Search

In modern society knowledge of Creative Pedagogy ensures high potential of educational activities and achievement of a high level of education quality. The education system is faced with the task of qualitatively preparing a modern graduate for further education and work. Solving this problem requires the search and implementation of new teaching methods, which are a meaningful component of Creative Pedagogy. Scientific works do not fully present a comprehensive analysis of Creative Pedagogy. They primarily reveal only some aspects related to the creativity of a teacher and the principles of organizing a creative environment. The weak theoretical development of the issue under consideration allowed us to formulate the following research problem: what are the essential characteristics of Creative Pedagogy? The purpose of the article is to substantiate theoretical approaches to the definition of “Creative Pedagogy”. Solving the stated goal required the use of theoretical research methods (analysis of scientific literature, synthesis of existing knowledge on the problem under study, generalization). The empirical basis of the study is represented by analytical materials and information resources on the Internet.The results of the research include 1) the concept of “Creative Pedagogy” is considered as an innovative direction of the new education paradigm; 2) the potential of Creative Pedagogy in educational activities has been revealed; 3) the pedagogical conditions for the creative orientation of pedagogical activity have been determined; 4) the basic principles of creating a creative educational environment have been outlined.Key findings: The study extends pedagogical theory toward understanding the content of Creative Pedagogy; the presented basic principles can be used by teachers when organizing a creative educational environment, and the proposed creative teaching methods can be used to stimulate the cognitive activity of students.

Creative learning is increasingly being recognised as a crucial part of children’s holistic education. In this paper, we critically explore our experiences as artist-educators working across four differing European countries, namely, England, Iceland, Germany, and Greece in relation to differing educational policy. These experiences of practice are set against educational policy landscapes which have progressively eroded opportunities for young people to engage in the creative arts in education across many European states. As artist educators, we are involved in a three-year Erasmus+ funded project, "arted", which aims to transfer the knowledge of artists working in education to school and home contexts in response to these eroded opportunities. Using Deleuzian theory (Deleuze and Guattari, 2004) and narrative inquiry, to offer an alternative reading of policy texts, we examine our own ideologies of creativity and principles of practice within differing national curricular contexts. The rhizo-textual analysis (Honan, 2007) highlights the ‘pedagogical characteristics’ which have enabled us to hold resistance spaces for creative arts learning, acting as a social critique of policy. Through the process of this analysis three ethical principles emerge which underpin our interactive guides for teachers and parents within the project.

Ставится проблема совершенствования массовой социально-педагогической практики посредством освоения идей и техник креативной педагогики. Отмечается дефицит креативных технологий в арсенале школьных социальных педагогов на фоне высокой результативности их применения в специализированных службах с разным контингентом несовершеннолетних. Раскрывается полифункциональность креативных техник при решении социально-педагогических проблем. Креативность трактуется как цель и средство социально-педагогической деятельности. Приводится типология креативных социально-педагогических техник. Анализируется авторский опыт преподавания дисциплины «Креативные техники в работе с несовершеннолетними». Приводится пример создания студентами креативного продукта – интегративной художественно-творческой методики «Семейный театр» для работы с семьей несовершеннолетнего. Делается вывод о необходимости освоения креативного инструментария и идей креативной педагогики для дальнейшей технологизации и гуманизации социально-педагогической деятельности.

IntroductionCreativity is an important 21st-century skill that also plays an important role in second language use and development. This study examined the effects of creative pedagogy centered on student questioning activities for second language learners’ creativity, language proficiency, and questioning ability.MethodsIn the Japanese second language course, a creative activity intervention involving questioning activities was conducted for 81 university students. The students were taught how to ask higher-order questions, and they performed questioning activities and discussions about their questions after reading articles for eight lectures in 4 weeks.ResultsAfter the intervention, the quantity and quality of questions asked by participants increased and improved in the Questioning ability test. In the Creative thinking test, the three subscales of creative thinking (fluency, flexibility, and originality) improved after the intervention. In the Language proficiency test, there were also significant changes in vocabulary, grammar, and total scores after the intervention compared to before the intervention.DiscussionThe creative pedagogy significantly improved learners’ creativity, second language performance, and questioning ability, with a particularly positive impact on questioning ability, representing innovative thinking skills. The findings of this study not only contribute to future research on the development of creativity in second language instruction and deepen the exploration of the development of questioning ability for innovative thinking skills.

