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Educators within Higher Education (HE) and K-12 share in the need for high quality educational resources to assist in the pursuit of teaching and learning. Although there are numerous differences between the two levels of education, there are commonalties in the perceptions of the purpose, practical uses, and challenges that abide in the use of Open Educational Resources (OER). Observations made while producing podcasts and videos for OER awareness, use, and championing, form an exposition of the merits of OER for HE and K-12. Benefits include cost-savings in acquiring resources for teaching and learning as well as usergenerated content, instructor creativity, and contextualized and responsively timely learning opportunities. Additionally, the teaching culture of K-12 has historically supported the sharing of learning activities and learning resources. At all levels of education, OER awareness requires a deeper understanding of the changes to teaching and learning borne by open educational practices.

To investigate music teachers' perceptions and concerns in fostering music creativity of students with intellectual disabilities, findings are presented from a study of nine music teachers purposely sampled from across all three categories (mild, medium, severe) of Hong Kong's special school for students with intellectual disabilities. Personal profiles identify respondents' displaying three professional knowledge gaps -- music expertise, special-education training and prior experience of being taught 'creativity'. Findings also indicate that respondents add to the creativity literature: first by supplementing Hargreaves' [2012. "Musical Imagination: Perception and Production, Beauty and Creativity." "Psychology of Music" 40 (5): 539-557] 'process' to include 'music making' and 'body movement', and second, that music creativity may be described as a spectrum that embraces various forms of expressions.

The purpose of this preliminary pilot study is to identify how imaginative teaching methods and low-technology prototyping promote social-emotional (SE) skills development in elementary school students. Particularly, two are the objectives of the study, firstly to test the research designs feasibility and validate the research tools and secondly, to explore the relationships between the employed teaching methods and social-emotional skills development. The study is based on mixed methods-grounded theory methodology involving the collection of qualitative and quantitative data from 104 participants. Based on grounded theory methodology, we have developed a pedagogical approach illustrating age-appropriate teaching practices for developing SE skills. Further research needs to be carried out to gain greater insight into the cross-curricular infusion of these methods and skills across different grades. The added value of this work is the exploration of imaginative teaching methods exploiting age responsiveness so that children gain social-emotional benefits within low-technology learning situations.

We, as community college English teachers, have the opportunity to empower students who have been subjected to years of top-down, teacher-directed education. We have the obligation to make them critical thinkers, improving their chances of being thoughtful and successful adults. It all begins with the way we teach writing and the respect we have for our students -- and scholarship-as valued parts of the writing class.

Despite a growing interest in posthuman research methodologies within educational research, there has been limited research to date which applies this theory to music education. We consider that there is much that posthumanism and music education may offer each other, particularly within the context of the global COVID-19 pandemic which challenges us to innovate rapidly within our educational and research practices. We explore the potential of this methodology through conducting a 'diffractive analysis,' an approach to enquiry associated with posthuman theory. Drawing on data collected during a participatory music project involving children with SEND [Special Educational Needs and Disabilities], professional musicians, trainee generalist primary teachers and ourselves as facilitators and researchers, we draw out the potential of a diffractive analysis by putting it into dialogue with a thematic analysis of the same data. In documenting this we describe our own process of co-becoming as researchers, entangled with our research and our data. We describe the research processes that we followed, and through a comparison of materials produced during our initial analysis, we consider the similarities, differences and conversations that emerge.

Writing about art is a complex task that differs considerably from other forms of writing because it requires detailed understanding and application of certain theoretical frameworks for visual analysis. This has proven to be a major challenge amongst university and college students in Nigeria who grapple with interpreting visuals into text. The objective of this research is to identify the factors that impede students' writing abilities in art departments through literature review, then develop a conceptual guide to art appreciation and criticism for undergraduates and budding art critics. The research demonstrates that emphasis on the aesthetic philosophy of art and the predominant creative pedagogy used for art tutelage in Nigeria is responsible for the poor approach to art writing amongst students. To address this problem, a combination of three theoretical frameworks: "Ekphrasis," "Formal Analysis" and "Iconographic Analysis" are used to develop a new five-step-system for art appreciation. Results show that the juxtaposition of analytical elements from "Ekphrasis," "Formal" and "Iconographic Analysis" leads to the development of a simple but effective theoretical framework for writing about art which covers five key areas of description, analysis, context, meaning and judgement. Having tested this new framework with tremendous success, this research concludes that the application of this five-step-system will improve writing about art in tertiary institutions by acquainting students with the theoretical tools/lexicons to effectively analyse their own works and those of established artists.

