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Arts Creative Learning and Creativity.ppt
- 1. Creativity Learning – whatis it and why is it important?
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- 3. It is predictedthat through their lives the average 15 year old will have 17 jobs spanning 5 different careers.
- 4. Click to editMaster title style 65% of the jobs children entering primary school today have not yet been invented
- 5. Click to editMaster title style Top 10 skills In 2015 In 2020 1. Complex Problem Solving 1. Complex Problem Solving 2. Coordination with others 2. Critical Thinking 3. People Management 3. Creativity 4. Critical Thinking 4. People Management 5. Negotiation 5. Coordination with others 6. Quality Control 6. Emotional Intelligence 7. Service Orientation 7. Judgement and Decision Making 8. Judgement and Decision Making 8. Service Orientation 9. Active Listening 9. Negotiation 10. Creativity 10. Cognitive Flexibility
- 6. Creativity in education -a policy priority
- 7. Andreas Schleicher -Director for the Directorate of Education and Skills, OECD
- 8. To enable anddevelop creative skills in a learning context you have to define what they are….
- 9. Click to editMaster title style Definitions of Creativity implications for… http://ec.europa.eu/education/policies/2010/objectives_en.html#basic • Can be defined it many ways BIG C / small c • Some people feel it is: - a special gift - about an end product - only about the arts • We believe it exists in all of us • These skills are not bound within the arts – although the arts and culture can be very powerful in developing them • It is an ability to question, make connections, to take an innovative and imaginative approach to problem solving and to work effectively with others • Creative Schools aims to develop the creativity of children, young people and teachers/staff
- 10. The Five CreativeHabits of Mind 1. Inquisitive Wondering and Questioning Exploring and Investigating Challenging assumptions 2. Persistent Tolerating uncertainty Sticking with difficulty Daring to be different 3. Imaginative Playing with possibilities Making connections Using intuition 4. Disciplined Crafting and Improving Developing techniques Reflecting critically 5. Collaborative Cooperating appropriately Giving and receiving feedback Sharing the ‘product’
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- 13. Aistear – CurriculumFramework
- 14. Click to editMaster title style Junior Cycle
- 15. It is: Creative teachingand learning across the curriculum , ongoing reflection and evaluation About helping schools with real school development needs and issues Delivering improvements in learner outcomes and engagements And it is not: Arts projects in schools just with artistic outcomes Confined to creative subjects Artists/creative practitioners working as teachers Giving teachers time away from the class for other work High Functioning Physically engaged Socially engaged Emotionally engaged Intellectually engaged Well Being Confidence High performance
- 16. All images containedin this presentation are protected by copyright and as such cannot be reproduced without prior permission.
Editor's Notes
- #2 This presentation discusses why creativity is important for learning and life, it aims to develop a shared language about creativity in the Creative Schools Programme and to reflect on what Creative Learning is and the context for it internationally and in the Irish Education System It introduces how the world is changing and a number of the early slides focus on the future and what life might be like for CYP in Ireland beyond school. So it might be inferred that the only reason for developing CYPs creativity is so that when they leave school they can be active, creative contributors. We do hope that they will do that However we recognise that young people are not ‘beings in becoming’ but are ‘citizens of today’ with the right to be heard and respected throughout their lives
- #3 At times of great challenge such as the ones we are living through today, human creativity is what we need if we are to emerge into a better world.
- #5 By one popular estimate, 65% of children entering primary school today like these from St Brigid’s National School in Kilkenny, will ultimately end up working in completely new job types that don’t yet exist.1 1 1 McLeod, Scott and Karl Fisch, “Shift Happens”, https://shifthappens.wikispaces.com. In school we have to prepare children and young people with skills to deal with uncertainty. Jobs that didn’t exist a year ago include Zoom support specialists, mask makers, temperature takers in buildings, in some countries byelaw enforcement officers, contact tracers. Jobs of the future will be significantly more skilled than most jobs of the past – they will all require creativity, imagination – qualities that the arts and culture, artists and creative practitioners working in schools are ideally placed to nurture and develop in young people. These are the very skills that will prepare our children and young people for existing and future uncertainties.
