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In 2022, after two years of the COVID virus profoundly interrupting social connection, learning, work and human mobility, governments worldwide turned material and rhetorical attention to life 'post-pandemic'. Understandably, teachers who were central in keeping communities virtually connected during the pandemic--are positioned as core to a return to the quality of life and to gaining social futures beyond COVID-19. This is reflected in the theme of the 64th ICET World Assembly Building Creative Global Teacher Education Communities Post-Pandemic. This conceptual paper, given initially as a keynote at this conference, argues that for teachers, the state of crisis has not abated, rather, post-COVID educators are 'returning' pre-existing and enduring social, environmental and workforce crises that have been amplified during the global health crisis (Rosehart et al. 2022). The paper contends that for teachers to respond to the major social and environmental justice issues of our time, it is important to examine the structures and practices which standardise and regulate teachers and teaching and limit the creativity required for powerful knowledge building. Drawing on recent research, the paper offers an example of the ways in which teachers might be supported to reimagine disciplines and subjects in order address and respond to the major crises of our time.

This article reports on a national study, "Re-imaging the Future: Music Teaching and Learning, and ICT in Blended Environments in Australia," which examined music educators' engagement with technologies and pedagogies during the pandemic. Data were collected via online survey (N = 105) between March and April 2021 and thematically analysed to answer two questions: What innovative approaches did music educators employ while teaching online? How did teachers use technology and media to support student learning? The two emerging themes (adaptive teacher practice and illustrations of learning) demonstrate how teachers modified their use of ICT, music technology and pedagogy to sustain online delivery of the curriculum. These display variations of teaching practice, diverse application of media (audio and video) and increased digital literacy. Participants implemented a myriad of twenty-first-century skills and technologies within their teaching. Recommendations are provided, embracing the ways Australian music educators responded to the challenges, exploring innovative digital teaching practice.

In this paper, we present a novel approach to defining, teaching, and assessing creativity by examining its origins and delineating the processes involved. The rationale for introducing this framework developed from studying existing thinking and questioning the current metrics for measuring creativity, which we posit are unfit for purpose. We reach this conclusion because rather than accepting the existing focus on outcomes, we perceive creativity as a process based on different types of logic. Drawing upon the earlier work of De Bono and Kolb, we explore the creative process through the lenses of humour and systems engineering to reveal and develop a range of demonstrable skills and key techniques that can be learned, taught and assessed. By using the identified system inputs of creative logic, dialectic conflicts (dualities), alternate narratives, and abstraction, we ultimately present a possible framework for evaluating creativity without relying on subjective assessment. This methodology and framework can be applied in all educational contexts, from cross-curricular mainstream learning to a focus on excluded and hard-to-reach learners.

Creativity in teaching is important in order to ensure children are engaged in learning Science, Technology, Engineering and Mathematics (STEM). However, previous research has claimed creativity in learning STEM for children is not adequately supported by teacher in classroom due to the lack of preparation, content knowledge and skills. This study aims to assess the needs and challenges of promoting creativity in STEM education. In this study, preschool teachers (n= 22) were interviewed as they are the key informants who are involved in STEM education. The semi-structured interviews were analysed using qualitative content analysis and were qualitatively coded. Results illustrate that there are several distinctive themes identified as described by the participants when discussing the needs and challenges of implementing integrated creativity skill in STEM education as well as the support that would be most helpful in overcoming them. The results highlighted a huge gap between creativity knowledge and the implementation of creativity in STEM education. Participants also provided specific support needed to integrate creativity in STEM education. Preliminary findings suggest that many teachers are interested in integrating creativity skills in STEM education. This research sheds light on the needs and challenges for professional pre-school teachers by providing them pedagogical module as well as professional training to promote creativity in teaching STEM.