Looking beyond analytical philosophy which underlies most pedagogical thinking, this study presents a novel idea of fluid education. Fluid dialectic is not only a theory but a method of this study, which draws on the Hegelian dialectics supplemented by Taoism. It recognises the messiness of educational reality by exploring how pedagogic antinomies can help transpose, de-fix or reposition traditional roles in the classroom, and therefore allow a different type of teaching, learning or educational adventure to take place. In contrast to a reality of fixed roles in traditional education, it acknowledges the non-linearity and oppositions that an educational reality usually has. However, instead of arguing against it, we believe the tensions and antinomies presented are valuable in dialectic and interparadigmatic teaching and learning. A framework of fluid education that emphasises the dialectic movements between different antinomies is presented. How one is liberated from fixed time, space and position is discussed.

This study aims to examine how 21st-century skills are implemented in the Israeli education system. For a better, in-depth understanding of the reasons underlying the manner in which said skills are implemented among educators in Israel, Hofstede's cultural dimension theory was applied as an analytical tool. This is a pioneer research and contributes to the scientific literature in the realms of education and multiculturalism. Study findings indicate the importance of understanding the relationships between cultural dimensions and cooperative education, creative teaching, motivation for teaching, teaching empathy, and implementing the multicultural approach in teaching and learning processes. These findings have implications on the development of skills, knowledge, and values required to shape the education system's graduates. These young people will integrate into the global labor market in the future and steer Israeli society towards social change centered on parity and egalitarianism.

This arts-based research explores the place of creativity in the lives of a focus group of teachers of English in an English secondary school who work within an increasingly performative educational system. As well as interrogating the place of creativity in their lives, the study explores how found poetry can be used as a research method to collate, analyse and then represent data. The poems are produced from semi-structured individual interviews. The participants were able to scrutinise and reflect upon the poems before returning for a second interview. This process helped strengthen the findings and gave a deeper understanding of their experiences regarding creativity. The findings suggest that the participants have limited space to be creative, or to think differently in their teaching practice. The limited space to be creative comes from normalising practices of a performance culture, but the restrictions are extrinsic and internally imposed by the participants.

Background: Randomised Control Trials (RCT) involving large numbers of schools, teachers and pupils, can provide statistically significant evidence that an intervention 'works', or makes a difference to learning. However, often the quantitative data collected to illustrate the extent of impact is insufficient to illustrate exactly 'how' the intervention was enacted, what was done and 'why' it was successful. This paper collates a range of forms of data from an innovative professional training programme to indicate the nature of the promoted strategies that comprise the 'intervention' and consider how they worked in practice. Purpose: To illustrate how a mixed methods approach is required to substantiate the nature, as well as the extent of impact, of an educational intervention. Namely, Thinking Doing and Talking Science (TDTS). Sample: The project reported on here involved 42 schools in a south east county in England, UK. 21 were the 'experimental' schools and 21 were 'control' schools. Design and Methods: The project was an Educational Endowment Fund (EEF) RCT designed to assess the impact of the TDTS intervention. Results: Quantitative data showed TDTS had a statistically significant impact on the academic attainment of nine and ten-year olds, by at least three months. Various forms of qualitative data provided here offer evidential insights illustrating how and why the intervention had the impact it did on thinking and attainment. Conclusions: Designing research projects that examine both the nature and extent of impact on pupils' learning requires a mixed methods approach. This necessarily involves the statistical comparison of quantitative evidence from both the experimental and control school groupings. However, in addition to the quantitative data, qualitative evidence is required to elicit the precise nature of the intervention. This included observations during the professional development sessions, lesson transcripts, evaluative questionnaire data and interviews characterise a successful science learning intervention.

This article proposes that participatory museum theatre can provide a platform through which learners studying history can engage a troubled past, specifically looking at South African history, to generate a more complex understanding of it. Through the use of performance, object-work, and creative arts-based responses, such as poetry and drawing, in the museum space, learners are able to connect with the performed historical narratives, characters, and events creating a sensory learning experience. The argument is presented through the example "Beer Halls, Pass Laws and Just Cause" which was performed at the KwaMuhle Museum, Durban, South Africa during March 2020.