- #6 This is from a report which was presented at the World Economic Forum in Davos in 2016. The Future of Jobs – employment, skills and workforce strategy for the future report stated that by 2020 over one-third of skills (35%) that are considered important in today’s workforce will have changed. In 2015 who would have imagined in 2020 we would be in the midst of a global pandemic. It is interesting to look at the top 10 skills needed as they are very much the reality of the day – Creativity has risen from 10 to number 3 but in looking across the other skills on the 2020 list many align with the Creative Schools definition of creativity which we will explore later in this presentation How do we prepare our young people for all this change and to be successful learners today? The arts, creativity and the development of children's creativity skills have a significant role to play. Education systems around the world – including here in Ireland are also waking up to this reality…
- #7 The value and policy priority given to creativity in education is growing. The Centre for Universal Education at the Brookings Institution in Washington - found that, in looking across the vision, mission and policies of over 100 education systems around the world, 86% had creativity, collaboration, critical thinking and problem-solving skills as major aspirations. However, the rhetoric and the reality were found to be very different as only 10% of these were in fact making progress and had detailed plans or programmes in place that would support the development of these skills in education. Wales, with their Creative Learning through the Arts 5 year strategy to 2020 and their major reform of the education Curriculum for Wales ,is a strong example of real system change and the embedding of the arts and creativity for all learners from the ages of 3 to 16.
- #8 Educations systems are often compared and rated against each other and one of the most influential of all is PISA (The Programme for International Student Assessment) which is a worldwide study by the OECD (Organisation for Economic Cooperation and Development). PISA evaluates educational systems by measuring 15-year-old school pupils' scholastic performance on mathematics, science, and reading – attainment. It was first introduced in 2000 and it provides comparable data to support countries to make informed decisions to improve education policies and outcomes PISA generates significant interest and many column inches of editorial when it is published. Widely recognised as influential in informing education policy development around to globe - many major decisions on education reforms are informed by PISA. PISA is powerful and Ireland does well. So why is this relevant to creativity skills? This is Andreas Schleicher - Director for the Directorate of Education and Skills, OECD. Andreas argues that knowledge acquisition and testing for it is no longer the premium in education – it is the easiest to teach and to test. He states that in education we need to go beyond core literacy and numeracy. That what we do with our knowledge is critical and that creativity and critical thinking skills are vital for children and young peoples success - their ability to be inquisitive, imaginative, disciplined, collaborative and resilient. These skills are what we call the 5 Creative Habits of mind. Creativity, Culture & Education who work with the Creative Schools Team, developed these with the Centre for Real World Learning at Winchester University as part of a research project for their Creative Partnerships programme which operated in over 2,500 schools each year in England. In PISA 2022 creative thinking will form part of the assessment process.
- #10 There are many definitions of creativity – many are based in psychology and no single definition even in a learning context exists. It can be defined it many ways: BIG C creativity (Kaufman & Beghetto, 2009) were referring to Big C Creativity as the kind of clear-cut, genius-level creativity that is reserved for the eminent and the great. Small c creativity (Craft 2000) is every day creativity, creativity in action and not a special gift Some people feel creativity is: - a special gift - about an end product - only about the arts. In Creative Schools we believe creativity exists in all of us and that – it’s a set of skills that can be developed These skills are not bound within the arts – although the arts and culture can be very powerful in developing them It is an ability to question, make connections, to take an innovative and imaginative approach to problem solving and to work effectively with others Creative Schools aims to develop the creativity of children, young people and teachers/staff
- #11 In a learning context it is important what we defining a language of creativity that can be understood and recognised by teachers, young people and artists These are the 5 Creative Habits of Mind They can be incorporated into all areas of the curriculum as well as the arts Learning about things and gaining knowledge is a critical part of the learning process – subject knowledge is really important so its not an either or – creativity and curriculum knowledge are both important and can be delivered together in the same learning space When opportunities are provided for creativity it is when real learning happens Children who have the possibility to use and develop these skills have higher levels of wellbeing These skills are critical in the months and years ahead as we navigate the challenges of COVID and its impact on all our lives At their heart, these Habits of Mind acknowledge the capacity of all children, young people and teachers to develop their creative skills The interplay of these skills is important and the ability to be creative in context – for example to be creative in fashion design, in science or in maths We need to know when it is important to be inquisitive and to ask questions - and when to stop! Creativity is metacognitive – you need to have the skills and be able to use them in the right way, in the right context – what we can do with what we know.
