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Educating students who have higher order thinking skills and making sure they develop conceptual understanding of the various concepts learnt in school makes it imperative for educators, to help students develop creative learning strategies. It is for this reason, among others, that the concept of creative learning has been identified as the way to mould the 21st-century learner, and compelling evidence can be adduced from the Finnish and Singaporean models of creative learning environment. Apart from these models from these two countries, extant literature has proved that children can live more independently when they are allowed to use their creative abilities and when this is enhanced in the school setting. We, in this light, gleaned and reviewed relevant literature pertaining to fostering creative learning and its concomitant challenges. In the end, we positioned Lin’s creative pedagogy as a framework that is instrumental in fostering creative learning in Ghanaian classrooms and that in spite of the challenges that may arise from implementing this framework, there are inherent strategies that are helpful in making learners creative.

This article is an edited version of a Keynote Address provided for the 2021 Creativity Conference hosted by Southern Oregon University. The talk opens with the following question: “What role does our experience with uncertainty play in our creative thoughts and actions?” The remainder of the talk is focused on addressing this question, starting with the assertion that there is no creativity without uncertainty and several other operating assumptions aimed at establishing a basis for this assertion. Next, a model of creativity under uncertainty is introduced. The model outlines how encounters with uncertainty in a particular socio-cultural and historical moment can be experienced as epistemologically and ontologically destabilizing, and thereby, result in a state of genuine doubt. This state of doubt, when perceived as actionable, can open-up a horizon of new possibilities for creative activity. The model further outlines how taking creative action in the face of uncertainty can (temporarily) resolve our state of doubt and re-stabilize our experiences. Implications for inviting uncertainty into educational learning environments are also discussed.

This study aimed to examine the effect of creative personality traits on creative thinking dispositions through creative learning environments and teacher behaviors that foster creativity. Gender, department, and grade level are also defined as common variables. 1320 teacher candidates who were selected with purposeful and appropriate sampling supported the research. 726 of these individuals are females and 594 are males. Participants in the study are teacher candidates from education faculties, science, mathematics, classroom, and educational sciences departments. Whilst determining the participants, attention was paid to the selection of those who have previously taken courses that are directly or indirectly related to creative thinking, critical and analytical thinking, entrepreunership and creativity. Descriptive and inferential statistics were used in the analysis of the research data. Aside from this, the mediation effect of variables was performed using Hayes' number 6 serial multiple mediation analysis models. As a result of the research, it was found that creative personality traits positively predicted creative thinking dispositions through the learning environment and teachers' fostering behaviors. The creative learning environment and teachers' fostering behaviors similarly have a positive mediating effect.

How might researchers better understand the variations in creative learning in and across classrooms? This article addresses this question. We introduce a multi-method approach that we used to explore the more dynamic features of creative learning in ten elementary classrooms. The ten classrooms were first classified into one of three groups (positive, negative, and null), based on the relationship between students’ (N = 204) measured creativity and academic achievement (average positive r = 0.52; average negative r = −0.23; and average null r = 0.02). Next, we analyzed observed teacher and student behaviors in each classroom. We found different patterns of behavior based on classroom classifications. Teachers in classrooms with a positive association between creativity and academic achievement tended to demonstrate more caring behaviors toward students and to provide more emotional support to students. We also found that teacher behaviors associated with encouraging creativity in the classroom were associated with students’ positive engagement, self-expression, and ideation (regardless of classroom type). Finally, we used a micro-level interactional analysis to visually illustrate patterns of interactions between teachers and students in three different classroom classifications. We found more extended and exploratory interactions in the positive association classroom, whereas the negative association classroom was characterized by more directive and rapidly closing patterns of interaction and the null association classroom tended to have patterns of interaction that left students’ ideas suspended and lacked exploration, development or refinement of ideas. We close by discussing how the use of blended methodologies, like the one demonstrated in this article, can be further refined and developed in subsequent research to explore and understand the more dynamic features of creative thought and action in classroom settings.