Teacher professional development in writing is an increasing area of interest due to the complex nature of the profession including learning needs of students and the demands of external assessment regimes in the contemporary landscape. However, professional development often denies the contextual experiences and expertise of teachers in favor of prescriptive top-down approaches. This paper contributes to the literature on effective teacher professional learning by showing how co-design between teachers and researchers can have an impact on student learning. In this study we focus on professional learning for the teaching of writing in the elementary classroom context, working with third grade students in the age range of 8-9. Through a reflexive analysis of multiple data sets including student writing samples, interviews, classroom observation footage, and teacher testimony, this study reveals the importance of teacher confidence in enabling students to view themselves as writers with a clear audience and purpose. The findings show how positioning teachers as research partners throughout a co-design process of professional learning benefits both students and teachers as it provides authentic, contextualized and creative approaches to teaching writing and improved writing outcomes for students.

The purpose of this paper is to share the initial outcomes of a doctoral study about teaching for creativity in primary schools. The investigation inquired into how and why educators teach for creativity and implement creative processes in music, performing arts and generalist classrooms. The key outcomes discussed in this paper refer specifically to the perspectives and practices of 12 interviewed participants. The study was mixed methods in approach and adopted a pragmatic worldview. Data collection consisted of a survey and semi-structured interviews. The 12 interviewed participants comprised five classroom music teachers, five performing arts teachers and two generalists, drawn from eleven State primary schools across Melbourne. The outcomes of the investigation demonstrate that the purposeful fostering of children's creative development in the classroom environment is multi-faceted. The beliefs, actions, views and expectations of the educators contributed significantly to their teaching approaches. The 12 participants demonstrated a belief in the benefits of creativity for the development of children's life skills and individuality. These aspects formed a steady undercurrent which influenced their practices. The teachers promoted self-directed learning by establishing high-level motivation driven by the musical interests of the children and by fostering child-led learning in performance-focused music tasks. The shared perspectives and practices of the teachers in the study provides insight into teaching for creativity in the primary school setting and highlights the benefits of creativity as the gems on the path of a lifelong journey in music.

In Australia, a significant number of students enrol in first-year university biology without the benefit of high school biology. In order to help students support each other, the authors of this paper (a central unit academic developer and a biology coordinator of first-year biology) created a classroom activity that facilitated the distribution of the more experienced students of biology throughout the practical work groups. An important feature of this creative design for forming groups, called the GLO Activityin this paper, was the embedding of two of the University's key teaching and learning priorities within the activity. These were the University's eight graduate learning outcomes (GLOs) and, inclusive education practice. We discuss creative pedagogies in STEM (Science, Technology, Engineering and Maths) and their link to supporting students in their first year of university study. We explain our scholarly thinking behind the GLO Activity and evaluate its impact. Finally, we reflect on how we, the educators, found satisfaction in thinking deeply to create a new learning structure for a biology practical class that solved one teaching challenge but also met a number of the University's curriculum principles.

Within Australia, globalization, contentious connections with Asia, and an increasing concern with sustainable development and intercultural education have created a new educational framework and curricula. The Australian Curriculum is the tangible, multidimensional, and pedagogic catalyst to deliver capable, creative, culturally aware, future-focused, and critical education to all young people across the nation. Within this context, Geography as unique discipline has been introduced from foundational years to the end of compulsory schooling. Australian teachers have responded to the implementation of this new curriculum with fear, reticence, resistance, brave enthusiasm, and pedagogic creativity. This paper analyzes these responses to geographical inquiry and curriculum implementation in the early stages of this process and considers the rationale, context, and potential impact on learning.

The development and implementation of a trial Religious Education (RE) curriculum within a Catholic diocese of Australia was characterized by the scriptural metaphor "into the deep." Commentary (5300 words) from teacher developers (n = 40) and implementers (n = 85) were analyzed using Interpretative Phenomenological Analysis. Findings indicate that the six RE Development Principles (REDP) were applied successfully to collaborative learning and teaching resources; and, significant to implementation were the application of creative pedagogies; a whole school approach to curriculum; and, teacher witness. Teachers affirmed the complementary support by school and system authority personnel, and within the local school community, professional learning was reinforced by teacher educators.

