This blog will aim to look at five different topics all relating to creativity, and how they are relevant to education today, in the twenty-first century. Also what will be explored is how each topic relates to creativity.
The five topics that will be discussed on this blog are:
Creative writing is a type of activity that simply encourages the individual to think creatively, and an advantage of this is that it is possible for most ages to take part in. Morley (2007, p.41) argues that 'all writing is creative', but goes further and states that for the creative writer 'what you write about is far less important than how you write it.' Therefore, this suggests that in the context of creative writing, the author would focus more upon the way in which a piece of writing is written than the content. However, both are still of some importance to the author. This is where creative writing differs from other forms of writing, such as academic writing, where the author would attempt to write about a specific piece of information for the reader.
In the context of education, Wilcox (2009) states that creative writing encourages a child to explore descriptive writing, which therefore is useful in all aspects of the school curriculum. This means that it is not just limited to benefiting and developing the learner's English, it links to other subjects, and also assists with encouraging creativity. However, there are questions as to whether creative writing can be taught by an individual, and also if the student can learn it (Morley, 2007). Despite this, creative writing sessions still occur in both education and non-educational settings.
The video below is from a TED talks event and Anthony Lishak, an author that also leads creative writing workshops, argues why creative writing is important for the child in education today. The video also considers what barriers there are for children in schools in being creative.
The creative writing session that I took part in was interesting, as it is something that I initially was not sure of and did not think that it was for me. However, I was proved wrong, and thought that it was a simple and effective way of expressing someone's creativity. The task that we were given in the session was to work together in groups to create a character, following the list of examples. Working together in this way provided a range of different ideas that we put together to make our character. We then had to develop the character again, by adding in some further information. Despite the fact that we had to work in groups, this task could be carried out by an individual also. We then had to share the details of our character with the rest of the groups, and it was interesting to see the variety of characters that the three different groups come up with. Another example of a task that we had to do was write down certain emotions, such as sad or happy, and list next to it different words that we can use to express this emotion. An example of this task can be seen below, from the notes made during the session.
This not only helps with creativity, but in an educational setting this, as stated previously is beneficial for the individual in terms of vocabulary. It is also a simple yet effective task that someone can complete individually.
In conclusion, creative writing is a tool that can be used by many ages in the educational context. It can help with children's vocabulary, and therefore is useful in many different subjects. Despite this, it is argued by some academics if it can actually be learnt or taught (Morley, 2007) to individuals. However, it is still a tool that encourages people to use their imagination and be creative today, with sessions occurring both in classrooms and also in a non-educational context. References
Morley, D. (2007) The Cambridge Introduction to Creative Writing. Cambridge: Cambridge University Press.
Wilcox, A. (2009) Descriposaurus: Supporting Creative Writing for Ages 8-14. dawsonera [Online]. Available at:
There is a debate surrounding creativity today, due to the fact that different people have different views on what creativity is to them. Therefore, is it possible for an individual to go through a test to find out how creative they are and compare this to other people?
Bart et al (2015, p.17) argues that it is important to measure creativity using tests in the twenty first century because 'creativity is highly valued in modern technological society and should be developed in as many individuals as possible'. Academic tests are available that people can take, such as the Torrance test. Below the picture shows an example of the Torrance test, and an example of both more and less creative answer that the individual may take.
However, Newton and Newton (2014, p.583) question the results of the Torrance test to creativity, 'their relevance in the classroom is not always clear'. This suggests that if the Torrance test is taken by students in class to test their creative ability, the results are not taken any further, and it is unclear how they assist the teacher or even the pupils themselves. Despite this, Torrance (1995, p.320) states that 'you must measure the subjects' creativity in regular, short-term intervals', which suggests, as the individual that devised the Torrance test, that it needs to be taken regularly by individuals. Therefore, here are debates between academics as to how the test is useful, although on the other hand, it is recommended for the test to be taken regularly by individuals.
