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Bruce Hammonds - Lessons from the Masters


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Bruce Hammonds - Lessons from the Masters

  1. 1. ‘Lessons from the Masters’Bruce Hammonds
  2. 2. 5 Main messagesWhy isn’t creativitycentral to all our lives?Is it just for the gifted?Why is creativityimportant?What blocks creativity?What can we learn fromthe ‘masters’.What is the creativeprocess?
  3. 3. New thinking is urgent because we areleaving a failing Industrial Ageand entering an evolutionaryworld.Of unpredictabilityinterconnectionsand continual creation.Darwin started allthis!
  4. 4. What future attributes will weneed?Is our education system up to it?Short answer – no!The big question for us all-what is the purpose of life?Artist Peter Sidell
  5. 5. Today we still use rear vision thinking –looking tothe past for security (National Standards)Henry Fordstill rules!
  6. 6. Measure, classify, graph and gather ‘best evidence’.We can Blame Newton or Blake’s God forthe mess we are in!I have agoodidea!
  7. 7. Time to leave age ofscience and rationality.They only observe andmeasure only what theyare looking for.(i.e. National Standards)
  8. 8. We have to change!!Currently we still fail 20% of all learners‘One size never fitted all’ :We need a new storyTheseare thecitizensweneed‘little boxes’
  9. 9. National Standards will limit thecreative experiences of our students.
  10. 10. New thinking breaks all the rulesThe ‘Fosbury Flop’.Not ‘best practice’ – which becomes ‘fixed’ practiceWhat we really need is new thinking
  11. 11. It is the end of anEra.The captain andofficers should godown with theship.A lot of currentchange is akin torearranging thedeck chairs on theTitanic.This is notwhat weplanned
  12. 12. We all need to be‘Be prepared to abandon everything’ PeterDrucker
  13. 13. Are we ready for the future?Are we ready for an ‘Age of creativity’ orwhat some are calling ‘The SecondRenaissance?Can we escape past thinking or structures?
  14. 14. Some say we are enteringAn ‘Age Of Creativity’or a ‘Second Renaissance’.What will students need to thrive?
  15. 15. Attributes of a creative mind tothrive in an ambiguous world?‘Knowing what to do when youdon’t know what to do’? Piaget‘How act when the world turnsto custard’. ( David Lange)How to make decisions andchoices without enough data!
  16. 16. New Beliefs:1.Everyone hascreative capacities2.These capacitiesare our greatestresource3.Developingcreative capacitiesrequires thecreation of aculture ofinnovationWhy do so many adults thinkthey are not creative?What are your thoughts?
  17. 17. An ‘age of self invention’.Perpetual 2yr olds , scientist, artists ,explorers ..questioning everything!Schools need to be about tappingand amplifying students creativity.All progress depends on the ‘crazyones’ – the ‘unreasonable ones’ – the‘mavericks’.
  18. 18. We need the‘beyonders’Our society needs peoplewho go beyond expectationsJohn BritainColumbusDarwinAnd creative teachersmost of all!!
  19. 19. Educations newtask:
  20. 20. ‘We havesuccessfullydomesticatedour studentsignoring theirnatural gifts’.‘We havetrained them tobe fed withoutgoing on thehunt’.Sit!Heel!Fetch!
  21. 21. Lets ensure our students retain their birthright tobe natural learners – ‘wolves of learning’.‘By institutionalizinglearning we have takensomething preciousfrom our learners.Natural curiosity hasbeen replaced by ourcurriculums.Our agenda not theirs’We need to create conditions to foster the thrill of learning
  22. 22. Our revised 2007 curriculum requirescreative thinking.‘All students confident life longlearners’.‘All students to be ‘seekers, userand creators’ of their ownknowledge’.‘Intellectual curiosity is at theheart of learning’.Importance of ‘keycompetencies’.Now ‘side-lined’ by National Standards
  23. 23. Software for the brain– we have the powerto amplify or restrictour students learning.Humans are all born to learn – but evenbefore five some have lost the habit!Unlimitedpotential our‘plastic’ brainsFirst yearsvital – upuntil 7
  24. 24. What are my uniquegifts and talents?
  25. 25. Elwyn Richardsondeveloped his schoolas a community ofartists and scientistsin the 50s.Still an inspiration for creativeteachers.Elwyn knew…….
  26. 26. ‘I reach a hand intothe mind of the childand bring out ahandful of the stuff Ifind there and use it.’The first booksshould be‘made’ out of therich experiencesof a childs life.Another pioneer. Sylvia Ashton Warner. 1950sSylviaKnew!
  27. 27. Our rooms ought tobe full of thestudents ‘voices’– theirquestions,thoughts andideas.Our curriculumshould ‘emerge’from theirconcerns.
  28. 28. We now need todevelop an image ofa future learner …and then developthe conditions toensure all learnersdevelop theirunique gifts andtalents to be lifelong learners.‘Kids with the future in their
  29. 29. We have to create the conditions ( orculture) to help all students developtheir gifts and talents.‘To be seekers, users and creators of their ownknowledge’ NZC 2007
  30. 30. Discover the talents of all your studentsand ‘amplify’ them.We are what we can do!
