Introduction to Creativity

Creativity; the use of imagination or original ideas to create something wonderful.

"In order to encourage creativity, you must first understand what it is."
(Robinson, K. 2013)

 

Creativity is all about fresh thinking; exploring new ideas that can be applied to all aspects of life, including those that are educational.

 

Guliford (1950) stated that 'a creative act is an instance of learning.'

 

 

In this blog, I am going to explore five key concepts that I believe portray the importance of creativity within education. The five concepts that I have chosen to focus on include:

• Creative Play
• The Outdoor Learning Environment
• Creative Partnerships
• Creativity within the Curriculum; Scientific Enquiry
• The Mantle of the Expert

Creativity is a truely personal process. Each individual has different aptitudes and various skills and talents. To encourage creativity one must have be willing to work and experiment with new ideas. Being motivated enhances the skills needed to actively progress, and mastery of these skills grow simultaneously alongside their creative ambitions.

"There are many myths about creativity. One is that only special people are creative; another is that creativity is just about the arts; a third is that it's all to do with uninhibited 'self-expression'. None of these are true. On that contrary, everyone has creative capacities; creativity is possible in whatever you do, and it can require great discipline and many different skills." (Robinson, K. 2013)

I will be discussing and analysing each of the key concepts that I have chosen; assessing their effectiveness and the impact they have on a child's education and learning.

"We have lots of different attitudes, but in one of our attitudes as human beings, we make up a romantic tale about ourselves. Falling in love is mysterious, thinking is mysterious... and so we create great words like "creativity". Creativity is thinking; it just so happens to be thinking that leads to results that we think are great!"
                                                                                        - Amabile, Teresa M.

The Mantle of the Expert

".... One of the greatest teachers of the twentieth century." - (Heston, S, 1993)

Developed by professor Dorothy Heathcote in the 1980's, the Mantle of the Expert was a student-centred approach to learning, with drama and immagination at the heart. 

Pupils became imaginative 'experts' of their curriculum; providing them with the opportunity to learn independently, with first hand experiences. This approach to learning stems from experimentation through inquiry, drama and role play. Inquiry based learning provides children with the chance to problem solve, ask questions, trial things, and conduct their own research. 

A typical lesson within this approach would require the pupils to step into the role of an expert, becoming fully engaged into the 'imaginative world' the lesson has created. Investigation into new areas of learning in there designated roles encourages socialisation, sharing responsibility and encouraging language and individual developments. For example, pupils become part of an imaginary enterprise, and each have a role within that business, together, with the leadership of the teacher, each pupil will take on their role of the business, and work together to tackle all the problems they may face. As in, working in a dress making shop would require them to work out how much material would be needed to make different size dresses etc; using a range of skills and development areas across the curriculum. 
 

Heathcote (1995) suggested that there are seven core elements of the 'Mantle of the expert' approach. These include:

• Learner gradually take on responsibility for running an enterprise in a fictional world.
• Learners care enough about long term goals of the fictional client that they engage in activities, through which they begin to imagine the fictional world.
• Learners and teachers together must interact predominantly as 'themselves', imagine  that they are interacting as experts who run the enterprise, and imagine that they are interacting as other people in the world with whom the experts are concerned.
•  Over time the pupils engage in activities that are at the same time both curriculum tasks and that would be professional practices in the fictional enterprise. 
• The teacher must share power to position the students (individually and collectively) as knowledgable and competent colleagues, and also ensure that children position one another similarly.
• The children must reflect to make meaning. 

Here is an example of this teaching method, 'The Shoe Factory'.

 

The teacher needs to be conscious of all three of these modes of teaching and incorporate them into their approach to learning. The chart below came from Abbott (2007) and demonstrates all the required areas: 
 

Inquisitive Learning overcomes problem solving, allows questioning and conducting individual research. Whilst drama for learning involves both students and teachers working in and out of roles. It requires the consideration of other points of view, other than their own. Expert framing asks the children to evaluate their own learning. 

 

In our seminar group we trialled the Mantle of the Expert approach and took on various roles of a construction company to plan, and build our very own bridge. We were given 3 seminar sessions to complete the task, and we're only allowed to use lollipop sticks and glue. We overcame problems, and successfully created our very own bridge. Here are some photographs from our sessions; illustrating our results and successfully using this learning approach of creative learning. 