Despite the points stated above, there are various tests available claiming to test an individual's creativity. In the session about testing creativity, we looked at the different types of creativity tests that have been created, but focused upon the Torrance test. We completed some activities to test our own creativity. I thought that this would be quite a simple, straightforward task to complete. However, it was more difficult than initially thought. One of the tasks completed can be seen below in the picture, the instructions that we were provided with was to complete each diagram (below, left). I found it more difficult than initially thought, and thought too much about what the result would be. The other picture (below, right) is my completed drawing. The first picture is a vase with flowers, and the second is a rocket.
My results seem to be in the less creative column, when considering the picture above providing examples of the Torrance Test (picture one). Although my results show a less creative result, this type of test for a child would possibly show some interesting results, as they may be more imaginative and do not have to think through it too much.
In conclusion, it is debated whether creativity can be tested or not, as the definitions of creativity vary between academics and individuals. The Torrance Test is a tool that is commonly used to measure creativity, but it is argued whether this is useful in the educational setting today.
Outdoor learning provides the learner with many benefits for his or her learning experience. It is also argued by White (2011) that our outdoor experiences have a significant influence upon us as we grow up, such as the way in which we see the world and even our experience of learning in education later in the process. Therefore, learning outdoors from an early age is important for the individual, and it must be ensured that it is continued throughout the learner's education experience, not just something associated with the early years.
In terms of creativity, DFES (2006, cited in Harlen and Qualter, 2014, p.135) list a number of benefits to outdoor learning, and one of them is 'nurture creativity'. Therefore, the outdoor environment is a place where students can express and develop their creativity. Another association with outdoor learning is made by Bilton (2010), linking the environment with social development. This indicates that the outdoor environment helps to develop a child's social skills, as it is a place where children are often in groups.
Despite, as mentioned above the fact that there are numerous benefits for the learner in relation to the outdoor classroom, it is generally often overlooked. Bilton (2010) provides some examples of why parents are afraid of letting their children play outside, such as fear of their child being in danger, increased use of technology by children, and also increased use of the car. Therefore, today parents are afraid to let their children outside to play, despite the many benefits for the child.
Stan and Humberstone (2011) recognise that taking risks in the outdoor environment has potential for the learner, despite possible negative associations with it and in their research, they found that when the teacher becomes too concerned with the potential risks of the outdoor environment, it disrupts the experience for the learner.
Bilton (2010, pp.27-28) agrees with this, and states that 'our role is to help children to help take risks and rise to challenges.' Therefore, outdoor learning requires risk taking by the individual, and the teacher has to accommodate for this. However, health and safety concerns may overshadow it, ignoring the potential benefits of taking risks in the outdoor environment. Current legislation in Wales regarding outdoor learning, such as the Foundation Phase, states that the environment for the pupil 'should promote discovery and independence and a greater emphasis on using the outdoor environment as a resource for children's learning' (DCELLS, 2015, p.3). This implies that the Foundation Stage curriculum identifies that outdoor learning for the individual is important. However, due to the various barriers of the potential of the outdoor classroom, it is easy to overlook it for other indoor learning activities, due to the risks.
The video below shows some examples of activities that children may take part in through the outdoor environment. It also provides what benefits the children by learning outdoors. This is created by an organisation Learning Through Landscapes (Wales, Grounds for Learning is the Scotland equivalent).
There have been numerous occasions in my education that have been in the outdoor environment. Two examples of these are listed below.
We were provided with a list and a task to do in groups, and we were required to go outside and take pictures. We had to take pictures of something that we found outside that corresponded to the letter on the list. I thought this was a fun and engaging experience, and that it is something that could be adapted to meet the learning needs of any age, both primary and secondary.
Another example of outdoor learning that I have experienced in primary school was in year two. We went to a local garden and put into small groups. The task that we were given was to look at the nature, such as looking for insects, and tick off from a list what we saw. This is an example of how the task above (1) can be adapted to any age range, instead of taking pictures of what we saw, we had to tick them from a list.
