model creativity

8/19/2019 Model Creativity

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128

N,

Jackson

crnd

C,

Sinclqir

In all

such

artistic

pl'ocesses,

including

those which

occur

in

educational situ-

ations,

there ale

critical

moments of

feedback,

of

taking stock,

of

applying

general

principles

(and

of deliberateiy

and consciously

going

against

some

accepted

principles or critelia) all

of

which

involve

reflective

thought

and

judgement.

(Cowan,

1998:31)

So

yes,

creativity

may

sometimes

be tacit and

invisibie

(which may cause

plob-

lems

for

assessment)

and

may appear

to come 'out

of

the blue',

but intuition,

like

imagination,

tends

to be balanced

with

critical

thinking

(a point

also

acknowledged

by

Claxton,

1997).

It

is

not always

(nol

often)

a case

of

ei.ther'/or.

Bffective

teaching

and

learning

systerns

Dunne

(in

Jackson

et a1.,2004)

is developing

a

model

fol

an

effective

teaching

and

learning

system

based on

the best empirical

evidence

derived

fi'om a sys-

tematic review

of

the resealch

literahlre

that focused

on

the effects of

reflection

and

action

planning on students'

lealning

oritcomes

*

key compouents

of

self-

regulation. The model

highlights

the

cornplexity of

the

factols

and

intelactions

that

influence

students'

learning

outcomes.

We are

maicing

the

assumption

that these ale

impofiant

characteristics

for

rlost

teachel-facilitated

learning

envirorunents and

thet'efore

impottant in

our

ow1 sealch

for

an

appropliate

pedagogy

to suppofi

the development

ofstudents'

creativity.

The significance

of this model

is that

it

is

grown

fi'om

best empirical

evidence

of situations

that

had measurable

beneficial

impacts

on

students'

leal'n-

ing, i.e.

it

is

glown

from teaching and

learning

practices that

at'e

i<nown

to

be

effective in achieving

intended

lealning

outcomes

rathel

than theories

of what

effective

practice ought

to

be:

this

model

suggests

that every learning

and

teaching sihration

'

.. is under-

pinned

by a

complex set

of

conditions

relating to

the inter-relationship

between

student,

teachel

and

task.

It

also

suggests

that any

teachet',

to

gain

maximum

impact,

must be delibelately

awale

of

these

relationships

and the

ways

in which

they

are

iikely to

impact on any

kind of

provision and any

learner

l'esponse.

This

could be

of

pafiicular

interest

in the

coutext

of

. . .

irurovation

in

general,

whele

-

fbl example

-

students

may not be

tnotivated

to

try

out new

ways of wot'king,

whele

they

may not

have adapted

appropri-

ate cognitive

and

metacognitive

strategies,

and

rnay

find

this

difficult

without

suppofi,

and

may

hence lose

pelceptions of efficacy

-

again

impact-

ing on

motivation.

(Dunne,

in

Jackson

et a|.,2004)

We would

expect

that

the components

of

an

effective

teaching

and

learning

system

to

support development

of students'

creativity

would

be connected

and

aligned

in the

sense of

John Biggs'

notion

of

constructive

alignment

(Biggs,



Developing

str,tdents'

creativie

129

2002,2003).

one thing

that

we would

like to

emphasise

in

this

complex

set

of

lelationships,

is the

crucial

issue

of

teacher-student

lelationships (see

Dineen,

this

volume,

chapter

9), A useful perspective

on

this

was

provided

by

one

of

our

peer

reviewers,

Learner characterlstics

Any approach,

or molivatlon

towards

a task, or learnlng

in

general

ls dependent

on

the

learner's:

.

Attltudes/values

towards

learnlng

ln

generaL

or

partbuhr

types of

learnlng

or towards

partlcular

tasks.

.

Conceptlons/bellefs

of what

11

means

to learn,

to

be

a learner

ln

any

partlcular

context.

.

Physlcal

dlsposltlon,

e.g. fatgue,

.

Possesslon

of a repertolre

ol

skllls approprlate to the tasks

.

Possesslon

of

a

repertolre

ol

cognltlve

strategles

approprlate

to

pefformlng

any

padicular

task.

.

Possesslon

of metacognitivs

strategles,

l.e.

knowledge

ano

awareness

of thelr own

cognltlve

processes.

.

Abllity to

actlvely control

and

manago

thelr own cognltlve

and metacognltive

processes

(executive

control).

.

Pgrcolved

self.etficacy.

Teacher

actlvlty

Task

Any

approach,

or motivation

towards

a task or loarnlng

In

general

ls

dependent on

the

teacher's:

.

Demands

-

level

of dlfflculty,

.

Porcelved

approprlateness.

.

Manner

of

presentation.

.