This article demonstrates how Bourdieu's field theory can be used to systematise ethnographic insights, establishing and validating connections between the micro-level of participants' experiences and macro-level contexts, whilst complementing and facilitating the reflexivity that has long been part of ethnographic traditions. Combining an ethnographic methodological design with a Bourdieusian conceptual framework provides opportunities for powerful critical analysis and contextualised socio-political commentary, particularly in the context of the neoliberalisation of education at all levels. To illustrate, this article presents examples from a study that examines the dilemmas that English primary school teachers experience as they try to enact creative pedagogies, which emphasise innovation, flexibility and autonomy, whilst adhering to neoliberal policy directives that demand conformity and standardisation. Bourdieu offers a language to acknowledge and explain such tensions as well as exposing 'common sense' neoliberal narratives and the mechanisms which embed relationships of domination into educational institutions and other social structures.

Child sexual abuse is a cross-cultural issue that can be found in all social institutions. There is increasing awareness of how this issue affects children in Malaysia. Issues pertaining to child sexual abuse can be addressed if children are empowered with preventive skills to avoid becoming victims of sexual crimes. In this paper, I examine how creative drama can be used to develop a child safety-related module with the goal of preventing sexual abuse. The use of the module has been found to help preschool children in mastering skills that may assist in the prevention of sexual abuse.

Social studies preservice teachers will start their career with the aim of raising "good person-good citizen" for the ideal society. Believing in this important purpose and being aware of the field will contribute to the realization of the ideal society objective. Yet, it is necessary to try to raise this awareness in the most enjoyable and interactive way possible. Thus, the aim of the study is to develop social studies preservice teachers' awareness of their field with the drama method. In the study conducted with action research, a 15-week road map designed with the drama method was followed for social studies preservice teachers to take an active role in the learning-teaching process, to increase their awareness of their profession, and to discover the content of their field. The sample of the study consisted of 32 preservice teachers studying in the sophomore year of social studies teaching at the education faculty of a state university in the first semester of the 2019-2020 academic year. It is possible to say that the awareness of the preservice teachers in the sample concerning their discipline increased at the end of the 15-week drama education process.

In Peru, national assessments repeatedly rank Indigenous mathematics students as the lowest performing across the entirety of Latin America and South America. Whereas lack of financial resources often predicts low measures, the history of educational practice teaches us that students' poverty need not predict their educational outcomes -- creative instructional approaches may turn the tables. Here we report on an innovative, body-based arithmetic technique, the Botetano Method, that has been enabling poverty rural children from remote mountainous regions of Peru to match and even greatly surpass their urban peers on comparable test items. The article explains the method's guiding humanistic and cognitive principles and then reports on findings from explorative action research that implemented and evaluated the method. Using observational methodologies, we argue that the students developed in their conceptual understanding of the content as well as in their attraction to the discipline, their professional identity, their personal pride in their achievement, and their general epistemic capacity for concentration and self-regulation. Throughout, we emphasize the methodological limitations of this grassroots proof-of-concept action research, which threaten the validity of the assertions. We speculate on early extensions of the method to literacy studies.

Interest in creative music technologies is on the rise among secondary students. Still, some music teachers are unsure how to integrate creative music technologies into their instruction. This article explores one versatile and powerful technology for the music classroom: digital audio workstations (DAWs). First, I discuss the central role of hyphenated musicianship in DAW-based music-making. Second, I explore a guiding framework for DAW-based creative projects in the music classroom. Third, I outline three initial projects for free or low-cost DAWs, each addressing fundamental musical, creative, and technological concepts for DAW-based music-making. The ideas and projects described in this article offer a practical pathway toward introductory DAW-based competencies and pedagogy, especially for music teachers inexperienced with DAW technologies.

During the pandemic many museums and galleries pivoted from onsite, in-person delivery to develop a remote offer and to create digital learning resources and activity packs for children and young people. In this article, I draw upon my experience as practitioner researcher on the schools and teachers' programme at the Fitzwilliam Museum to consider different approaches to supporting participatory creative pedagogies while the museum was closed. After discussing how the work built on and extended existing programming for this audience, I consider effective strategies for facilitating authentic and inclusive encounters with objects and artworks remotely. While some were empowered to take part and to engage, others were locked out through the ever widening social and digital divide. How can we overcome these challenges and make the most of the opportunities which this work has revealed? What are the implications of this work for our understanding of the role, function and future of museum and gallery learning?