This paper is a critical systematic literature review of empirical work on creative pedagogies from 1990 to 2018. It responds to the increased international attention being afforded creativity and creative pedagogies in research, policy and practice and examines the evidence regarding creative pedagogical practices and the potential impact of these on students' creativity. The methodology encompassed four stages. Firstly, an educational database keyword search was undertaken and 801 papers identified, manual searches added 12 further papers. Secondly, through applying inclusion/exclusion criteria, 89 papers were identified for closer scrutiny; these papers focused on students aged 0-18 years in formal educational settings and were peer-reviewed reports of empirical work. Thirdly, these papers were subjected to in-depth review and rating, this reduced the included selection to 35 papers. Finally, these papers were subject to further analysis and synthesis. The findings reveal that seven interrelated features characterise creative pedagogical practice, namely generating and exploring ideas; encouraging autonomy and agency; playfulness; problem-solving; risk-taking; co-constructing and collaborating; and teacher creativity. The paper also reveals that the evidence for the impact of these pedagogical practices on students' creativity is inconclusive. It highlights the complexities and challenges of documenting creative pedagogies in the years of formal schooling and concludes with key recommendations and implications for research, policy and practice.

A significant body of research points to the challenges faced by English teachers in balancing creative pedagogy with the demands of high-stakes testing. However, few studies have examined teachers' conceptions of the importance of creativity in the context of end-of-school examinations. This study addresses this critical gap by exploring the perspectives of secondary Australian English teachers on the value of creative learning experiences when preparing students for the Higher School Certificate (HSC) in the state of New South Wales. Given the recent implementation of the new Stage 6 Syllabus, this article offers insights into the scope for creativity in the revised Standard and Advanced English courses for Year 12 students. Drawing from teacher case studies, the findings indicate that despite teachers' belief in the importance of creativity, their time for creative teaching and learning has been limited by the demands of the former HSC syllabus. Teachers feel positively, however, about the increased space for creativity within the new Stage 6 English courses. This research will be useful for teachers as they transition into teaching the new English syllabus, prompting them to reassess the scope for creative learning when preparing students for the HSC.

Continual changes to Victorian secondary education since the 1990s have severely effected the teaching of classroom music in many schools. Similar to the 1970s-1980s, there is a need for music educators and teachers to develop innovative concepts and insights into teaching school music. From 1975 to 1984, a group of determined women music-educators at Burwood Teachers College Melbourne, guided by Noela Hogg (1941-2013) developed and taught an innovative and creative classroom music course to pre-service secondary music students. As little development had occurred in Victorian secondary music education since the 1930s, there was an urgent need to revitalize school music and make it relevant for the general music student. It was Hogg's intention to develop and introduce a model of classroom music that was centered on the philosophy of R. S. Peters, John Paynter and R. Murray Schafer. Severe cutbacks to classroom music education in Victoria in the 1990s have meant that the vision Hogg had for school music has not eventuated. Today, there is an urgent need for the development of an innovative and effective music program for teaching general lower secondary classroom music comparable to what Noela Hogg proposed during the 1990s. This paper outlines the work of Noela Hogg at Burwood Teachers College/Deakin University during the 1980s-1990s.