  31. 31. Base all learning on developing multipleintelligences and valuing uniqueness‘Bits of these talented adults exist in yourrooms? Name their intelligences
  32. 32. Assess your strength out of ten for eachand share with someoneWhichones doschoolsoveremphasizeto thedetriment ofthe othertalents?
  33. 33. The ‘da Vinci Code’Observecarefully –valuethe sensesQuestioneverythingSeeconnectionsExperiment,draw, paint ,inventLets’ get our children ready for the 2ndRenaissance –an Age of Ideas and Creativity.They wouldn’tlet me go toschool!
  34. 34. And Elliot Eisner who writes about exploringour world with ‘nets’, or frameworks, to captureand express meanings – similar to multipleintelligences or traditional disciplines.As anartistAs ascientistAs awriter/poetA a historianAs amathematicianAs abuilderOrwhatever
  35. 35. Whatever your curriculum – ‘do fewer thingswell’ – to develop deep learning.Put the really important things in the firstbucket, important in the second and nice to doif time in the third – then throw away the lasttwo buckets. ( from John Edwards)
  36. 36. The role of the ‘teacher’ :Good teachers have the‘David Factor’.I saw anangel in themarble andset it free!
  37. 37. Give students time explore their creativity.Horses developed by a ‘delinquent’ over severalmonths17yearold‘Anything worth doing is worth doing slowly’ Mae West
  38. 38. The best metaphor for a teacher is acreative coach or learning adviserAre we are killing creativityby too greater emphasis onadult expectations and tooheavy a feedbackStudents work should reflecttheir personal styles.
  39. 39. Learning ‘how tolearn’ isimportant but soisAn appreciationof thepower ofpersonalmastery.Goethe
  40. 40. Thinking isabout seeingpatterns inonesexperience.Dosomething.Whathappened?Why?What will youdo next time.
  41. 41. We need torespect and valuestudentsquestions, ideasand theories – ourrooms should befull of their priorideas before westart to help them.What aretheythinkingorfeeling?Their questions are the beginning of ourinquiry programmes.
  42. 42. Observation akey skill of allmasters‘Draw’ on your priorknowledge so asto challenge itInquiry begins with observing something thatcapture our attention.What do you know about constructivism?Durer
  43. 43. Draw a spider?After drawingcheck with thosenear you andamend your ideas.( power ofcollaboration – orwisdom of crowds)?Assess your efforts –what criteria make a spider?
  44. 44. Most of you willaware of thevarious thinkingmodels* around– I amfocusing on :artistry, depthof thoughtandexcellence*To often Higher Order Thinking for ‘thin’ learning?
  45. 45. Lessons fromthe masters1.Mastery takes time-10000 hours – a longapprenticeship2.Lots of observationof details, practice ,effort and frustration.3.With time intuitiveinsight and personalstyle/ability/ideasdevelop..
  46. 46. We need to give students the opportunity to do somethingwell so they understand the importance of ‘stickability’ effort,practice ‘grit’ – not first finished as best!
  47. 47. Creative process from novice to expert is somewhatmessy -10000 hours!1.Initial excitement2.Being overwhelmed by task or frustrated by difficulty or lackof skill ( many give up at this point)3.Often a need to stand back – solutions come unexpectedly4.With time and success process becomes automatic/intuitive/creative/ able to take advantage of serendipity
  48. 48. All mastershave what poetJohn Keatscalled ‘negativecapability’ - tobe able to copewith uncertaintyand doubtwithout rushinginto prematurejudgment.To be open andlearn from anyexperience.
  49. 49. Darwin’s visual metaphor
  50. 50. We need to re-imagine everything.‘Schools couldnot have beenbetter designedto destroy thetalents ofstudents’.
  51. 51. We need to re-imagine schools ascommunities of Inquiry‘Imagination is more importantthan knowledge. To raise newquestions, new possibilities, toregard old problems from a newangle, requires creativeimagination and marks realadvance in science.’
  52. 52. ‘The liberation of genius and goodness of allchildren, the creation of new minds for thenew millennium, and creating learningcommunities that invite and challenge thewonder and awe of the human spirit’.Is this the work you want to do?Stephanie –Pace Marshall Americaeducator and astronaut
  53. 53. We could be thecreative countryif we developedall students’imaginations‘Who reaches a futuredown for us from thehigh shelf of spiritualdaring’ Allan CurnowWe all do!Politicians are always wrong’ Michael Fullan
  54. 54. So we have a choice…..Personalized creativeteaching to developall students gifts andtalents orstandardization ofteaching ( NationalStandards)neglectingstudent creativityNo choice!!
  55. 55. Most of all to drive your ownbus! Tell your own story!MikeSmithersMain messages again1. Why isn’t creativitycentral?2. Why is creativityimportant?3. What blocks creativity?4. What can we learn fromthe ‘masters’?5. What is the creativeprocess?