This article examines how literary criticism and the teaching of creative writing can be brought together. Specifically, it analyses an aspect of intradiegetic literary creation in A.S. Byatt’s Babel Tower, the third novel of the Frederica Quartet, in which Frederic Potter, a teacher of English literature and would-be novelist, is afflicted by writer’s block. Frederica works through this problem by returning to a project begun in The Virgin in the Garden, the first novel of the tetralogy, entitled Laminations. The idea of this intradiegetic text is to write in a series of apparently separate layers, hence the title, and then to allow these layers to come together to create new meaning. In Babel Tower, she experiments with cut-up texts, in the style of William Burroughs.This article outlines a creative writing teaching technique intended to trigger ideas which build on Frederica’s cut-ups, transposing her attempt to find new signifiers, and thus express new ideas, to the realm of the altered book (also known as black-out or erasure). It suggests a technique for distilling Byatt’s long and complex commentary on creativity – a life’s work – into a creative writing teaching method which could be used with students in French universities.

Along with the numerous cultural, religious or political functions of translation (establishing religious authority or nation-building, for instance, as with the King James Version of the Bible), along with its didactic use in language-learning and its intercultural one in aesthetic transmission and appropriation, translation can also play a healing role. Bi- or plurilingual speakers and language students often experience difficulties of various kinds, including insecurity in one of the languages, unintentional code-switching and “attacks” of awkward, embarrassing untranslatability, or conflicts of loyalty due to the “inferior” status of the mother tongue. Children who cannot translate their experience of school into the language spoken in their home, or their “interior language” (De Mattia-Viviès) for instance, or plurilingual parents unable to translate the symptoms of their child for the psychiatrist, as well as students learning foreign languages, can all benefit from the transports of translation. The polysemy of the term “transport” – both conveyance from one place to another and “an intense exaltation of mind and feelings” that “lifts one out of oneself” (Merriam-Webster Dictionary), will help us conceptualise the pedagogic and therapeutic value of practising translation. This short article will look at creative translation workshops as a means to vindicate all languages, to heal conflicted identities by facilitating and fluidifying movement between languages.

Creative pedagogy in educational institutions has been the mainstay of sustainable development globally as it ensures high standard human capital with a high level of imagination and problem-solving potentials. However, there are several drivers of creative pedagogy. This exploratory study employed the embedded mixed methods design with qualitative and quantitative approaches aimed at exploring the perspectives of teachers in selected pre-tertiary institutions in Ghana on the teaching strategies, school environment, and culture as drivers of creative pedagogy, using Lin’s creative pedagogy theory. The findings have shown that teaching strategies, school environment, and culture that promotes flexible and independent thinking, problem-solving and collaborative skills ensure students’ creativity development. The study recommends the implementation of learner-centered teaching strategies, a flexible teaching curriculum that encourages creativity development, smaller class sizes, semi-circular seating arrangements, and an introduction of a permissive culture that allows students to think and explore outside the box in Ghanaian schools.

Modern school education should provide the best conditions for realising students' potential and reveal all the natural inclinations inherent in them. The use of technology for solving inventive problems in creative Computer Science lessons organises thinking and promotes students' critical thinking development. Therefore, the child develops logical thinking, increases motivation to learn, and independence. This study aims to develop methodological aspects of using inventive problem-solving technology to develop students' logical thinking in creative Computer Science lessons. The following approaches were used in the study: theoretical analysis and generalisation of scientific data on the subject matter; observation, questionnaires, testing, pedagogical experiment and methods of statistical processing of findings. In the process of research, the features of the formation of logical thinking of students in Computer Science lessons in primary school were analysed, the expediency of using techniques of technology for solving inventive problems as a means of developing logical thinking of primary school students in creative Computer Science lessons was substantiated. A system of tasks for the development of logical thinking in 8th-grade students was developed and implemented in the educational process, which allowed experimentally testing the pedagogical effectiveness of the level of formation of logical thinking and its development in 8th-grade students. The study of the level of formedness of logical thinking in 8th-grade students in such components as the level of development of the ability to analyse the conditions of the problem (the “logical problems” method) and the level of development of logical thinking (the “logical and quantitative relations” method) is carried out. The results of the pedagogical experiment confirmed the hypothesis that the development of logical thinking of 8th-grade students during creative Computer Science lessons is influenced by the technology of solving inventive problems

Despite the presence of a widening participation agenda, people with criminal convictions face a number of barriers accessing and participating in higher education (Office for Students, 2019). This may be due to unspent criminal convictions (Unlock, 2018), limited confidence and self-esteem (Champion and Noble, 2016), a lack of previous educational attainment (Prison Reform Trust, 2017) and/or presence of risk-adverse, bureaucratic, university admission processes (Bhattacharya et al., 2013). As a result, people with criminal convictions are not only under-represented throughout the sector (Unlock, 2018) but completely overlooked when it comes to understanding their university experience. To address this longstanding issue, the authors have developed an educational opportunity (utilising the Learning Together programme) for criminal justice academics, students, practitioners and service users to come together and learn from one another through lived experience, professional practice and Creative Pedagogy. Learning Together was originally developed and implemented by Dr Amy Ludlow and Dr Ruth Armstrong at the University of Cambridge to provide opportunities for university students to learn alongside people serving a custodial sentence (Armstrong and Ludlow, 2016).

