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Cultivating children’s creativity and imagination is fundamental to preparing them for an increasingly complex and uncertain future. Engaging in creative learning enables children to think independ...

This paper seeks to learn from and capture the impact of a national creative learning initiative on five teachers who made significant changes to their practice following their participation. These...

In this paper, the authors consider how Carol Dweck’s concept of growth mindset has been misconceptualised. They explore the proposition that agency is an important aspect of growth mindset and tha...

Studies have demonstrated the need for innovative and creative teaching methodologies in the field of social work education; some have pointed to the photovoice model of qualitative research in the...

It is a generally accepted fact that exercise promotes well-being and improves mental and physical health. Research supports the belief that exercise reduces stress, decreases anxiety and reduces d...

This case study focuses on creativity and collaboration in preparing Chinese preservice teachers. The research question was “Can aspiring Chinese teachers discover creativity where encouraged and u...

Adult Education and particularly its history in the past 100 years are not necessarily subjects which attract a lot of attention or the interest they deserve. However, this is a volume which leads ...

The purpose of the research is to identify creative learning scenarios in the context of the education of university students attending courses of History and Criticism of Design. The idea is to in...

“All of old. Nothing else ever. Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.”—Samuel Beckett (O'Connell, 2014)“Creativity is allowing yourself to make mistakes. Art is kn...

This paper describes two studies that explore students' beliefs about critical and creative learning at two universities, and considers the implications of those beliefs in comparison to the universities' stated education goals. One is a mixed method study of students at a top university in Korea, and the second is a comparative study between the Korean university and a United States (US) university. The first study found that both high-achievers and the general population at a top Korean university perceived their critical and creative abilities as lower than their receptive learning abilities, and that higher achievers were neither more critical nor creative than lower achievers. The second study finds that the Korean university students, compared to US students, were more likely to rate their receptive learning ability as higher than their critical and creative learning abilities. Comparisons across year of higher education (HE) suggest that Korean students' perceptions did not significantly change with respect to year in school, while US students' perceptions of critical learning abilities significantly increased across school years. Results are discussed with respect to the impact of culture, epistemological beliefs, and HE instruction on critical and creative learning.

Restorative justice is currently practiced in a variety of ways inside correctional facilities. One such way is the facilitation of restorative justice education. If grounded in restorative values, such education can contribute to outcomes similar to other restorative practices, such as victim offender dialogue. These outcomes include opportunities to speak to personal experiences, personal change, and growth, and a desire to engage in positive relationships and give back to the community. This paper draws on the teaching and facilitation experiences of the author and incarcerated peer facilitators to develop a restorative justice pedagogy. This pedagogy, based on restorative values, aims to inspire individual and social transformation; build community among participants; give voice to the unique experiences of participants; offer opportunities for real-life problem solving; provide a creative learning environment that is co-created by students and facilitators; view students as practitioners, theorists, ...

The article is based on an empirical, interview‐based research project investigating resources and barriers to creative teaching within three Danish primary and secondary schools. The analysis shows how project‐oriented teaching does seem to represent a creativity oasis for both teachers and pupils. Furthermore, the work identifies a distinction between an art‐based and a problem‐solving approach to creativity, and it is suggested that teachers help pupils to work with the various different opportunities for creative learning represented by different subjects in school. Furthermore, a dilemma is pinpointed between the demand that teachers conform to centrally defined test systems, and the challenges facing our societies in relation to bringing up pupils and students who dare to take risks, challenge the existing order and create something new.

Illustrations from one infant observation are used to discuss the early development of the capacity to learn and develop the mind. A description of the psychoanalytic theory of learning beginning with Freud and moving to Klein, Bion and Winnicott is the theoretical context for the illustrations. The paper moves on to discuss hypotheses about the baby's mental and cognitive development. The baby and his mother are able, the author suggests, to work through a less than ideal start to their relationship and to learn together in a way that fosters creative learning from experience.

This paper explores the effect teaching in a specially designed ‘creative learning space’ has on students’ engagement with the learning process, their motivation to explore, experience and discover (i.e. to be creative), and on them becoming more active, autonomous learners. It examines the notion of creative space, how it differs from teaching and learning in a typical classroom environment and the impact it has had on students and staff. Socio‐economic changes affecting Higher Education are having a considerable impact on the nature of the curriculum and the way in which teaching is carried out. The student body is becoming increasingly diverse and a greater premium is being attached to the development of so‐called higher‐order skills such as creativity. This is being further affected by an increase in the use of advanced technology and changes in the teaching–learning relationship with the lecturer’s role becoming increasingly one of a facilitator of the learning process. Thus, there has been an increa...

Young people's experience of education in a ‘risk society’ is characterised by a terrain of ‘initiative overload’ which appears to make the routes through which young people are seeking to plot a path evermore perilous. This article is concerned with the impact of creative learning on young people, as represented by the UK Government's initiative Creative Partnerships in Durham Sunderland. The article considers the degree to which creative learning can help young people prepare for the realities of an uncertain future. It is argued that if young people are to be as reflexive as both the economy and transitions demand, then the market-oriented system of education deployed in England needs to be far more reflexive and biographically oriented than is currently the case, and that creative learning could play a key role in this process.