Composition is an important and creative part of any child's music education, yet many music educators feel unprepared to teach composition to students with special needs. This article explores the value of incorporating music composition in a special education classroom and outlines two compositional lessons based on creating a musical scenery. The first lesson took place in a classroom with seven students, ages six to twenty-three, and the follow-up lesson involved fourteen students, ages four to twenty-three, all possessing a wide range of ability levels. By encouraging students to collaborate and freely compose, teachers can guide students with special needs beyond playing precomposed music and into creative thinking and building an overall sense of confidence, community, and musicianship.

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.

Scholarly literature is replete with suggestions for fostering creativity in both teachers and students; however, few articles exist where practitioners appraise these methods and generate theories of their own. After a semester of team teaching using a creative project-based learning (PBL) approach, we reviewed, through a mutual interview process, the theory that underpinned and resulted from our experiences in our English language learning (ELL) classrooms. Our experience with this approach confirmed previous findings on creative teaching, but also included unanticipated challenges and benefits, such as a greater need for feedback and an increased sense of empowerment and ownership in our students.

By embedding narrative theory within the practice of storied forms, there can be pedagogical movement from difficulty to insight. This piece explores scholarly personal narrative as a creative and critical method for attaining academic understanding. The ideas of three narrative scholars (Nash, Fowler, and Luce-Kapler) surface within two writing forms--a letter and a poem. The author playfully reports on the powerful processes that are engaged when shared creative story forms become part of teaching, learning, and writing.

The current study presents an evaluation of the laboratory instructional tasks prepared based on innovative teaching approaches (research-inquiry, problem solving, project, argumentation and web-based interdisciplinary learning approaches) designed to enhance science teachers' biotechnology knowledge, awareness and laboratory experiences. The laboratory instructional tasks developed by the researchers aim to improve the laboratory experiences, as well as support the teaching of biotechnology through innovative teaching approaches. For this purpose, in-service training course titled Biotechnology Education Practices was conducted with the voluntary participation of science teachers (n = 17). The current study employed the embedded design. The quantitative part of the embedded design is designed as the single group pretest-posttest model and the qualitative part of it is designed as the case study. The data of the current study were collected through the Biotechnology Awareness Questionnaire, Biotechnology Evaluation Questions, The Laboratory Self-Evaluation form and worksheets. The results obtained from the analyses revealed that the instructional tasks conducted within the context of the Biotechnology Education Practices resulted in significant effects on the science teachers' biotechnology knowledge and awareness and that the innovative teaching approaches were effective in developing the science teachers' laboratory experiences. It would be useful to use laboratory instructional tasks enriched with innovative teaching approaches in teaching biotechnology subjects.

The significance of the innovative development of the modern society of the Republic of Kazakhstan (RK) has actualized the need for creative individuals, who determine progress in various spheres of social life. In this regard, the fundamental goal of the modern higher pedagogical school was the development of creative personalities capable of self-actualizing their skills for the benefit of the society. The purpose of the article is the development of conceptual recommendations on the formation and development of creative competence of future teachers as a potential human factor in shaping the value system of the future generation. The criteria for assessing the levels of the formation of creative competence in future teachers in the context of its structural components have been developed. Interviewing helped to analyze the qualitative levels of the formation of creative competence of students of pedagogical universities in Kazakhstan. The article substantiates the main destructive factors of development of students' creativity in the system of higher pedagogical education in modern conditions. The authors developed the structural and logical model for the development of the creativity of future teachers based on the principle of problem education. The authors also developed a diagnostic approach to assessing the effectiveness of the practical implementation of the pedagogical conditions of the creativity model in the educational process of future teachers in higher educational institutions of the Republic of Kazakhstan. The article proves the complex of the actions promoting the evolution of creative competence of students of a pedagogical specialty.

Conducted within a Masters in Teaching and Learning, this article details an inquiry which sought to offer meaningful purpose to learning within a fictional frame to engage students in level two mathematics. After considering various ideas for a suitable theme we settled on a pirate adventure. Enticing students with a mysterious treasure map and creating various obstacles and amusing characters along the way. As a frame for mathematics, pirates provided an additional opportunity to invite incidental thinking about mapping, position and measurement. As a preservice primary school teacher and research advisor, we have written collaboratively to reflect the shared research experience. While adopting different roles within the research, we share a passion for exploring new pedagogies, valuing student voice and collegiality. This short overview identifies our initial positions within this research.