Both of these experiences have involved being in a group, so working with other people is a skill which is developed in the outdoor learning environment, as suggested by Bilton (2010). Therefore, it is also a key feature of outdoor learning. However, it is unclear if outdoor learning can be linked with a specific subject, as sufficient planning would have to be made by the teacher to ensure that the learning is used to its full potential.
In conclusion, there are many benefits for children of outdoor learning, but there are a number of reasons why parents, for example are reluctant to let children outside. Despite this, in the twenty first century even with increased use of technology by children there are still organisations and governments that acknowledge the need to experience learning outside in terms of education, and there is a general understanding that outdoor learning is important for the child. References
Bilton, H (2010) Outdoor Learning in the Early Years. 3rd Edn. Abington: Routledge.
Harlen, W. and Qualter, A. (2014) The Teaching of Science in Primary Schools. Dawsonera [Online]. Available at: https://www-dawsonera-com.ezproxy.uwtsd.ac.uk/readonline/9781315850962 (Accessed 27 April 2016).
Stan, I. and Humberstone, B. (2011) 'An Ethnography of the Outdoor Classroom - How Teachers Manage Risk in the Outdoors', Ethnography and Education, 6 (2), (June), pp.213-228. EBSCOhost [Online]. Available at:
http://web.b.ebscohost.com.ezproxy.uwtsd.ac.uk/ehost/pdfviewer/pdfviewer?sid=436ab833-bb52-444a-90fc-dafeb8c9b648%40sessionmgr103&vid=1&hid=128 (Accessed 15 April 2016).
Wales: Department for Children, Education, Lifelong Learning and Skills, (2015) Foundation Phase Framework (Revised 2015). Cardiff: Welsh Government. [Online] Available at:
Drama is often thought of in terms of the educational setting as simply the play at Christmas time (Baldwin, 2008), not related to the other subjects taught throughout the rest of the year. This view of drama however, is restrictive as it is possible to bring aspects of drama into lessons, such as the more traditional subjects. Therefore, if it is put into practice well then it can be integrated with these other subjects to create a unique learning experience.
The video below shows an example of how drama can effectively be used today in a key stage one maths lesson, and engage the pupils in the classroom.
An example of an approach to education that involves linking drama in the classroom with any subject is Mantle of the Expert. It is an approach to teaching that was developed by Dorothy Heathcote. According to Heathcote and Bolton (1995, pp.3-4), there are four principles that forms the basis of this approach when it was being developed to education. They are:
The teacher must work closely with children and constantly reflect on their practice.
'Drama is about making significant meaning' (Heathcote and Bolton, 1995, p.4).
Drama is successful teaching tool when it involves all of the class.
Teachers are facilitators and must 'empower'.
These points evaluate what Mantle of the Expert is about, and shows that there is a strong focus upon drama, and also the teacher's role in the process, being the facilitator. Therefore, the teacher does not dictate the information to the students in the class, yet still directs what the lessons will consist of, and the learners would then follow the instructions and act as experts. This approach to education encourages the individual's creativity, as it requires thinking skills, and in some circumstances each individual would take a different approach to a question or interpret it in a different way, providing each time a different experience for the learners. It is also useful as the approach is not only possible for children at a younger age, older students can also benefit from Mantle of the Expert.
Personal experience of this particular way of teaching was positive, as it is a useful way of involving drama into the classroom. The task that we were given was to build a bridge, with restrictions put on the materials that we could use which was lollipop sticks and glue. We were given a brief that outlined what we were required to do in the session, and also provided information on specific measurements. We then took on the roles of builders, which was the part of the task that involved the drama element in Mantle of the Expert. We had to do our own research into what types of bridge would be the strongest, and also how to do this whilst using as little lollipop sticks as possible, to stay within the budget. Towards the end of the session our bridges were then put through a number of tests, to see which were the strongest. Unfortunately, my team's bridge positioned last, but the experience of Mantle of the Expert has shown that without much guidance by the teacher, as a simple brief was provided, it is possible for the individual to do their own research and efficiently take on a role, in this case that of a builder. This reflects to point number 4 mentioned above, where in this approach to education the teachers are facilitators and do not dictate anything to the learner, as mentioned previously.