Throughout history, societies have been fascinated with creativity and the creative personality. Researching creativity and its place in music education however has been fraught with difficulties. After sixty years of intensive study mainly in the USA, there is still no accepted methodology for researching creativity or an agreed definition. In England during the 1960s, innovative and idiosyncratic music-educators acting as their own research practitioners developed a practical based form of creative music education that was applicable to all students. Although still controversial, this model has helped to revolutionize the teaching of general classroom music in England and to an extent Victoria. Australia however was slow to establish innovative concepts in classroom music after the Second World War. Discussions by Peter Maxwell-Davies of his experiences of teaching creative music in England at the 1965 Sydney UNESCO Conference on school music demonstrated to many Victorian music teachers the need to consider establishing creative music in their schools. In Victoria, Frank Higgins, Keith Humble and Geoffrey D'Ombrain, together with a small number of classroom music teachers pioneered creative music education based on the English creative music movement during the 1960s and 1970s. Unfortunately, there was little understanding in Victoria of the difficulties creative music teachers were encountering in England. This paper discusses the development of creative music education in England and Australia and the pioneering work in creative music education undertaken by Frank Higgins, Keith Humble and Geoffrey D'Ombrain in Victoria during the 1960s-1970s.

One quality among the many that characterize effective teachers is the ability to bring a creative disposition to teaching. In second language teaching, creativity has also been linked to levels of attainment in language learning. Many of the language tasks favored by contemporary language teaching methods are believed to release creativity in learners -- particularly those involving student-centred, interaction-based, and open-ended elements. Drawing on teacher narratives and conversations with teachers, the notion of creativity in language teaching is explored from three different perspectives: 1. "the qualities creative teachers possess." 2. "how teachers apply creativity in their teaching." 3. "how creativity can be supported in the school." Examples illustrate how creative teachers' conceptualize their approaches to teaching.

By focussing on PhD supervision as well as creativity, this paper explores how the artefact and exegesis PhD offers an opportunity to bring creative activity together with academic debate and intellectual rigour. In this context, the latter does not justify the former nor interpret it in an academic and theoretical way. Rather, acting together, the artefact and exegesis bridge the Cartesian binary, offer new models of knowledge to the academy, and enrich the artistic practices of the practitioners themselves. The creative practitioner thus brings to the academy new dimensions of what knowledge itself consists of and how this contributes to learning. Because this disputes the regular academic templates, it challenges the academy itself. The methodology I employ in this paper is one of narrativity that I call the "subjective academic narrative", it practices the theory of academic knowledge as personal and draws together the Cartesian binary of the personal and the intellectual.

Considering the political environments of Australia and the United States, the authors discuss the disconnect between policy and the practical needs of educators for creativity in the classroom.

Drawing on conceptual resources that underpin arts integration, drama-based and embodied teaching approaches, and embodied mathematical cognition, the authors developed a fresh professional learning model for teachers to use with their mathematics classes. This article discusses how "Creative and Body-based Learning" (CBL), the authors' interpretation of drama-based pedagogy (DBP) for the local context in South Australia, uses active and creative approaches to deepen engagement and academic learning. The approach incorporates foundational arts strategies that work with the body to activate dialogue, use game as metaphor, engage in image work and/or role-play, and support mathematical understanding. The CBL endeavor was part of a larger vision--to activate creative education for young people in South Australia in ways that build collaboration, while inspiring and informing decision-makers. The following sections are included at the end of the article: (1) Spotlight on Innovators; (2) Innovative Programs Teaching History around the World; and (3) A Model of Innovation for Children's Libraries.

This paper details aspects of a research project that explored nineteen Australian primary (elementary) schoolteachers' perspectives of Creative Arts education. The study investigated the participants' personal Arts experiences and training, as well as their views of Arts pedagogy. In depth interviews with the participants highlighted the important influence that participants' own interactions with the various Arts disciplines had upon their role as facilitators of Creative Arts education. The findings of this study also identify multiple ways of approaching and facilitating teaching and learning activities. The research not only revealed insights into the educational value each of the teachers ascribed to individual Arts disciplines, but also the level of confidence and preparedness they felt to teach these disciplines. The generalist primary teachers participating in this research study identified a number of issues that they believed compromised their ability to teach the Creative Arts effectively. (Contains 1 table and 2 figures.)