Dorothy's Mantle of the Expert, allows children to take control of their learning, exploring conventional ideas, and it actively grasps the attention of its learners.

Creative Partnerships

Creative partnerships came to light in 2002, and provide a wide range of opportunities for pupils and teachers alike. They are an outside organisation that uses various creative approaches that bring art, culture and creativity to the classroom.
A creative partnership is the connection between a group of professionals and a school year or class, which team together on a regular basis to share and expand ideas in order to create a final project that represents the creativity of the pupils.

Schools which have the involvement of creative partnerships 'have seen real improvements in pupil attendance, behaviour and attainment, as well as pupil engagement'. - Creative Partnerships (no date)

Hall and Thomson (2007) stated that 'creative partnerships aim to provide school children aged 5-18 and their teachers with the opportunity to explore their creativity, by working on sustained projects with creative professionals.

Creative Partnerships focus on ensuring children are involved in activities which promote competence, autonomy and allow a connection between other individuals and the community.

Objectives of the Creative Partnerships programme include promoting creativity and innovation in teaching across the curriculum, raising attainment standards, creation of a broader, richer curriculum which excites imagination and interest for learning.

Gorard (2010) argues that 'schools are 'mini-societies'  that offer important learning experiences for young people, about for instance, 'how to interact, what to expect from wider society and how to judge fairness.' Schools that work alongside creative partnerships benefit from this point. They work with others; including their peers and other establishments and professionals, they experience outdoor activities and work practically; developing skills and ideas.

Locws

Locws is an International Public Art Programme across the city of Swansea. It is a charity based project that works as a creative partnership with local schools, to explore the city and create work that represents and develops the childrens' creativity; allowing them to explore new ideas and skills.

On October 14th, 2014, our lecture group attended Swansea Grand Theatre to view the final pieces of work that local schools had created.The children's work stemmed from the city of Swansea itself. All the work that the children had worked so hard to create, is now on display for the public in a mini art exhibition in the heart of Swansea. There were a variety of sculptures, paintings and photographs, all that had been influenced by the city and environment around them. This particular programme took children outside the classroom to explore and see things for themselves.

We had a brief question and answer session with the project leaders, which gave us the opportunity to ask any questions directly. Here I have a recording of our session; it includes a brief explanation of the benefits of working alongside creative partnerships like Locws.

Allowing children to see their work in a public exhibition creates a sense of achievement and confidence, which in essence is a real benefit to this type of learning.

The photographs below are from my visit to the exhibition, all of which were created by the pupils. There were several schools involved in the 2014 workshop, including; Townhill Primary School, Plasmari Primary School, Ysgol Gynradd Gymraeg Bryn-Y-Mor and Talycopa Primary School.

Benefits of Creative Partnerships within schools include providing the opportunity for pupils to learn through a multifaceted approach. It allows children to express themselves through a creative, and more relaxed approach; one that less academic children will appreciate and respond well too. OFSED (2006) believe that most Creative Partnership programmes were more than effective in developing abilities such as: improvisation, risk taking, collaboration with others and the demonstration of resilience. Outside of the classroom, it has created employment opportunities which also benefit the economic state. However, these creative programmes take up a lot of time and planning, and without funding, these schemes may discontinue.

Creativity has, as Bragg (2011) states 'become part of a vision for a future and better world; for instance, suggesting that our current globalised economies and interrelated cultures and our awareness of the fragile ecological balance required for sustainability, meaning that societies need people who can work with others, co-operate, communicate, contribute their own knowledge to a collective and bigger whole, to find new solutions to pressing problems; who are able to look beyond their own horizons and selfish needs, to consider benefits or losses to the wider communities.' upon reflection of this, I believe that creative partnerships highlight and contribute to all of these assets and are highly beneficial to the future developments of the pupils involved.

Creativity within the Curriculum; Scientific Enquiry

 

Scientific enquiry revolves around the process of investigation and discovery; complete with experimentation and creative thinking within the classroom.

Using Scientific enquiry promotes self-discovery. Children use this process to expand their previous knowledge; making predictions and exploring new ideas.

"The teacher allows an open-ended investigation to unfold, providing scaffolding at the appropriate moments, then children can develop their own investigations" - (Jones and Wyse. 2004)

In our seminar, we, as a group, designed our own circle of scientific enquiry. We followed the five main stages set out by scientific enquiry, including; orientation, prediction, preparation, investigation and evaluation.