There has recently been a call for more pedagogic comparative research to counter the dominance of structural and policy led studies. At the same time there is also a necessity to provide alternative comparative research to that concerned with global standardising performance and performativity strategies. The research, on which this paper is based, fulfils both these aims by investigating creative teaching and learning in nine European countries at classroom level using ethnographic methods in a small number of sites for each partner. The research partners share a common discourse of pedagogy that we are calling creative teaching and learning, a common humanitarian discourse and the ethnographic methodology for the research was a strong framework to counter differing cultural approaches to research. The article analytically characterises some significant strategies used by teachers, the creative learning experienced and the meaning that the experiences had for the students involved. We conclude that this research has laid the basis for a common discourse for further research in a comparative approach that will investigate commonalities to build an understanding of international creative pedagogy and investigate differences to enhance the conceptualisation of it.

Research Creative Learning: Methods and Issues provides a clear overview of creativity in educational contexts and a discussion about research and possible methods of studying creative learning. It...

edited by E. Seligman, 2012, London, Routledge, 120 pp., £19.99 (paperback), ISBN 978-0-41-557081-7 Creative Learning for Inclusion is one of a series of books that draws upon the participants’ exp...

In this article, we explore distinctions between creative practice and a practice which fosters creativity, drawing on case study data from an English nursery and a first school. We suggest that, in practice, these distinctions are very blurred.

The purpose of this study was to see if we could demonstrate a clear relationship between the presence of daylight and human performance in buildings. In this study we used a statistical technique called multivariate regression analysis, which analyzes the importance and impact of many variables simultaneously. The performance data used were gathered from three school districts. This analysis allowed us to estimate the effect of a wide number of variables and to determine which variables have no significant effect. Using this method, we established a statistically compelling connection between the presence of daylight and student performance. The implications of the results of this study extend beyond the educational sector. We believe the conclusions may be transferable to other types of buildings, such as offices and factories, since it is really human performance we investigated. If daylighting enhances the performance of children in schools, it is not too large a stretch to suppose that it might also enhance the performance of adults in office buildings. Background Up through the 1950s and into the early 60s almost all school buildings in the United States were daylit, i.e., they were intentionally designed to provide sufficient interior daylight for normal daytime visual tasks. However, by the mid-1960s a number of forces came into conflict with the concept of daylit classrooms. Engineers, asked to provide air conditioning in classrooms, argued against the use of large expanses of glass and high ceilings. Educational theorists argued that a more flexible arrangement of open classrooms, grouped in large openplan buildings, would encourage team-teaching and creative learning. Construction economists argued that schools could be built more inexpensively on smaller sites if the classrooms could be grouped together in modules, without constraints on solar orientation. Increasingly, schools were built with little or no daylight provided to the classrooms. In 1974, Belinda Collins of the National Bureau of Standards and Technology (NIST) conducted a major literature review of available research on windows, and concluded there was no conclusive evidence that windows were a necessary component of classrooms. 1 More recently, daylighting has been advocated as a way to reduce lighting energy use in schools and other non-residential buildings. Turning off electric lights when sufficient daylight is available can save a significant amount of lighting energy costs. Because daylight introduces less heat into a building than the equivalent amount of electric light, cooling costs can also be reduced with appropriate daylight design. 2

Home schooling environments for gifted learners can be creative, progressive, and self‐directed. In this article, Maslow's (1971) theory of primary creativeness is used as the basis for a self‐actualization model of education and examples of how to use the model in creative home schooling are provided. Key elements of the model include digressive and immersion learning, self‐directed learning, and the integration of work and play. Most importantly, suggestions are offered to assist home‐schooling parents and classroom teachers in integrating creative learning into a child's education.

A common problem faced by progressive human service educators is how to motivate students and encouraee their interest in social change strategies. This article explores-some of the fears and resistances that hold students back, and suggests several approaches for inspiring students' creative learning. The author proposes several teaching tactics based on her experiences in teaching an undergraduate community organizing course. Many of these techniques can be applied in other courses taught by progressive educators.

Creative Learning for Inclusion is part of a book series on creative teaching and creative schools. This is an edited publication with chapters written by practitioners working in special schools i...

The experiment examined whether learning during the creative manipulation of visual and tactile spatial elements, accompanied by verbal and written analyses, involved in the solution of functional design problems, enhanced performance in a different but related visuo‐spatial practical problem and in a V.J.R. test with a group of adolescent pupils. Consequently, an experimental group's programme dealt with the solution of functional design problems, while a control group's course involved the expressive aspects of art. Both groups sat pre and post tests in V.J.R. and a post test functional design problem. The compared means indicated significant improvement in both tests by the experimental group when compared with the control group.

An urgent call for planning environments that respond to the behavioral needs and learning styles of children in that developmental stage known variously as early adolescence, preadolescence or transescence.

Learning by authority and learning creatively in a natural way are presented in E. Paul Torrance's “Conditions for Creative Learning,” CHILDHOOD EDUCATION (April 1963). A rereading of this article is suggested as a foundation for the following article.

(1969). Creative Learning in Children's Playgrounds. Childhood Education: Vol. 45, No. 9, pp. 491-499.

Teachers can enhance the talents of artistically gifted students by encouraging them to maintain sketchbooks for their projects, ideas, and visions.