Background: Creativity is often cited as one of the capacities that needs to be actively encouraged in all aspects of schooling. However, what creativity is and how it may be promoted through formal teaching and learning approaches remain contested. There are also differences between educators in terms of how they understand, discuss and conceptualise this complex concept. Purpose: This paper focuses on the difficulties associated with talking about creativity in education. It considers the ways in which schoolteachers who are involved in the area of arts education understand, describe and discuss the concept of creativity and how it interacts with their classroom practice. Sample: Twenty-three educators who taught Arts (either as generalist primary classroom teachers or as specialist teachers), and the leadership team from a Kindergarten to Year 9 (pupil ages 5-15) school in the suburbs of a city in the Australian state of Victoria participated in the project. Design and methods: In this phenomenological study, data were gathered from participants through questionnaires, discussion groups, email prompts and reflective journals. The material was analysed qualitatively. Findings: By examining the teachers' dialogic and discursive responses about creativity, it was possible to capture some broad ways in which the participants spoke about creativity. Data were analysed thematically and grouped into categories that represented the connected 'creative orientations': thinking orientations, action orientations, emotion orientations and skill/outcome orientations. Conclusion: There is a need for educators in and across a range of discipline areas to share, map and think about creativity. The approach adopted in this exploratory study offers a way that could be used to focus discussions and help facilitate educators' talk about creativity.

Schools' administrators and teachers feel the necessity to apply creative education within their learning environments, despite grappling with understandings of what creativity is and how best teachers can foster it in their students. This qualitative international study spanning the USA, Canada, Singapore, and Australia investigates teachers' perceptions regarding creative pedagogies that enhance creativity. Analyzing teachers' reflections on classroom pedagogy and school practice, this study explores ways teachers nurture critical thinking that foster creative intelligences. This study identifies pedagogical practices involving dialogic scaffolding, inter-disciplinarity, and creative environments and school practices that promote learning and thinking "out-side the box" in secondary school learners. This article posits a creativity index through which schools can gauge and assess attributes to nurturing creativity.

If Science, Technology, Engineering and Mathematics (STEM) disciplines in higher education are to retain students, there needs to be a shift towards teaching in more enriching and interesting ways. Creative teaching needs to become more prominent in STEM. This article presents a study that defines creative teaching in the STEM context and investigates attempts to teach creatively as experienced by nine STEM educators in an Australian university. The results highlighted that achieving creative teaching is difficult and that the element of surprise is essential. Despite the struggle required, creative teaching afforded fulfillment for teachers. We examine the characteristics of those interviewed and suggest strategies for fostering creative teaching. The findings extend beyond the STEM discipline.

While educators in many parts of the world grapple with what creativity means in practice, discussions about creative pedagogy usually include the elements of creative teaching, teaching for creativity and creative learning. This article stems from a research project that occurred at a Preparatory to Year 9 school in Australia where we worked with staff to explore their understandings of creativity and creative learning in the Arts. We found that while students' creative learning is a fundamental element in a creative pedagogy framework, the notion of creative learning of teachers is largely overlooked in discourses of teachers' professional learning. Given the important role teachers play in student learning, we argue that teachers need to be informed not only about how to teach creatively and for creativity, but also how to consider possibilities and understand things in new ways, thereby making a case that a teacher's own creative learning is crucial.

Creativity in teaching and leadership continues to be a topic of interest in education. This article focuses on comments made by a school's leadership team as part of a larger study in which a mixed methods case study design involving the school's leadership team and staff who taught Arts (either as specialist teachers or generalist classroom teachers) was used. The research took place in a 6-year-old Preparatory Year to Year 9 (P-9) school in a growth corridor in metropolitan Melbourne. Staff members in the school provided responses to a questionnaire, participated in focus group discussions and were invited to maintain journals during the course of the study. Comments made by members of the school's leadership team are analysed in this article using perspectives of pedagogical leadership and relational power. The article finds that the school's leadership team models and encourages experimentation with new ideas across the school as the team promotes the development of collaborative professional learning approaches in their relatively young school. The article concludes that professional learning communities (PLCs) within the school will be well-placed to pursue the collaborative approaches modelled by the school's leadership team to ensure that a school-wide focus on student learning continues.

