDUCATION;67
9.1;INTRODUCTION;67
9.1.1;Some Limitations of Relevance;67
9.1.2;Introduction to Imaginative Education: A Few Terms;70
9.1.3;A Detailed Example: Using Cognitive Tools to Teach about the Roman Empire;71
9.1.4;What parts of the topic can students best explore in exhaustive detail?;75
9.2;FINAL REMARKS;76
9.3;REFERENCES;77
10;5. CREATIVE DEVELOPMENT IN TEACHER EDUCATION: When You Dress Educators up, They Need a Place to Go;78
10.1;INTRODUCTION;78
10.1.1;The Need for Creative Development in Teacher Education;78
10.1.2;Understanding Creative Development;79
10.2;THE CREATIVE DEVELOPMENT STRANDS;81
10.2.1;Collaborative Development;81
10.2.2;Self-Instigative Development;81
10.2.3;Research/Investigative Development;81
10.2.4;Generative Development and Experimentational Development;81
10.2.5;Discipline Complexity Development;82
10.2.6;Critical/Analytical Thinking Development;82
10.2.7;Creative Sustain Development;82
10.2.8;Designing for Creative Development in Teacher Education;82
10.2.9;Program Structure;83
10.2.10;Creative Development Program Prototyping Design Considerations, Strategies and Tactics;84
10.2.11;CONCLUSION: CONTINUED PROTOTYPING AND EXPERIMENTATION;86
10.2.12;REFERENCES;86
11;6. IDENTITY TEXT PROJECTS: Generating Academic Power in Multilingual Classrooms;88
11.1;INTRODUCTION;88
11.1.1;Curriculum Significance;94
11.2;REFERENCES;95
12;7. THE ART OF CULTIVATING CLEVER QUESTIONS TO EMPOWER STUDENTS, IMPROVE TEACHING, AND OPEN UP THE CURRICULUM;96
12.1;INTRODUCTION;96
12.1.1;What Is It about Asking Questions?;96
12.1.2;How to Ask a Good Question?;98
12.1.3;How to Ask a Question?;98
12.1.4;Grading, Commenting, and Class Dynamics;100
12.1.5;“So, When Will You Send Us the Question?”;104
12.1.6;The Education, Politics, and Philosophy behind the Need to Question;105
12.2;CONCLUSION;107
12.3;NOTES;107
12.4;REFERENCES;108
13;8. CREATIVE PRACTICES IN THE OBSERVATION OF EVERYDAY LIFE: The Crack in the Door That Invites a Creative Vision;109
13.1;REFERENCES;116
14;9. BACK TO THE GARDEN: Coming to Our Senses;117
14.1;INTRODUCTION;117
14.1.1;Creative Development;118
14.1.2;Learning through the Senses;118
14.1.3;Re-Imagining Education;119
14.1.4;The Role of Play;119
14.1.5;The Mindfulness Connection;120
14.1.6;Sociocultural Theories of Learning;121
14.1.7;The Role of the Imagination;122
14.2;CONCLUSION;123
14.3;NOTE;124
14.4;REFERENCES;124
15;10. ENHANCING EDUCATION: Material Culture, Visual Media, and the Aesthetics of Teachers’ Lives;125
15.1;INTRODUCTION;125
15.1.1;First Braid: Creative Practices and the History of Art Education;125
15.1.2;Second Braid: Inciting New Conversations in a Curriculum of Film;127
15.1.3;Third Braid: Life Writing, Art Making, and the Aesthetics of Teaching in Cosmopolitan Times;129
15.2;NOTES;131
15.3;REFERENCES;131
16;11. AUTOBIOGRAPHICAL CREATIONA: Powerful Professional Development Strategy for Teachers;134
16.1;INTRODUCTION;134
16.1.1;Teaching Context;135