Teaching skills between theory and practice: institutes of art and crafts as an example.Often, applied arts programs have managed to offer learners the opportunity to develop and adapt their skills, mastering the fundamentals of "plastics" and "trades" through its two branches, plastic and design, and sensitize them to all forms of expression, based on cognitive and visual practice, and the know-how of technologies that allow them to master technical data.One of the priorities of the methodological choices, this is a logical reflection on the effectiveness of communication that must be organized according to rules in which the presentation of information corresponds to its use. Possibly that the construction of a strategy - especially if it will be practiced in a theoretical and practical field at the same time - is the construction of this consensus of several components of the working mechanisms and of a balanced research path and an objective required. The field of applied arts is a reliable scientific and practical framework for the development of its programs, decisions, activities and teaching methods. Consequently, the educational process is based on a specific pedagogical strategy and pedagogy compatible with the disciplines of the applied arts of the department of arts and crafts, whether with plastic arts or design. The applied arts also tend to focus on strengthening the knowledge, social and skills of students, according to their respective abilities, while providing solutions to their technical and practical problems, those that accompany the new skills in the methods of teaching, learning methods, materials, tools and activities.

This paper builds on my on-going research into the playwright’s role within the collaborative devising process, which includes questioning traditional pedagogical approaches to writing for the stage. In addition, it references the practical experience of developing and teaching modules focused on the craft of playmaking for the online Theatre Studies BA at Rose Bruford College of Theatre and Performance. Although there may appear to be a disconnection between encouraging playwrights to engage with collaborative theatre making and the mainly asynchronous nature of an online degree, where students often work in isolation, the core tenet of this ‘Perspectives’ piece is that all teaching of playwriting, regardless of whether it is online or not, needs to move beyond the traditional classroom/workshop approach.Whilst the pedagogical framework that sees students engage in text-based studies of scripts and books about writing cannot be entirely abandoned, students benefit from a more embodied approach, which reminds them that they are writing for a medium which communicates in a multi-faceted way and is negotiated in the moment, so that they gain a more holistic understanding of how a script might be interpreted in live performance. Drawing on both my practice as a playwright and dramaturg, and my work in online teaching, I argue that there is potential to treat the ‘Zoom room’ as workshop, where students can work together, improvise, and treat their screens as spaces for experimentation and performance. In addition, this more dynamic approach helps to prepare students for a rapidly evolving theatre ecology, which had embraced digital technology long before Covid-19 entered our lives. @font-face{font-family:Arial;panose-1:2 11 6 4 2 2 2 2 2 4;mso-font-charset:0;mso-generic-font-family:auto;mso-font-pitch:variable;mso-font-signature:3 0 0 0 1 0;}@font-face{font-family:Arial;panose-1:2 11 6 4 2 2 2 2 2 4;mso-font-charset:0;mso-generic-font-family:auto;mso-font-pitch:variable;mso-font-signature:3 0 0 0 1 0;}@font-face{font-family:Calibri;panose-1:2 15 5 2 2 2 4 3 2 4;mso-font-charset:0;mso-generic-font-family:auto;mso-font-pitch:variable;mso-font-signature:3 0 0 0 1 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal{mso-style-unhide:no;mso-style-qformat:yes;mso-style-parent:"";margin-top:0cm;margin-right:0cm;margin-bottom:10.0pt;margin-left:0cm;line-height:115%;mso-pagination:widow-orphan;font-size:11.0pt;font-family:Calibri;mso-ascii-font-family:Calibri;mso-ascii-theme-font:minor-latin;mso-fareast-font-family:Calibri;mso-fareast-theme-font:minor-latin;mso-hansi-font-family:Calibri;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;}p.yiv1533337505msonormal, li.yiv1533337505msonormal, div.yiv1533337505msonormal{mso-style-name:yiv1533337505msonormal;mso-style-unhide:no;mso-margin-top-alt:auto;margin-right:0cm;mso-margin-bottom-alt:auto;margin-left:0cm;mso-pagination:widow-orphan;font-size:10.0pt;font-family:"Times New Roman";mso-fareast-font-family:Calibri;mso-fareast-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;}.MsoChpDefault{mso-style-type:export-only;mso-default-props:yes;font-size:11.0pt;mso-ansi-font-size:11.0pt;mso-bidi-font-size:11.0pt;font-family:Calibri;mso-ascii-font-family:Calibri;mso-ascii-theme-font:minor-latin;mso-fareast-font-family:Calibri;mso-fareast-theme-font:minor-latin;mso-hansi-font-family:Calibri;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;}.MsoPapDefault{mso-style-type:export-only;margin-bottom:10.0pt;line-height:115%;}div.WordSection1{page:WordSection1;}