In cultures where there is a danger of losing face by making a mistake, students prefer activities in which their errors may not be so apparent. The speaking skill is challenging for language learners, necessitating activities that support oral interaction in the classroom. The adaptable radio drama activities presented in this article promote student collaboration in a low-stress environment that encourages speaking and integrates reading, writing, and listening skills as well.

Stemming from a study of what it is like to teach English in rural Colombia considering both English language teaching policy and social challenges of these contexts, this paper explores different locally grounded English language teaching practices. Through the analysis of teachers' narratives and field observations, four examples of such practices are discussed. These examples highlight how teachers intuitively tend to make the most of their expertise, the limited resources available, and the local lingua-cultural repertoires in an attempt to help students make sense of English. From the perspective of language teaching as a socially sensitive practice, findings suggest that teachers' own experiential and situational knowledge constitutes a powerful platform from which valuable bottom-up practices are and can further be devised.

This paper evolved from an artistic residency entitled The Stories Within that took place at the University of Guam in February 2017. The Stories Within intercultural research was led by independent creative artist Sarah Jane Moore and represented a collaboration between Moore and Assistant Professor of Education at the University of Guam, Dr Dean Olah. Oceanic Comparative International Education Society (OCIES) Fellowships and Networks Program small grant, the University of Guam and Adjunct Professor Joseph Franquez, Professor of Education, Dr Una Nabobo-Baba, and Fine Arts and Education colleagues at the University of Guam supported it.

An inclusive educational setting is a model in which educators must have empathic sensitivity, which will enable them to identify the different needs of the various learners. However, there is gap in research concerning educators' own experiences regarding empathy within inclusive classrooms. This qualitative study with a phenomenological research design thus aimed to identify, through the use of in-depth interviews, the educators' own empathic experiences within their inclusive classrooms in the Dr Kenneth Kaunda District in the North West Province, South Africa. A sample of seven female educators from three schools participated in this study. The data were analysed thematically, and the following main themes were identified: intrapersonal pre-proficiency of educators; interpersonal understanding for learners with disabilities; having adaptive skills; and situational aspects that play a role in the empathic experiences of educators. It was determined that future research should focus on more districts in order to gain better representations of the North West Province, also in other provinces to get a better representation of South Africa. In addition, a program must be developed in which educators are trained in the necessary empathic skills.

Due to the importance of creativity in teaching and learning, this study was conducted to study teachers' creativity and its relationship with their teaching's effectiveness. Another aim of this study was to measure the creativity among men and women teachers at English institutions in Iran. A sample of 325 EFL Iranians' teachers was randomly chosen and was rated on the ELT-CS and teaching effectiveness scale. With this aim, validated and reliable scales of assessing creativity (ELT-CS) of EFL teachers teaching effectiveness scale were used. After gathering the questionnaires, data was analysed by structural equation modelling approach. According to the results, five subscales of creativity have a significant relationship with teaching effectiveness. Also, the results have shown that there is a significant difference between gender and teachers' creativity.

Teaching and learning speaking skills should be able to engage students in a creative process. Students have to be able to speak in front of the class, create a dialogue, tell a story, and produce the language creatively. The teaching and learning of the speaking skill focusing on story telling ability can work well when supported by the appropriate choice of teaching method. This study attempts to: 1) identify the list of things needed by teachers of primary schools to teach Bahasa Indonesia in fun and creative ways, 2) design a prototype of suggestopedia based storytelling learning model to teach Bahasa Indonesia in primary schools, 3) develop the prototype into a suggestopedia based storytelling learning model to teach Bahasa Indonesia in primary schools, 4) determine the effectiveness of the application of suggestopedia based storytelling learning model to teach Bahasa Indonesia in primary schools. This research is a model development study based on the procedures by Borg and Gall. This study demonstrated that a teaching model is created through the following steps: 1) identifying and analyzing the needs of the students and teachers, 2) designing and evaluating the model, 3) developing and testing the model. The effectiveness test showed a significant increase of 3.03 or 8.11% in the experimental group's mean score, from 18.94 in the pretest to 21.97 in the posttest. Meanwhile, the control group only experienced a 2.51 or 6.36% in the mean score, from 18.50 in the pretest to 21.05 in the posttest. Hence, it can be concluded that the students' story telling skill in the experiment class using the teaching method developed in this study was higher than in the control class. The result implied that the teaching model prototype can be further developed to increase the primary students' story telling skill in Salatiga.