This paper explores the effectiveness of new technologies in developing literacy within subject disciplines of secondary school students at risk of social exclusion. The research was undertaken as a collaborative project across five schools, including qualified and pre-service teachers in the United Kingdom. This paper provides an overview of the study and presents key findings related to impact on student progression and engagement and impact on teachers. The research indicates the affordances of the software supported more flexible, collaborative and creative learning opportunities, improved literacy and engagement with learning.

The ‘actor-orientated transfer’ approach was adopted to examine the personal transfer of creative learning in a thematic course on toys in a higher education of Hong Kong. The personal transfers of creative learning were found to be spontaneous, far, diverse, multidirectional, highly individual and, sometimes, quite unexpected. Creativity-related attitudes, conceptions, habits and thinking strategies were commonly transferred from the initial study over to daily life, new learning and teaching, all because the learning was impressive, useful, full of surprises and easy to remember. A number of curricular, contextual and student's personal factors were identified to be either facilitating or hindering these transfers. It is concluded that significant parts of creative learning can be transferred in personal ways, if the curriculum is suitably designed and implemented to meet the needs of students in local context. A model for personal transfer of creative learning, which consisted of four core themes (i.e. context, content, impact and factor of personal transfer) and their sub-themes, was depicted. The ‘transfer in pieces’ theory was applied to explain the nature of personal transfer. Ultimately, this study helps to establish a new conception of creativity education as a type of education that values and facilitates personal transfer.

Drawing on Bakhtin’s notion of creative understanding, this paper aims to investigate children’s creative learning of drama education in a group of preschoolers aged 4–5 in a Hong Kong kindergarten. The research was designed originally to offer a case study to identify the emergence of creative learning during and after drama lessons, and investigate its relation to teaching. The field observations, however, noticed the contrary effect brought by a product-oriented and a teacher-centred approach of teaching. These approaches had strongly undermined the stimulus to imaginative and playful participation that drama education is able to generate purportedly. Not only had they restricted dialogic encounters in the lessons but also the feasibility of identifying children’s creative response emerging from within. These observations led to a shift of the study focus to the method and data of draw-and-tell, which was used to enable children to creatively re-imagine and retell their drama experiences as a concluding reflection. The findings were analysed in three categories, namely Characterization, Re-conceptualization and Transformation to illustrate children’s capacity and techniques of restorying drama experiences with their interest, knowledge, language and culture. The research process as well as the results of the study reveal a complex interplay between teaching, learning and researching affirming that a particular type of creative learning of drama education is not only shaped by a particular form of teaching, but also the research method.

Russian Abstract: В этой статье рассматривается проблема творческого обучения русскому языку как иностранному и его актуализация. Необходимость внедрения творческого обучения отражает динамическую природу современного развития общества, которая требует формирования творческой личности и поиска реальных механизмов, обеспечивающих творческий подход. В процессе экспериментальной работы доказано допустимое использование новых образовательных технологий, инновационных форм и методов обучения, способствующих формированию творческой языковой личности, обладающей коммуникативной компетентностью на высоком уровне. Azerbaijani Abstract: Bu məqalədə rus dilinin xarici dil kimi yaradici təliminin probleminə və onun aktuallasdirilmasina baxilir. Yaradici təlimin tətbiqinin zəruriliyi yaradici yanasmani təmin edən yaradici səxsiyyətin formalasmasini və real mexanizmlərin axtarisini tələb edən muasir cəmiyyətin inkisafinin dinamik təbiətini əks etdirir. Təcrubi is prosesində yuksək səviyyədə kommunikativ səristəyə (kompetensiyaya) malik olan, yaradici dil səxsiyyətinin formalasmasina imkan yaradan, yeni təhsil texnologiyalarinin mumkun istifadəsi, innovativ formalarin və təlim metodlarinin istifadəsi subut edilmisdir. English Abstract: This article deals with the problem of creative teaching of Russian as a foreign language and its actualization. The need to introduce creative learning reflects the dynamic nature of the modern development of society, which requires the formation of a creative personality and the search for real mechanisms that provide a creative approach. In the process of experimental work, the permissible use of new educational technologies, innovative forms and methods of teaching, which contribute to the formation of a creative linguistic personality with communicative competence at a high level, has been proved.