The creativity program, "imagination 'first': unleash the power of possibility," implemented in public primary and secondary schools in Northern Sydney, New South Wales, Australia, deals with the power of imagination in unleashing creativity among gifted students and teachers. Following an in-depth literature review on creativity for gifted students, a Learner-centered Framework of Creative Pedagogy was developed. The framework is guided by the key question: "How can creative development be enhanced among gifted learners in schools?" The framework proposes that creativity can be fostered through the interplay of three key dimensions: "creative practice," "creative learning," and "creative process." The program demonstrates that the role of imagination is at the heart of creative learning. Activities that foster creative thinking should challenge gifted learners to think laterally, be open-minded, inquire into possibilities, and kindle their imagination. Significantly, schools need to "promote creativity across all areas of the curriculum." Practical strategies for implementing the framework in schools are shared.

"Slowmation" (abbreviated from "Slow Animation") is a simplified way of making an animation that enables students to create their own as a new way of learning about a science concept. When students make a slowmation, they create a sequence of five multimodal representations (the 5 Rs) with each one contributing to the learning process in particular ways: (1) Representation 1--Background; (2) Representation 2--Storyboard; (3) Representation 3--Models; (4) Representation 4--Digital Photographs; and (5) Representation 5--The Animation. The 5 Rs help students to develop understanding of a science concept by encouraging them to create a stop-motion animation to explain it. (Contains 1 table, 2 figures, and 1 photo.)

The current tertiary education climate in Australia and other Organisation for Economic Co-operation and Development (OECD) countries is one where class numbers are increasing and contact hours between students and teachers are reducing to keep them financially viable. In this context increasing pressure is being placed on teachers to essentially "do more with less" and to perform well, despite the changing conditions. Students, too, are challenged to learn in an environment where they have less time with their teachers. What seems surprising is that all of this is occurring whilst the rhetoric of tertiary institutions is being more closely aligned with contemporary constructivist theories of learning with a focus on producing creative graduates. This pressure is now being keenly felt in creative disciplines where studio models of teaching, which require small classes and substantial contact hours, are seriously under threat. If tertiary institutions genuinely want to produce creative graduates there needs to be more widespread understanding of how creative processes are nurtured and creative minds are fostered. Many experienced teachers in creative disciplines have developed such understanding. Their voices need to be encouraged and supported so that the artistry of their creative pedagogies may be articulated and heard above the cacophony of fiscal complaint. We do not naively suggest that financial issues should be disregarded. We do, however, call for a middle way where sophisticated conversations, about both the quality and viability of creative educational practice, amongst all stakeholders can allow for an authentically creative future to emerge.

For more than one hundred years teachers have paddled beside the great ocean of mathematical adventure. Between them they have taught millions of young people. A few have dived in and kept swimming, some have lingered on the shore playing in pools, but most have dipped their toes in and run like heck in the other direction never to return. There is no need to learn to swim if one is only going to paddle in a rock pool. But getting a job is no longer either a necessary or sufficient reason for learning math. Although once relevant, a vision and pedagogy almost two centuries old is no longer appropriate. The author's replacement vision would be to stop teaching mathematics and start learning to work like a mathematician. In this article, the author details an ocean of possibilities in inviting students to participate in this mathematical adventure.

Developing scientific literacy drove the teaching and learning experiences provided to pre-service primary education teachers. Interactive whiteboard (IWB) pedagogy was used to engage and motivate these students' to explore science's role in making sense of our world and to understand key scientific concepts. Active science learning connected to social contexts was facilitated in workshops by the use of the technology. Using the IWB as a convergence tool facilitated the development of creative teaching resources that linked internet sites and on-line activities with hands on science investigations. It enabled fluid access to real life science contexts, supported a range of learning styles and when used appropriately placed students at the centre of the learning. This paper discusses a sample of the IWB science activities used and considers the potential of interactive whiteboard technology for contributing to the development of scientific literacy. (Contains 2 figures.)