Representatlon

and oppodunlty

provlded

for Intended

learnlng

oulcomes.

.

Modes

of

assessment

and

crlteria

that

are matched

to

Intended learnlng

outcomes.

Any

approach, or motlvatlon

towards

a task or loarnlng

In

general

ls dependent

on

the

teacher's

mode of

presentatlon

of the

acadomlc task/learnlng

processes/ref

lecllve

approaches,

and

consolldatlon

through:

'

Approprlate

skucturlng

of

knowledge

bases,

dependent

on

a detalled

knowledge

of the

academlc

content

to be learne0.

,

Attenilon

to

approprlate learnlng

strategles

for

students,

dependent

on a knowledge

ol

cognltlve

and

metacognltlve

processes

and

how

learners

can

be encouraged

to

use these.

,

Abllity

to

predlct

and deal wlth

varlety

of studont's

cognltive

abillties,

motlvatlons, eic.

,

AblllV

to demonstrate

and

model

approaches

to

required

outcomes.

,

Abllity

to

promote

thlnking

through

questlonlng

and

challenglng.

,

Attentlon

to wrltten Instructlons

and

examplos

that

reinforce

spoken

Instructlons.

'

Provlding

timely feedback,

veltal

and/or wrltten,

or computer.

based.

'

Abillty

to

match

assessment

to

the intended

learnlng outcomes.

Figure

10,1

The

corrplex

interactions

and

interdependencies

between teacher,

learaer

and

task.

(Developed

by

Elisabeth

Dunne

from

the

review

of the

empirical

evidence

that reflection

co

and action

planning

improves

students'

achievement

2004)),



130 N. Jaclcson

cLnd

C. Sinclair

My experience . . . is that the relationship

between

tutor

and sfudent

is

of

critical importance,

depends

upon featules which I have

still to

pinpoint

and

seems

to depend on those

vital

early exchanges

which can make or

break

the cluality of the lelationship,

It's

a

lelationship

in

which

students

feel

able

to

leveal

and

discuss

innermost

ways of thinlcing,

and tutors

can

empathise

and at times

demonstrate

congtuence, fi'om

theil

own

experiences

. .

.

their

effect

in initiation,

rejection,

doubts,

acceptance, enthusiasm

at

the

outset, is

clitical to

sucsessftil lealnins.

(John

Cowan,

pels,

comrn., 2005)

We can very readily relate this

complex set of relationships

and

inteldependen-

cies

to

the idea

of

the

cognitive

apprenticeship

(Collins

et

a1.,1991),

the

basis

fol

ouL

pedagogic

model to suppolt

development

of

stndents'

creativity, Figule

I0.2

attempts

to

contextualise the complex

set of relationships identified

by

Dume

(teacher'-student-task

-

which

we

take

to

include

environment

and

context)

within

a model

of

a

teaching

and

lealning

system

that is

putposefully

designed

to promote

students' cleativity.

A strategy

for

developing stuclents'

creatility

The

pedagogic

rnodel outlined

above is a simple visnal

lepresentation

of

a

complex

process,

set

of

conditions

and

le-lationships pefiaining

to the

envilon-

ment fol leaming.

We need to convelt

this into

something

that can be opera-

tionalised

by a

teacher. Each

teacher

will

sealch for and invent their

own way of

doing this in a way that is

appt'opriate

fol their

context. Our

search

has led us to

the

following

assumption-led

stlategy,

That

highel education

encourages

the

acquisition

of

domain-specific

lcnow-

ledge

and

skills.

Students cannot

be ct'eative in

a domain

if

they

aLe

not

knowledgeable about the

domain and/ol

if

they

don't

care

enongh

about

the

domain to want to

achieve

within

it.

If

we want

to

develop

students' creativity,

we

have fu'st

to

develop

onL

own

undelstandings

about

what it

means in

the

contexts

fol

onr

teaching.

Thlough

such

r,rnderstanding

we can be clearer

about the types

of cteativity

we

want

to encouLage.

A

good

way

to help

shidents learn

about

creativity is

fol a

teacher.to reveal

their

own creativity and show

students

what

it

rneans

to them in their

own

pl'actice,

appreciating that this

may be easiel

said

than

done,

But

showing

students what

it

means is not enough.

We have

to help

then'r

afiiculate and constluct their

own meanings

of creativity

fol

the

contexts

in

which

they

are studying

and learning.

And we have to

show them that

we

value

their

understandings

rather

than

sirnply oul

own. It is these percep-

tions that

shape

theil

beliefs

and

ftiel

theit' intlinsic

motivations

-

widening

the range

of

pelceptions

is

pelhaps the most important

thing we

can do

as

teachels to

develop students'

cleativity. Thele

are

both

individuaL

and

collective

dimensions

to

meaning-making,

which

ellgages

dir.eetly

with

the



Developing stutdents'

creativity

131

5 Through

conversation,

teachers

and students

co-create

their understandings

of

what being

creative means

and

what creative

outcomes

are,

in

the

particular

context, and

collaborate

their

evaluation.