For most students at my university, classroom experience alone was the choice for formally developing speaking skills. My idea was to provide students with recurring authentic audience experience, attending to the audience dimension outlined by Derryberry (1989) as a critical requirement of public speaking pedagogy. Through research, a new idea was proposed: Create a Speech Choir, combining talents of the students in one performance. Though it has elements of forensics, reader's theater, choral reading, public speaking and more, it is not identical to any of these. As the team evolved, more pedagogical elements were added including service learning, attention to feedback intervention, and limited social activism in an atmosphere of collaboration and creativity. Quite unexpectedly, however, Speech Choir managed to attract both students with performance confidence and those professing high communication apprehension.

This study aims to determine: (1) the intercorrelation between income, experience, and academic qualification with the early childhood education teachers' teaching creativity; (2) to find out the dominant factors that affect the ability of teachers' Creativity in Semarang. This research uses an experimental design with four variables, including teachers' income (X1), experience (X2), academic qualification (X3), and teaching creativity (Y). The research objects are the randomly selected 56 early childhood education teachers in Semarang. The questionnaire instrument is validated with a construct validity test while the quantitative analysis is conducted through both intercorrelation and multiple regression analysis. The results show that: (1) the descriptive analytical results show that the average education level range is 1.4 or Senior High School (SMA) and 2 years diploma (D2). Meanwhile, the early childhood teachers' income is at the average of 191, 991 IDR or is still categorized into very low. In addition, the early childhood teachers' teaching experience is at the average of 8.7 years or is categorized as high. Furthermore, the dependent variable (creativity) of the early childhood teachers is categorized into high; (2) teaching experience (0.549) and education level (0.617) significantly influence the early childhood teachers' creativity, while income (-0.107) does not significantly influence the early childhood teachers' teaching creativity.

In the contemporary landscape of science education, teachers aspire to implement approaches that engage students with diverse teaching methods in diverse learning environments. By reviewing educational literature that deals with chemical escape rooms (ChEsRms), we can find several purposes they serve; however, only a few papers used ChEsRms for assessing student's knowledge and 21st century skills. The "Escape Room-based Educational Assessment" (EREA) has been built, at the Faculty of Education in our institution, to serve high-school chemistry teachers and their students as an alternative learning and assessment environment. A variety of puzzles are described in this activity paper. The escape room is equipped with cameras that record students' work while solving the puzzles, and at the same time, they can be observed by their teachers from a control room. Teachers were asked to provide feedback on the activity and specify which puzzles required the implementation of significant chemical knowledge, high order thinking skills (analysis, synthesis, or evaluation), and thinking creatively, for their solution. Based on the teachers' perception, the skills required while solving the puzzles were mapped. Teachers addressed a variety of aspects: (a) domain specific skills in chemistry such as the implementation and synthesis of chemical knowledge, (b) scientific practices such as question posing and problem solving, and (c) 21st century skills such as collaboration, taking initiative, and creativity.

This paper explores aspects of Creative Music in Education [CMinED] practices through a political philosophy perspective based on Jacques Rancière's approach to the notion of democracy. The paper begins with three cautionary tales about the difficult encounter between democracy and music education. This sets the stage for introducing a Rancièrian approach to democracy and music education. On the basis of this analysis, it is then proposed that the musical an-archê induced by Creative Music in Education practices, and in particular, by free improvisation, can be seen as a form of "studious play," a concept that comes from Giorgio Agamben (2005) and has been reworked from a philosophy of education perspective (Lewis 2013, 2014, Jasinski 2018. Jasinski and Lewis 2016). Studious play departs from the imposed repetition resulting from induction into musical traditions, but at the same time, it moves away from views of play as mere self-expression. By suspending but not rejecting musical traditions and practices, it continually moves between making ever new beginnings ([characters omitted]/ archês) and playing with and through the rules ([characters omitted]/ archês). The paper concludes by proposing that CMinED practices centering on experimental composing and improvising might be a means for practicing democracy through a pedagogy of studious play.

As the expectations for including creativity in K-12 education continually grow, creative process skills equip students with thinking strategies to generate and evaluate ideas. This systematic review explored existing research on elementary and secondary gifted classroom environments that promote creative process skills. A database search yielded peer-reviewed literature, empirical and practitioner-focused, for systematic evaluation. A critical examination of literature published from 2011 to 2019 identified characteristics of educational environments that foster creative processes and highlighted key themes, including integrating creative process skills, adaptive environments, reflective classroom culture, and challenges to implementation. Implications for classroom application and suggestions for future research are discussed.