This study investigated the differences in learners' performance and perceived engagement between three intervention groups in a Science class, using two types of pedagogical intervention: traditional instruction with paper-based quizzes and gamified instruction with gamified e-quizzes as formative assessments. With respect to the gamified instruction, three types of gamification applications were employed: Socrative, Quizizz, and iSpring Learn LMS. The effects of the instructional intervention (n = 94), as well as evaluative feedback, were obtained with the aid of formative quizzes, post-questionnaire surveys, and personal interviews. The results showed that the employment of innovative gamified e-quiz applications (i.e., Socrative, Quizizz, and iSpring Learn LMS) and paper-based quizzes were effective in evaluating students' learning performance, particularly as formative assessment after completing each topic. Finding ways to apply games or game concepts in the classroom can be a promising and innovative tool for educators to engage their students in creative learning skills and attractive competition.

This article meta-analytically examines the relationship between teachers’ ratings of students’ creativity and students’ creative abilities as measured with divergent thinking tests. Based on 135 correlation coefficients derived from 27 studies, we found a statistically significant, yet weak-to-moderate (r = .23) relationship between students’ divergent thinking and teachers’ ratings of students’ creativity. This correlation was stronger when teachers used more elaborate and reliable scales to rate students’ creativity than when their ratings were based on single indications of whether a student was more or less creative. We discuss the implications of the obtained results for the practice of creative learning and teaching.

There is evidence that failure can contribute to creativity, but there has been no research on whether failure plays a role in teaching and learning how to create. In this paper, I examine the role of failure in teaching and learning in professional schools of art and design, where creative practice is an important learning outcome. In the course of ethnographies at two professional schools of art and design, I interviewed professors and observed their classes to explore their pedagogical beliefs and practices. Using a grounded theory methodology to analyze this qualitative data, I found that failure is an important aspect of pedagogy in both art and design disciplines. The grounded theory methodology resulted in the identification of six emergent themes that elaborate how art and design pedagogy incorporates failure to foster creative learning outcomes.

Much has been written about the relationships between learning styles and creativity with the aim of finding the ways that students prefer to learn. This study examined the relationship between learning styles (Subjective experience, abstract concepts, active experimental, reflective observation) with creativity. The study sample included 354 students (164 boys, 190 girls), The results showed that there is a significant relationship between learning styles and creativity. Results of regression analyses indicated creative learning styles significantly predicted.

This research focuses on topic of e-learning of Xiao-zhuan through digital Embodied games as a brand new way of creative learning method for Xiao-zhuan. TAM, Technology Acceptance Model, is the methodology in this research. Theory of perceived playfulness is also adopted to analyze the learning of Xiao-zhuan. Subjects in this research are 45 sophomores of the Department of Chinese Literature in National Taiwan Normal University. This research adopts questionnaire survey method, then refers to students’ paper scores on the test. The results of this research are as follows: Firstly, “Perceived Usefulness” has the significant influence on “Learning Effectiveness” and “Attitude toward Using the Embodied games”. Secondly, “Perceived Ease of Use” has the influence on “Perceived Playfulness”. Thirdly, “Perceived Playfulness” has the significant influence on “Attitude toward Using the Embodied games”.

This study examines the nature of the learning process and future thinking of primary school students during improvisation practice and a devised theatre project about the future. In this research project drama education is used as an integrative method for education for a sustainable future. The main goals for the devised theatre project are to reflect prevailing cultural and individual future thinking and images and to collaboratively create future images for a theatre-play on how to change the world. Collective reflections of learning, cooperation and our future images are a crucial part of this kind of creative learning process. The prevailing media culture and the worldview could be seen as reflections in students’ future thinking. Group dynamics and students’ orientation during the lessons influenced students’ future images, improvisations and the play-creating process as a whole.