16.1.2;The Goals of Autobiographical Creation;135
16.1.3;Our Conceptual Frameworks;135
16.1.4;Autobiographical Creation and Creativity;136
16.1.5;Autobiographical Creations and Reflection on the Creative Process;137
16.1.6;Two Teacher Learners’ Reflections on This Assignment;138
16.1.7;Pedagogical Implications;143
16.2;REFERENCES;144
16.3;APPENDIX;145
16.3.1;Autobiographical Creation – Assignment Description;145
16.3.2;Sentence Starters;146
17;12. ART MATTERS: An Advocacy Experience for Teacher-Candidates;147
17.1;INTRODUCTION;147
17.1.1;A Call for Advocacy;147
17.1.2;Advocacy for Art Education;147
17.1.3;A Creative Plan;148
17.1.4;Assignment Implementation;149
17.1.5;Educating Our University Community;150
17.1.6;Implications for Curriculum and Pedagogy;152
17.2;REFERENCES;154
18;13. INTEGRATING THE “HUMAN FEEL” INTO ONLINE SECOND/ADDITIONAL LANGUAGE TEACHING APPROACHES;155
18.1;INTRODUCTION;155
18.1.1;The Crucial Role of Social and Teacher Presence;157
18.1.2;Examples of Informative and Exemplary CALL Practices;158
18.1.3;An Innovative Blended English for Work Redesign;159
18.1.4;A ‘Connected’ Distance Listening and Speaking Course;160
18.1.5;Implications and Strategies to Guide CALL Practices;162
18.1.6;Online/Blended Design Strategies;162
18.1.7;Online/Blended Instructional Strategies;163
18.1.8;Concluding Thoughts;163
18.2;REFERENCES;164
19;14. THE ZONE OF PROXIMAL DEVELOPMENTAND THE TWIN POLES OF TEACHINGAND ASSESSING IN VYGOTSKY’S DEVELOPMENTAL EDUCATION;166
19.1;INTRODUCTION;166
19.1.1;Mediator-Learner Interaction and Second Language Development;167
19.1.2;Zone of Proximal Development as Dialectical Activity;169
19.1.3;Dynamic Assessment and Mediated Development;171
19.2;CONCLUSION;174
19.3;NOTES;175
19.4;REFERENCES;175
20;15. DIGIART AND HUMAN RIGHTS: New Media Visual Art Integration for Teacher Candidates OR Avoiding the Information, Communication Technology (ICT) Vacuity Using Visual Art Education Infusion;177
20.1;A NEW MEDIA VISUAL ART INTEGRATED PROJECT FOR TEACHER CANDIDATES;177
20.1.1;The Project;178
20.1.2;Explanation of the Framework and the Goals of the Curriculum Project;179
20.1.3;Teaching Approach;179
20.1.4;Example of a Student’s Process and Art;180
20.1.5;Conclusions and Recommendations;184
20.2;ACKNOWLEDGEMENTS;185
20.3;NOTES;185
20.4;REFERENCES;186
21;16. CARD TRICKS DISCOVERY LEARNINGAND FLOW IN MATHEMATICS TEACHER EDUCATION;188
21.1;INTRODUCTION;188
21.1.1;One Possibility;188
21.1.2;The Flow Experience;189
21.1.3;Discovery Learning;191
21.1.4;Teachers’ First Person Experience;191
21.2;REFERENCES;192
22;17. IMAGINING ALBERTA’S FIRST NATIONS;193
22.1;REFERENCES;198
23;18. THE IMPORTANCE OF ART IN CHILDREN’S WRITING EDUCATION;200
23.1;INTRODUCTION;200
23.1.1;The Significance of Children’s Scribbles;201
23.1.2;A Classroom Strategy: “Creation Station”;202
23.1.3;A Classroom Strategy: Art for Descriptive Writing;202
23.1.4;Some Benefits of Allowing Children to Express Themselves through Art as Well as Words;202