In the middle years of primary schooling, the teaching of common fractions frequently involves written activities that use abstract representations of numbers, symbols, and images. Many students, however, still need the benefit of concrete materials and sensory motor experiences to enhance their understanding of the concepts associated with common fractions. The author's experiences with "playdough maths" provide evidence of effectively engaging learners in building bridges from concrete to abstract understanding in mathematics. This article presents some simple ideas for engaging students in working with common fractions and moving their understanding from concrete to abstract with ease and enjoyment. Common fractions are usually introduced in the early years of learning and associated with concrete materials. In the following years, students are often expected to work with numerical values or visual drawings of fractions. (Contains 8 figures.)

This paper reports the redevelopment and subsequent evaluation of a unit in dialectology within a foreign language curriculum (German). In doing so it is a case study which serves to offer insight into the student experience of studying linguistics within a foreign language curriculum, the potential of online/electronic pedagogies for the teaching of dialectology and the way in which creative, authentic teaching builds a context for learning. The paper begins with a brief overview of the teaching of linguistics in general and dialectology or language variation studies in particular. It presents the evaluation methodology and findings, and raises implications for further research. It also provides a summary of some aspects of the re-development of the unit.

Media literacy is a topic that is being addressed globally as greater numbers of people become aware of the need to teach audience members how they are influenced by the media. Here, two of its broad categories - captive and voluntary - are identified. Examples of media literacy programs in Canada and Australia are also presented to illustrate the approach being taken by successful educators.

There is great variety in the numerous mathematical lesson ideas that can arise from browsing through the newspaper. Since they depict recent, topical material that is constantly changing, newspapers provide an endless supply of new ideas with each new day. In this article, the author provides numerous suggestions as to how the newspaper can be used in mathematical lesson planning.

Results of this study suggest that simulation-role-play allows students to demonstrate their understanding, explore their views, and develop deeper understanding of phenomena. The technique was especially beneficial to students who prefer learning kinesthetically. Suggests a strategy for using analogical analysis in simulation-role-play. Contains 29 references. (Author/PVD)

Studio teaching is a long standing tradition and a signature pedagogy across a broad range of art and creative disciplines, from arts to architecture and design. However, the practice of studio teaching varies across disciplines and practitioners. Do these variances indicate different signature pedagogies in the creative disciplines? An exploratory study was conducted to examine how studio teaching is practised at a Faculty of Creative Industries in Australia, and whether those studio practices suggest distinctive signature pedagogies and creative transfer. In this article, we describe the study and offer insights into studio teaching practices in the creative industries disciplines. We argue that nuances and differences among studio practices in creative industries reveal different signature pedagogies. Our findings offer a unique lens on current approaches to creative disciplines education, where interdisciplinary and transdisciplinary approaches to teaching are encouraged in order to support and prepare a highly educated and flexible future workforce. [ABSTRACT FROM AUTHOR]

In this article, we consider the benefits and challenges of enacting creativity in the K-12 context and examine educational policy with regard to twenty-first century learning and technology. Creativity is widely considered to be a key construct for twenty-first century education. In this article, we review the literature on creativity relevant to education and technology to reveal some of the complex considerations that need to be addressed within educational policy. We then review how creativity emerges, or fails to emerge, in six national education policy contexts: Australia, Bulgaria, the Czech Republic, Finland, Slovakia, and the U.S. We also locate the connections, or lack of, between creativity and technology within those contexts. While the discussion is limited to these nations, the implications strongly point to the need for a coherent and coordinated approach to creating greater clarity with regards to the rhetoric and reality of how creativity and technology are currently enacted in educational policy. [ABSTRACT FROM AUTHOR]