Today we see the use of ICT in the learning process is making growth. The purpose of this study also examined the impact of the use of ICT in-service training of staff is, therefore, through a questionnaire on the use of ICT in the process of educating employees about the impact on job satisfaction, learning, improving and upgrading their skill level and also the effect of increasing efficiency and improving the effectiveness of the training process has been collected. The statistical Society of this research are the staff trained in Water & Power Unit, Mazandaran. The study sample included 150 people. The results of this study indicate that the hypothesis is accepted and the use of ICT in the education of learners in higher job satisfaction, level of knowledge and skills learners, enhance efficiency and effectiveness of the training process is effective.

Developing innovative and creative learning experiences can contribute to academic success and retention of students. This article presents collaborative posttesting as one such pedagogical strategy and examines its impact on overall student examination performance. Comparisons of examination grades during a semester in which the intervention did occur with those of a semester in which it did not reveal that this intervention has a variety of benefits for students.

Recent emphasis on the development of creativity in Chinese students across various educational levels is highlighted in various Chinese societies, including Shanghai, Hong Kong, and Taiwan. Early childhood educators as important gatekeepers of fostering creative development in young children were invited to give their professional opinion on the influence of these variables. A total of 877 early childhood educators (233 from Hong Kong, 262 from Shanghai, and 382 from Taiwan) took part in the study by completing a questionnaire on perception of promoting creative education in early childhood settings. The ecology of creative teaching was strongly associated with the ecology of creative learning. Significant main effects were found in the influential factors of creativity, ecological factors of creative teaching, ecological factors of creative learning, improvement for creativity as well as barriers of creativity among teachers of the three societies. Veteran teachers scored significantly higher in ecology of creative teaching as well as in ecology of creative learning than teachers in mid-career and novice teachers. No significant interaction of society and teaching experience was obtained. Implications and challenges faced by these three groups of teachers and limitations of the study are also discussed.

The International Centre for Cultural and Heritage Studies at Newcastle University has been investigating the impact of artists working with young people in cultural sites and schools. This paper focuses on Transfer by the artist Wolfgang Weileder; the construction and de-construction of a full-scale replica of Milton Keynes Gallery at Station Square, Milton Keynes by construction students. The art project involved collaboration between the artist, two Further Education colleges and a construction company involved in the training of construction students. This paper will investigate how the different cultures interacted during the creative learning experience, concentrating on the impact upon the construction students. Transfer provided training opportunities for the students, who simultaneously developed an understanding of contemporary artistic practice and began to take on ownership of the piece. Insights from this project will be presented in order to draw out implications for future collaborations.

This paper reports focused findings from a qualitative scoping study undertaken in four sites in England focusing on progression in creative learning (PICL) (February 2005–January 2006), funded by Creative Partnerships, a national development programme. The study sought to explore how progression in creative learning can be described in two curriculum areas. The paper introduces the analytic framework which emerged from the study, and summarises some of the key findings, with a particular focus on teacher stance, taking this slice of analysis further than is done in the original research report and discussing in particular teachers’ attitudes toward creative learning and toward teaching for creative learning.

Planners for the David Adamany Undergraduate Library at Wayne State University designed creative learning spaces in the building to further and enhance concepts critical to information literacy efforts, such as collaborative learning, integrating information resources into the curriculum, and resource-based learning.

This paper discusses the potential advantages of integrating student-generated cases into the accounting information systems course. The benefits of the traditional case method are discussed, and the student-generated case technique is presented as a way of further fostering a creative learning environment, which promotes a deeper understanding of the course material than the traditional case method. Further, this paper discusses how the student-generated case method can help students develop their group interaction skills, as well as their oral and written communication skills.

One commonly-used definition of quality is ‘conformance to requirements’. Applied to an educational setting, quality can be viewed as providing learning solutions that meet the needs of the learner or learner organisation. This paper reports on the experience of U21Global in working with large organisations in creating customised learning solutions to meet the specific needs of their employees. Two cases are described: one of which relates to a large IT services and outsourcing firm and the other to a large public-sector oil company. Both these cases highlight the significant effort required by U21Global to first elicit and analyse the organisation’s learning needs, and then design and develop creative learning solutions within a short time. This method contrasts with the traditional university approach to quality where academics establish quality metrics largely from a faculty’s perspective.