23.1.5;A Classroom Strategy: The Picture Worth a Thousand Words;203
23.1.6;Learning Literacy through Exposure to Many Works of Art;204
23.1.7;A Classroom Strategy: Reading Pictures;205
23.2;REFERENCES;206
24;19. DE-CONSTRUCTING CABINETS OF CURIOSITY: Learning to Think Historically in Community History Museums;207
24.1;INTRODUCTION;207
24.1.1;Historical Thinking in Museums;208
24.1.2;Case Study Method;209
24.1.3;Learning to Do History Like a Museum Curator;210
24.1.4;Assignment I;210
24.1.5;Historic Space Mapping;211
24.1.6;Posing Questions;211
24.1.7;Photography;211
24.1.8;Think-Alouds;211
24.1.9;Material History Framework for Artifact Analysis;213
24.1.10;Flipping the Museum;213
24.1.11;Assignment II;213
24.1.12;Implications and Recommendations;214
24.2;CONCLUSION;215
24.3;NOTES;215
24.4;REFERENCES;216
25;20. CULTIVATING CREATIVITY;218
25.1;INTRODUCTION;218
25.1.1;What Is Creativity?;219
25.1.2;The Contradiction;220
25.1.3;How Can We Nurture Creativity?;220
25.2;CONCLUSION;226
25.3;REFERENCES;227
26;21. STEM AND A FRAMEWORK FOR LEARNING;228
26.1;INTRODUCTION;228
26.1.1;Research That Has Changed Our Pedagogical Framework;228
26.1.2;Practical Implementation;230
26.1.3;What Does This Look Like in Our Classroom?;230
26.2;RESULTS GATHERED FROM STUDENT FEEDBACK;233
26.2.1;Applications in Business;233
26.2.2;Building an Electric Motorbike;234
26.2.3;A Guitar for Love;234
26.3;CONCLUSIONS;235
26.4;REFERENCES;235
27;22. CONCEPTUALIZING AND IMPLEMENTING CRITICAL FILMMAKING PEDAGOGIES: Reflections for Educators;237
27.1;INTRODUCTION;237
27.1.1;Critical Pedagogy;238
27.1.2;Arts-Based Inquiry and Participatory Video;239
27.1.3;Conceptualizing Critical Filmmaking Pedagogies;240
27.1.4;Reflections;242
27.2;REFERENCES;243
28;23. EUROPEAN IDEAS IN EDUCATION;246
28.1;INTRODUCTION;246
28.1.1;Creative Practices in School Libraries;246
28.2;CONCLUSION;250
28.3;REFERENCES;251
29;24. USING EXPERIENTIAL LEARNING TO ENGAGE ABORIGINAL STUDENTS IN THE VISUAL ARTS CLASSROOM;252
29.1;INTRODUCTION;252
29.1.1;Aboriginal Education and Experiential Learning;254
29.2;RECOMMENDATIONS AND CONCLUSION;257
29.3;NOTE;257
29.4;REFERENCES;258
30;25. WEB-BASED ARTS EDUCATION: Creativity in the Classroom;259
30.1;INTRODUCTION;259
30.1.1;Creativity and Arts Education;260
30.1.2;Designing the Web-Based Course;261
30.1.3;Identifying and Achieving the Instructional Design Goals;262
30.1.4;Goal 1: Engagement with Course Content through Experiential Learning;262
30.1.5;Goal 2: Participation in Activities for Self-Expression and Creativity;263
30.1.6;Goal 3: Enable Students to Interact with the Instructor, Guest Speakers and Peers;264
30.1.7;Aesthetic Course Design: Going Multimodal;265
30.1.8;Speculations for the Future;265
30.2;REFERENCES;265
31;26. PLAY AND LEARN: Build your Robot and Learn Science, Technology, Engineering, and Mathematics (STEM);267
31.1;INTRODUCTION;267
31.1.1;The Existing Literature;267
31.1.2;My Experience as a Robotics Teacher;269