In August 2015 a group of seven students and staff from Liverpool Hope University in the UK visited the SOS Children’s Village just outside Galle town in Southern Sri Lanka, to partake in a two week residential program ‘Global Hope’, teaching English to children between four and fifteen. Below is lecturer Dr Rachel Sweeney’s account of their experiences at the SOS Village, reflecting on a range of somatic educational tools as applied to the pedagogic focus of teaching English through movement and music, and focusing broadly on the education values of somatics as placed within an interdisciplinary embodied approach. The paper will follow the pedagogic approach to teaching English through creative play, where the emphasis is on inclusivity and individual agency, allowing for more receptive learning through familiarity with lessons often centred around rhythmic exercises that emphasise repetition through call and response alongside gestural movement and song. These learning practices follow a constructivist approach to pedagogy where the physical embodiment of the image or word allows children to take ownership over their learning, while engaging widely with each other as also the young student teachers. In presenting an extended case study of the above creative arts programs that are designed to prioritise kinaesthetic learning methods whilst implementing English speaking and writing skills, this paper will also engage with a wider political overview of the Centre’s mission aims, which respond to the vast spectrum of southern Sri Lanka’s social and economic problems.

Despite the presence of a widening participation agenda, people with criminal convictions face a number of barriers accessing and participating in higher education (Office for Students, 2019). This may be due to unspent criminal convictions (Unlock, 2018), limited confidence and self-esteem (Champion and Noble, 2016), a lack of previous educational attainment (Prison Reform Trust, 2017) and/or presence of risk-adverse, bureaucratic, university admission processes (Bhattacharya et al., 2013). As a result, people with criminal convictions are not only under-represented throughout the sector (Unlock, 2018) but completely overlooked when it comes to understanding their university experience. To address this longstanding issue, the authors have developed an educational opportunity (utilising the Learning Together programme) for criminal justice academics, students, practitioners and service users to come together and learn from one another through lived experience, professional practice and Creative Pedagogy. Learning Together was originally developed and implemented by Dr Amy Ludlow and Dr Ruth Armstrong at the University of Cambridge to provide opportunities for university students to learn alongside people serving a custodial sentence (Armstrong and Ludlow, 2016).

Despite the presence of a widening participation agenda, people with criminal convictions face a number of barriers accessing and participating in higher education (Office for Students, 2019). This may be due to unspent criminal convictions (Unlock, 2018), limited confidence and self-esteem (Champion and Noble, 2016), a lack of previous educational attainment (Prison Reform Trust, 2017) and/or presence of risk-adverse, bureaucratic, university admission processes (Bhattacharya et al., 2013). As a result, people with criminal convictions are not only under-represented throughout the sector (Unlock, 2018) but completely overlooked when it comes to understanding their university experience. To address this longstanding issue, the authors have developed an educational opportunity (utilising the Learning Together programme) for criminal justice academics, students, practitioners and service users to come together and learn from one another through lived experience, professional practice and Creative Pedagogy. Learning Together was originally developed and implemented by Dr Amy Ludlow and Dr Ruth Armstrong at the University of Cambridge to provide opportunities for university students to learn alongside people serving a custodial sentence (Armstrong and Ludlow, 2016).

The article presents an analysis of changes in the basic orientations of the education system in the information age, in the context of dialogue of cultures and transdisciplinarity of scientific research. In these conditions education should be a continuous process, a way of life (activity) of each person, his self-education, self-creation. Therefore, the most important task of school is the development of students' ability to learn and form their need for self-education. To solve this problem it is necessary to create an innovative school, creative (dialogical) pedagogy, and a complex multifunctional educational environment. As one of the tools of creative pedagogy a pilot innovation project of a social science textbook for secondary school was offered at the School of Public Administration Lomonosov Moscow State University.

This paper explores the development and impact of the author’s TELE (Technology Enhanced Learning Environment) action research project for individualising media practice education. The latest iteration of different classroom methodologies being employed to develop high-level skills in media production, the author has combined an interactive eLearning approach with instructional videos and, crucially, an individual feedback loop in order to widen access to the curriculum and create a more efficient teaching and learning environment. The focus therefore is on student engagement and organisational efficiencies as a result of the research. It should be noted that there has been no funding attached to this work, nor are there any institutional imperatives or other stakeholder involvement in this research. This project has been undertaken by the author as an evolutionary development of the various methodologies developed, cognisant of the increased technology literacy of the student cohort. The educational benefit of bringing video instruction into the curriculum as part of the project is examined as a creative pedagogy of direct benefit to students rather than as a subliminal marketing tool that other systems are often used for. Over 16K words of written data was collected during the project, and this is analysed both quantitatively and qualitatively with reference to the initial objectives of the research