Below is a slideshow of pictures, showing the process that we took towards the making of the bridge.
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In conclusion, drama is an effective way of engaging pupils in lessons in school, and is possible at both primary and secondary school level. An approach to education that incorporates drama with school subjects is Mantle of the Expert, developed by Dorothy Heathcote. The students act as experts in the learning experience, and the teacher acts as a facilitator, providing a unique experience for the learners.
References
Baldwin, P. (2008) The Primary Drama Handbook. Dawsonera [Online]. Available at: https://www-dawsonera-com.ezproxy.uwtsd.ac.uk/readonline/9781446202395/startPage/6 (Accessed 20 April 2016).
Heathcote, D. and Bolton, G. (1995) Drama for Learning. Portsmouth: Heinemann.
Science is a subject that is hugely linked with creativity, as the sciences and the arts have much in common. In terms of education, despite the fact that science is often considered to be one of the core subjects in school, Harlen and Qualter (2014, p.12) state that it does not have the long tradition of being central to the primary curriculum' in comparison to English and Mathematics. In terms of the twenty first century in relation to science, the review of the curriculum in Wales (DCELLS, 2015, p.39) proposed six different areas that could be introduced to the curriculum, and two of which are 'expressive arts' and 'science and technology'. Despite the fact that they are both in separate areas, the report emphasises that they can be linked together, they are 'a means of organising' (DCELLS, 2015, p.39) the curriculum into six sections. Therefore, this shows that science and creativity in this report are separated, but it is emphasised that both can be joined together.
The video below is a TED Talks which discusses the similarities of the arts and the sciences. It also shows some useful practical examples of integrating both the arts and science, and what you can create in terms of science.
Scientific play has always been a memorable part of my education, as it is a fun and enjoyable way of learning. Techniquest is a museum that specialises in providing opportunities for both pupils and teachers to learn about science. People from the charity talked to us and provided some examples of how they teach science to children in schools. They emphasised that when teaching science to pupils, it is essential for the teacher to not just state the facts, but also to provide a visual representation, or a practical . Therefore, this engages pupils and keeps them interested in what the teacher is telling them. There were a number of practical activities that the people from Techniquest showed us, such as simple demonstrations of how they engage children in lessons. An example of one of the activities was related to spreading germs. We were given small shot glasses of water each and a pipette, and had to use the pipette to swap small amounts of water with other people, this occurred three times. A PH indicator was then added to each shot glass, and if the glass turned red in colour then that glass was the glasses that turned red were the ones that spread the 'germs' to others. Below is a slideshow of pictures of when Techniquest came to visit, including some pictures of exchanging the drops of water, as mentioned previously.
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Below shows the inside of Techniquest, with a map showing some examples of the types of interactive activities available at the museum.
In conclusion, science is a subject that is linked to creativity, and this can be shown to students in the classroom through scientific play. The Welsh Government has been advised through a report (DCELLS, 2015), emphasising that science and creativity must be linked together in the learning experience for children. Places like Techniquest assist with this, as they provide interactive experiences for children to learn about science, to fully engage them in the learning environment. References
Harlen, W. and Qualter, A. (2014) The Teaching of Science in Primary Schools. Dawsonera [Online]. Available at: https://www-dawsonera-com.ezproxy.uwtsd.ac.uk/readonline/9781315850962 (Accessed 27 April 2016).
Wales: Department for Children, Education, Lifelong Learning and Skills (2015) Successful Futures. Cardiff: Welsh Government [Online]. Available at: https://hwbplus.wales.gov.uk/schools/6714052/Documents/Donaldson%20Report.pdf (Accessed 28 April 2016).