31.2;CONCLUSION;270
31.3;REFERENCES;271
32;27. BRINGING IMAGINATION AND LITERACY CIRCLES INTO THE MATH CLASSROOM: A Humanistic Approach;274
32.1;INTRODUCTION;274
32.2;NOTE;280
32.3;REFERENCES;280
33;28. GLYFFIX PLAY: A Modern Image-Based Form of Language Play;281
33.1;INTRODUCTION;281
33.1.1;How Glyffix Came to Be;285
33.1.2;Glyffix for Schools;286
33.1.3;Language Play;286
33.2;CONCLUSION;287
33.3;NOTES;288
33.4;REFERENCES;288
34;29. TUTORING SECOND LANGUAGE LEARNERS WITHIN THEIR ZONE OF PROXIMAL DEVELOPMENT: Recommendations for Changes in University Writing Center Pedagogy;290
34.1;INTRODUCTION;290
34.1.1;Why Should Linguistic Feedback Be Provided To L2 Learners At Various Stages of Their Writing Processes?;291
34.1.2;An Innovative Pedagogical Approach to Providing Linguistic Feedback Based on Sociocultural Theory;293
34.2;CONCLUSION;296
34.3;REFERENCES;297
35;30. ASSESSING CREATIVITY IN THE SCHOOL CLASSROOM;298
35.1;INTRODUCTION;298
35.2;NOTE;301
35.3;REFERENCES;301
35.4;APPENDIX;302
36;31. LANGUAGE ACQUISITION THROUGH PERSONAL STORY WRITING: A Learner Book Project;303
36.1;INTRODUCTION;303
36.1.1;To be a guide on the side, or a sage on the stage – that is the question.;303
36.1.2;Background;303
36.1.3;Story Telling Approach;304
36.1.4;Description of the Writing Project and How It Was Implemented;305
36.1.5;Extending the experience;306
36.2;CONCLUSION;307
36.3;REFERENCES;308
37;32. A CREATIVE PROCESS: Using Songwriting to Develop Creativity;309
37.1;INTRODUCTION;309
37.1.1;My Creative Experience;309
37.1.2;Skills and Process;309
37.1.3;Conceptual Framework: Creativity as a Process;310
37.1.4;Teaching Creativity;311
37.1.5;Making a Song;311
37.1.6;A Creative Process;312
37.1.7;Where Do You Get Your Ideas?;312
37.1.8;Write What You Feel;313
37.1.9;Gathering Material;313
37.1.10;And the Rest of the Steps…;314
37.1.11;The “New Product” Exercise;314
37.1.12;The End (and the Beginning);315
37.2;REFERENCES;315
37.3;APPENDIX;316
38;33. FROM RESEARCH TECHNIQUE TO CLASSROOM ACTIVITY: Adapting Elicited Imitation as a Grammar-for-Speaking Task;317
38.1;INTRODUCTION;317
38.1.1;Theoretical Basis and Purpose;317
38.1.2;Design Characteristics;319
38.1.3;Implementation;320
38.2;CONCLUSION;321
38.3;REFERENCES;322
39;34. CARING FOR THE WHOLE PERSON IN THE EAP CLASSROOM;323
39.1;INTRODUCTION;323
39.1.1;What Is Suggestopedia?;324
39.1.2;The Person in Suggestopedia and EAP;326
39.1.3;The Learner Is a Human Being;326
39.1.4;Implications for EAP;330
39.2;REFERENCES;331
40;35. STRATEGIES TO ENGAGE AND TRANSFORM TEACHER LEARNERS IN AN ONLINE COURSE;333
40.1;INTRODUCTION;333
40.1.1;Teaching Context;333
40.1.2;The Goals of Our Approach;334
40.1.3;The Conceptual Framework;334
40.1.4;Reading Response Strategies;335
40.1.5;Teacher Learners’ Feedback on the Process;338
40.1.6;Learning Opportunities through ‘Stretching’;342
40.1.7;Challenges;343
40.2;REFERENCES;345
40.3;APPENDIX;346
41;ABOUT THE CONTRIBUTORS;347
41.1;EDITORS;347
41.2;AUTHORS;347