• Orientation: what you set out to find with your experiment.
• Prediction: what you think may happen during your experiment.
• Preparation: what you need to do and collect in order to carry out your experiment.
• Investigation: conducting your experiment. 
• Evaluation: evaluation of success and outcomes of the experiment.

We decided to look at the element of water, and planned an experiment using each stage, to see how this design worked.

The pupils are at the centre of scientific enquiry, which is always a benefit, and children are encouraged to problem solve and investigate their own ideas. However, without the full engagement and interest of the pupils, it is hard for them to think critically and creatively.

Here is an example of some scientific enquiry activities:

 

Robinson (2001) said that ' human intelligence is essentially creative. We not only find meaning in the world, we interpret it through structures of ideas and beliefs. We each create the world we live in.' I believe scientific enquiry promotes this quote, as children build on and establish ideas and beliefs through investigation, creating new understanding and discoveries.

Scientific enquiry is a form of creative teaching and by conducting this approach to learning, "teachers will see a value of providing a rich variety of experience, based on practical activity." (Oliver 2006)

The Outdoor learning environment

"Children are born naturalists. They explore the world with their senses, experiment in the environment, and communicate their discoveries to those around them."

- (The Audubon Nature Preschool 2012)

Early years Foundation Stage framework (2008) firmly places outdoor provision and outdoor play at the heart of under-fives educational provision. Exploring outdoors provides the children with the confidence to experiement with new things in a safe yet challenging new environment.

"Children seem to be naturally drawn to outdoor learning" - (Bilton, H. 2010)

Outdoor learning is multifaceted, and the ultimate learning environment. It caters for all of a childs' learning requirements, including those that are cognitive, linguistic, emotional, social and physical.

Working outside of the classroom allows children to actively learn, providing the freedom to explore and investigate new territories. I think that lessons outside of the classroom are a good attribute to learning. Children are less likely to see activities as 'work', whilst outside. Attitudes towards learning are likely to improve and behavioural problems may be more manageable, as children are likely to take on leadership roles during activities and view tasks as 'fun'. Outdoor learning is more likely to grasp the attention of its learners as subjects become more vivid and interesting to enhance understanding. Creativity and imagination is nurtured, and personal, social and emotional developments are all seen to improve. This 'informal' way of learning allows a small element of risk; keeping the interest of its learners. Outdoor learning is seen to combat under-development, and improve academic achievements, improving skills as well as independence.

 

The Government has also shown greater interest in outdoor play through such documents as the Learning Outside the Classroom Manifesto. (DFES 2006)

 

"In the outdoors, children can explore the world first hand, experience natural phenomena such as the weather, the changing seasons and shadows and the increased space allows them to construct on a bigger scale and move around freely"

(Ouvry 2003)
 

Young children learn best through social interaction, care situations and play. These elements can easily be introduced into daily activities conducted outdoors. We need to ensure that teaching is developmentally appropriate for the pupils in order for it to be effective. 

Stephenson (2002) provided a table to show the difference between inside and outside behaviours: 

  

Both indoor and outdoor learning have benefits. However, learning outside is a part of life, and benefit us physically, socially and psychologically; positively effecting the mind and body. Outside children are able to learn in a comfortable and non-threatening environment, and are able to learn through movement, investigation and play. 

In relation to outdoor learning, Cook and Heseltine (1999) state that "It' is essential to their growth and development. Children need to know about risk, about their own capabilities, to develop the mechanism for judging it in a controlled setting." Children need to be self-regulated in their safety so that they can, for themselves learn what is safe, and what is not; preparing them for future life. 

David Yearly, play safety manager of RoSpa, argues that judging risk comes through exposure to it. (Jones 2007) 

Outdoor learning can provide the 'space to move freely; something which is restricted when indoors. Children are able to use their entire bodies in role play and other imaginative activities. However, outdoor environments; like any environment comes with an element of hazard and risk. But, children need to experience this for themselves, and rise about the challenges and problems they are faced with, in order to developmentally progress. Adults should give children the space to learn for themselves without interfering too much. 

An outdoor learning programme that has been introduced in schools, and represents all the benefits that I have spoken of, is called 'Forrest schools'. This programme allows children to go into the environment and freely experiment and experience the outdoor environment safely. Broadening opportunity for the pupils that undertake it.  I have had first hand experience of this programme, as I assisted a few lessons, taking pupils out from my old primary school. Here are a few photographs of the children I worked alongside, enjoying their outdoor lesson.