The present study aimed at exploring the effects of integrating social media (instant messaging through Line App and Facebook) and design thinking into a vocational education course on corporate identity design in Taiwan. Corporate identity helps organizations achieve competitive advantage. This benefit is even more pronounced in Taiwan, where visual communication is esteemed. The present study recruited two groups of 11th graders (N = 60) from a vocational high school in the northern part of Taiwan as its participants. One group was designated as the experimental group and the other as the control group. The experimental group received creative instruction through the use of Facebook and Line App with design thinking integrated into the pedagogy, whereas the control group did not. Both qualitative and quantitative approaches were used to obtain feedback on the teaching and learning process. The results of the analyses indicated that students who were allocated to the experimental group demonstrated better quality design products than their counterparts in the control group.

Inquiry learning pedagogies have not only been proposed as a successful teaching methodology to draw students into science, they are also rich with possibilities for creativity. The particular focus on investigations and problem-solving provides opportunity for educators to embrace this. The primary curriculum explicitly values creativity in this regard, linking with inquiry, and problem-solving. In recent years, science outreach carried out by universities in the Republic of Ireland has played a significant role in the formal classroom as a support to primary science (KS1). This article explores the perceptions of these two educators in the primary classroom, teachers (N = 31), and science outreach practitioners (N = 30), with respect to their theoretical stance on the construct of creativity and secondly their application of creativity in practice. The interview method used engaged research participants in a dialectical analysis of conceptual and pedagogical dilemmas. This unique, primarily qualitative methodology, provides evidence to differentiate perspectives of these two groups. Results indicate that participants generate new understandings by engaging in dialectical reflection and critical analysis of the two binaries. They also reveal that although outreach practitioners and teachers align in their perception of the theoretical model, that outreach practitioners are more favourable towards promoting a more creative environment for science in practice.

In this article, Kate Collins begins by explaining how she discovered that "Hamilton: An American Musical," a Broadway show that incorporates a mix of musical genres: hip-hop, jazz, classic show tunes, and show-stopper numbers based on the life of Alexander Hamilton, could be brought into her teaching as a rich resource for her high school American literature classes. She provides an outline of what she named The "Hamilton" Listening Project in action, highlights key elements that make hip-hop music useful in teaching elements of poetry, and recommends using hip-hop to open the door to conversations about racial justice and antiracism in today's America. Overall, she makes the case that by including hip-hop music in English Language Arts (ELA) teaching, educators can make portions of American literature more engaging through the Listening Project unit she designed, and also energize both the teaching of poetry and conversations about topics such as diversity, history, race, and silences with their students.

Enhancing student employability is a key aspect of any chemistry-based degree; however, embedding such activities in the curriculum is often challenging. Placements (internships in the USA) or experiential visits are the most widely used approach, but these are not always inclusive. Work-integrated learning (WIL), the practice of combining traditional academic study or formal learning with student exposure to the world-of-work, is widely seen as an alternative approach to provide key employability skills. Our study utilizes a game-based learning activity based on the TV show "The Apprentice" to conduct WIL. Working in teams, students evaluated the performance of two different chromatography analytical columns and are asked to generate various marketing materials to highlight the performance of one column over the other. This included creating an infomercial and marketing flyer before finally pitching their findings to an expert panel. This activity provided a creative platform for students to showcase a range of employability skills, which they reflected upon immediately afterward and a year after graduating. Students indicated that the real-life work-based content of this specific activity significantly enhanced their employability and helped them secure a job. This educational WIL can be modified for any discipline of chemistry, providing a unique and inclusive way to provide a vast array of skills to enhance employability.

Music education majors report low exposure to creative musical activities (CMAs) despite increased discourse surrounding the inclusion of CMAs in standards, curricula, publications, and practice. The purpose of this study was to compare preservice music teachers' (PMT) and music teacher educators' (MTE) experiences with CMAs. We used an anonymous survey instrument to explore definitions, perceived importance and preparedness, and the incorporation of CMAs within undergraduate music education curricula. MTEs and PMTs valued the inclusion of CMAs in preK-12 curricula, PMTs felt most prepared to teach arranging and least prepared to teach composing with their future preK-12 students, and PMTs valued and desired more opportunities to practice CMAs in undergraduate curricula. MTEs should consider integrating these activities as regular components in undergraduate music curricula.