3

Stimulated

blfacilitative

teaching

and

qh

engaging

learning

envir0nment,

Mutually

respectful

students

witl{ditferent

and

energising

characteristips

(Dunne)

relationships

draw

on

their

practical,

^r

.

necessary

for

'iN

analytical

qhd

creative

nertncrshios in

abilities

in

bifferent

ways

""'ii"iiZ,

'

and to

diffprent

degrees,

1

Teachei.s use

their

creativity

to design

le'arning environments

in which

stulents'creativity

is

TheY

their

providing

role

itate

their

learning

students in a

n-

didactic and

non-jldgemental

way.

\.

2 The

learning environment

(conte)ds

and

tasks)

characteristics.

Figtre

10.2

Model

of

a

teaching and

learning system

designed

to help

students

develop

their creative

potential.

It embodies

the cornplex

set of relationships

and

interdependencies

elaborated

in

the model by

Dunne

(Figure

10.1).

The

whole

environment

detnands

a self-regulating

approach

to

learning,

and

teacher

and

students

collaborate

in

cognitive

apprenticeship

(Collins

et al.,

I

e9 1),

extended

abstract

field of

creative

outcomes

(Biggs, 2003), The

use of

web

iogs

can

be helpful

in

engaging

students and

accumulating

their understand-

ings,

and

provides them with

a

practical illustlation

of

how knowledge

can

be socially

constructed.

We have

to

give

students

opportunities

to experience

and

practise their cre-

ativity

by creating

the curiculum

spaces,

conditions

and

experiences

that

are stimulating,

relevant and

authentic

to their field

of

study'

Challenging

problem-working

contexts

provide

favourable

environments

for

practising

to be creative.

II

rl

rl

I

rl

:

,l

)

Creatlve

aild

nonrcrdative

outcomes emerge

through the

process

for

both,students

and

teachers. Many of these outcomes cannot be



132

N, Jqclaon

qnd

C. Sinclair

.

We might

go

fuither by intloducing

specific

strategies

fol

encouraging stu-

dents

to develop

a

repertoire

of

thinking skills

that might

help them to

think

freshly

about

the things

that they

have

to

give

attention to,

.

Finally,

we need to

develop

students'

capacity

to recognise

and

capture

their

own creativities

and

help them

make

claims

that

can be substantiated.

They

have to

be

critical

evaluators

of their

own cleativity

as

it

is manifested

in

the

learning

enterplises in

which

they

at'e

engaged.

"

The

feedback

gained

thlough

this stlategy

should

enable

teachers

to refine

their

thinlcing

and facilitation skilis. The

collective

ieaming

of srudents

and

teacher

can

be

used

as a l'esouLoe

for learning

and

for

students in the

futLrre,

This strategy is

consistent

and overlaps that proposed

by John

Corvan

(this

volume, Chapter

12)

for

the

evaluation

of sfudents'

creativity,

Information

resources

to suppott

this strategy

A cole

purpose

of the Imaginative

curriculum

project

is

to

develop

information

resources

to help higher

education teachers

to

think

about and

operationalise

the

idea of

cleativity. The repository

for

much of this

information

ale the Imagina-

tive

Curriculum web

pages.

These

pages

are continually

being updated

so the

resources

that

are

identified

in

Appendix 10.2

will,

with

time,

be extended.

Indeed

we

l.rope

that

readers

will

contribute

ideas

and

materials to

the

site,

Concluding

remarks

In dlawing this

account

ofoul

search

for

an applopriate

pedagogy

to

a

close,

we

imagine that

some readers

will

be

disappointed

by us

not

giving

clear,

unam-

biguous

advice about how

a higher education

teacher

miglrt

facilitate

students'

creative

development.

There

are resources

like the

Stelnbelg

and

williams

(1996)

e-booklet,

the GASE

creative

thinking

skills

booklet

edited

by

caroline

Baillie

(see

this volume, chapter'

11) and John

cowan's

excellent

descr.iption

of

a

process

(this

volume, chapter

12) that provide

practical

ideas

and

illustrations

on how

to facilitate

and evaluate

students'

creativity,

But

we believe that

the

process

of

seafching

and constructing

meanings

and undelstandings

is

irnponanr

in the

development

of

personal

pedagogies,

so we

have

opted to

provide

an

acoount

of

our own sense-malcing

and a navigational

aid

to

what we think

are

useful

and

stimulating

resources,

and leave the

rest to

the

professional

skills

and

imaginations

of our

readers,



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