 

"Children and young people are given encouragement to direct their own learning - this often requires catalysing on the part of the Forest School leader either through stimulating play in the outdoors or through 'scaffolding' a child's learning, but mostly through simply observing how children are in the outdoors."

 - Forest School training



Creative Play

" Play during childhood is, in fact required for children to reach their full potential." - (Stephens 2009) 

From birth, children naturally engage with play. They play with almost anything at any time, including their hands and their feet. Children are naturally inclined to play and it is a lot more than just a 'past time' as it helps to develop a multitude of development functions. These functions include social, cognitive, physical and emotional developments providing experiences and independent learning. Creative play is an engaging and valuable type of play that allows children to develop an understanding of themselves and the world around them. It is an appropriate medium for discovery and experiential learning. 

Robinson (2001) States that 'Human intelligence is essentially creative. We not only find meaning in the world, we interpret it through structures of ideas and beliefs. We each create the world we live in." 

It's through creative play that children show a sense of competence within social, physical and cultural environments. Most things that children learn in early childhood, cannot be taught and are best learnt through experience and self-discovery. 

'Creativity is fundamental to successful learning' -(Kelman, K. 2003) 

In order to fully provide children with learning opportunities, they should be able to access a wide variety of resources, materials, instruments and shown various techniques. When children are provided with opportunities, they are able to expand their communication skills as well as their imagination. By expanding these areas of development, children are able to explore and share new ideas, complete with emotional understanding. 

Teachers and facilitators of creative play should never force an activity onto a child. Although, they should support the child, giving them freedom to explore a desired activity. This provides the child with an opportunity to express themselves freely, without having their actions being directed or influenced by anyone else. 

Here is a video that explains the benefits of creativity -

Wilson (2012) states that creative play should have no agenda, it should allow the child to have their own rules and open endedly be able to work with materials. He goes on to say that, 'Its through play that children learn about themselves, and the world around them.'

Creative play can include such activities like role play, drama, drawing and even playing in the sand tray. All of which allow the child to express their feelings, develop ideas and learn through discovery. 

Cognitively, Wilson (2012) says that ‘play helps children develop in areas of creativity, logic and problem-solving’. Play also contributes to children’s emotional development. As they experience joy, togetherness and accomplishments, they develop a positive sense of self, and a zest for living in an ever changing world.’

Whilst researching creative play, I have come to understand that, by allowing children to develop naturally through the form of creative play, it allows them to learn through self discovery, and make own judgements based on experience. The main asset to this approach to learning, has to be the fact that it is totally natural for a child to 'play' , therefore they learn without realising, reducing pressure they may otherwise feel. It is also beneficial, because it is a for, of learning which caters for children of all abilities. Kohl (2008) also believes that ‘children who feel free to make mistakes and to explore and experiment will also feel free to invent, create and find ways to do things. Grant the lasting gift of freedom to children – to make mistakes and learning from doing. The side benefit is that fostering creativity in our classroom makes teaching more rewarding and fun, and gives children a zest for imagining and learning that will last a lifetime.’ 

Conclusion

 

 

It is paramount that creativity plays a vital role in teaching methods and a child's education. I believe that the most effective approach is promoting creativity is outdoor learning. Overall, this approach promotes independence and freedom to learn in an environment that's safe, exactly like creative play does, however, additional benefits are, that it promotes good health and well-being, and can be conducted with no resources or materials, as it is a natural source. Creative partnerships are good for social developments, because working with peers and external leaders, creates opportunities for team building, discussion and communication, alongside self-expression and elements of confidence. Scientific enquiry and the mantle of the expert promote investigation, and creativity, although they are time consuming in practice. All of these creative approaches however, have to potential to improve academic achievement, reguardless of a child's academic ability. They all develop knowledge, understanding, and improve the learning experience.

References / Bibliography

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Heston, S. (1993). The Dorothy Heathcote archive. Manchester: Manchester Metropolitan University. www.did.stu.mmu.ac.uk/dha/hcheston.asp (Accessed: 10 December 2014)

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Kelman, K., Smith, S. and Clough, J. (2003) Creative Development. Scholastic.
 

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