- #12 Creativity, Culture & Education who work with the Creative Schools Team invested in a range of major research projects of their Creative Partnerships programme. This initially focussed on gathering evidence of the impact the programme had on attainment and attendance which was very positive and it had the greatest impact on children who were disadvantaged (defined at learners eligible for free school meals). Their research went further to explore what was happening in Creative Partnerships schools, what learning looked like and to identify the pedagogical approaches that were having such positive impacts on learners. What emerged from this research was the High Functioning Classroom. This model aligns very effectively with quality frameworks in place for schools in Ireland and the need to take a holistic. This is when learning, regardless of its content or context, is at its best and it is what high quality arts and creative learning experiences can bring. It is important to note that Low Function is not always bad – many education systems are built on this model – some perform very well in international tests and some children and young people do very well in this environment but it doesn’t appeal to all learners. Educators need to be able to move across the domains in the High Functioning Classroom to provide learning experiences that are more responsive to the needs of learners. The research identified that in high functioning learning environments: Teachers/educators – were challenging learners, scaffold their learning, growing their learner habits, to find, interpret, analyze and construct their own learning. They created opportunities to get things wrong so that learners could work to get it right themselves. There was less knowledge transfer. Nature of the learning activities – they related to interest of learners and were real world learning opportunities. Learners observations, stories, communities and histories were incorporated into learning activities. Time – was used more flexibly and learning was less bell bound into small units of time. Organisation of space – classrooms were dismantled and became studios and rehearsal spaces. Approach to tasks – this was less focused on individual learning. Working in groups, sharing ideas and knowledge, learning to build relationships and work with others was a common feature. Visibility – learning can be invisible in classrooms (pupils work in their own books which only they and sometimes the teachers sees). In the classrooms observed the learning process was highly visible, work in progress was shared and young people were working like artists, like creative people. Sharing work in progress is high risks but learners found this exciting and rose to the challenge it brought to the learning experience. Location of activities – learning was mobile and more physical. Learning was regularly taken beyond classroom contexts into the wider school and beyond into the community. Self as a learning resource – children and young people saw themselves as central to the learning process, that they mattered, their voices and opinions mattered and they could make a difference in the classroom. There was a willingness to take risks and for children to recognise their own potential to improve. Emotion – emotion and feelings were acknowledged and used as opportunities for learning. Inclusiveness – the assumption was that everyone would be involved and participate. Role of learners - they were leading learning, taking responsibility and being autonomous, self managing learners. Reflection – was continuous and discussions about learning included what helped learning, it explored learning strategies, thinking skills and opportunities to think deeply about what learning was actually taking place.
- #13 This presentation concludes by aligning creativity to the education context in Ireland. Curriculum reforms in Ireland have placed a strong emphasis on developing creativity skills The school self evaluation process and the quality standards from the Inspectorate also highlight the importance of these skills. An example of how these skills can be integrated into the learning process can be found in the Aistear framework. In other contexts creativity may be expressed slightly differently and schools are familiar in working with the language.
- #14 An example of how creativity skills can be integrated into the learning process can be found in the Aistear framework. Aistear is the curriculum framework from children from birth to six years in Ireland. It celebrates early childhood as a time of enjoying and learning from experiences, through discussion, exploration and play. The framework presents children’s learning and development using four interconnected themes to describe the content of children’s learning and development: Well-being, Identity and Belonging, Communicating, and Exploring and Thinking. (Please see NCCA for more details) In other contexts creativity may be expressed slightly differently and schools are familiar in working with the language.
- #15 At post primary level eight principles underpin the Framework for Junior Cycle. These principles inform the planning for as well as the development and the implementation of junior cycle programmes in all schools. One of these principles is Creativity and innovation - Curriculum, assessment, teaching and learning provide opportunities for students to be creative and innovative. Key skills help learners develop the knowledge, skills and attitudes to face the many challenges in today’s world. They also support students in learning how to learn and to take responsibility for their own learning. One of the Key skills at Junior Cycle is Being Creative. This involves: Imagining Exploring options and alternatives Implementing ideas and taking action Learning creatively Stimulating creativity using digital technology
- #16 And finally to finish. Arts and creative learning experience create high functioning learning environments with the characteristics as described in the High Functioning Classroom They have the capacity to engage the whole child so that they are physically, socially, emotionally and intellectually engaged Their well being needs are attended too and this leads to confident capable learners This is where children are fully engaged in their learning and as a result perform to their best.