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This article reflects on analyzing and understanding the articulation between creative processes in art education and the development of training for a culture of social and cultural citizenship. The methodology of projects developed in Workplace Training over two academic years involved two 12th-grade secondary specialized art classes. The realization of the projects, based on the action-research methodology, sought the student's participation and involvement in the decision-making of the activities as co-authors in their learning and cooperation with the teachers. Direct observation and interviews with the participants were the main instruments for the data collection. The analysis data used the NVivo program. This study argues on the sociocultural theories of creativity (Glaveanu, 2013; Beghetto, 2016), citizenship and educational contexts (Eça, 2010; Caetano & Freire, 2014), and the context of Art Education (Eça et al., 2012; Eça, 2014; Ramirez, 2016). The main results revealed an interdependent relationship between creative processes and citizenship practices, increased knowledge, and capacities capable of promoting collaborative creativity (Burnard & Dragovic, 2015). These results will allow this relational dynamic to develop and transform through social interactions and situated contexts, with evidence of communication between all those involved, with openness to social and cultural diversity, to generate other possibilities for synergy.

Due to negative classroom experiences, lack of resources and access, the fear of the unknown, and at times a disconnect, students are often fearful of literacy learning (reading, writing)--and in some cases outright bored. This piece highlights a variation of Childs' "C.O.U.N.T." acronym, which addresses ways in which teachers can infuse popular culture, technology, and authentic experiences into their traditional writing and literacy curriculums. From creating and cultivating a culture that embraces literacy in various modes, and providing assignments that move beyond traditional assessment, this article will demonstrate the powerful reach that teachers can have by honing in on creative ways to facilitate writing instruction. Going beyond the use of pencil and paper writing and assessment in classrooms, and simple but meaningful and authentic ways to enhance literacy instruction for teachers will be discussed.

Global creativity indices in developing countries tend to be low. In the field of education, creativity has an important role. Efforts to increase the creativity of educational human resources continue to be hyped. Creative teachers produce creative students. But, the fact is that teachers in developing countries tend to need more creativity in teaching. This study aims to analyze the influence of organizational climate in the school environment and teacher career development on teacher creativity in teaching. The sample of this study was 145 junior high school private teachers in Semarang Regency, Central Java Province, Indonesia. Statistical analysis using PLS-SEM and PLSpredict. The results showed that the school's organizational climate positively affected teacher creativity in teaching. Teacher career development also positively affects teacher creativity in teaching. In addition, teacher career development mediates the influence of school organizational climate and teacher creativity in teaching. The findings could help schools or private educational institutions to understand how organizational climate affects teachers' creativity in teaching. So that it can be used as a guideline for schools or other educational institutions to increase teacher creativity in teaching.

This study aims to investigate the role of the training program "Making Learning Visible" (MLV) in developing Creative Teaching Competencies of Bahrain Teachers College (BTC) faculty members at the University of Bahrain. The study sample consists of (35) faculty members in BTC (13 male and 22 female). To achieve the objective of this study, the researchers have developed a measuring scale of Creative Teaching Competencies for BTC Faculty Members, which contains five dimensions: Personal Competencies, Emotional Competencies, Cognitive Competencies, Educational Competencies (Professional), and Social Competencies. Results revealed the training program (MLV) has a significant role in developing Creative Teaching Competencies among faculty members at BTC. Further, there were no statistically significant differences ([alpha] [less than or equal to] 0.05) in the role of the training program in developing the Creative Teaching Competencies of the faculty members at BTC by gender variable. The study also shows that there are statistically significant differences ([alpha] [less than or equal to] 0.05) in the role of the training program in developing Creative Teaching Competencies among faculty members at BTC according to the variable of years of experience in favor of those with more than 20 years of experience.

This study aimed to evaluate the impact of an emergency online learning course on students' satisfaction, self-efficacy and achievement. This study used a convergent mixed methods approach with an action research design to explore students' experiences and outcomes in an emergency online science course. This study involved 25 voluntary participants from a private college in Manila, Philippines, who were enrolled in the Science, Technology and Society online course during the 2019-2020 academic year. Data were collected using a variety of instruments, including questionnaires, reflective journals and semi-structured interviews. The results showed that the developed emergency online learning course positively impacted students' satisfaction, efficacy and achievement. Students were satisfied with their interactions with classmates and teachers and the course content. They also expressed confidence in their ability to perform online tasks independently and master the subject through pre-recorded videos. This study suggests that effective student-teacher interaction, peer relationships, relevant and relatable course content, well-designed lesson materials, clear assessment tasks, differentiated tasks to meet individual learning preferences and teacher creativity are essential factors for student satisfaction, efficacy and achievement in emergency online learning courses.

Background: Teachers are responsible for curriculum implementation and transformation. Therefore, they are viewed as the primary agents of change in teaching and learning. As agents of change, they are responsible for being innovative and creative in their teaching and learning in their English First Additional Language (EFAL) class. Objectives: The study aimed to explore South African teachers as agents of change in teaching EFAL in their Grade 3 classes. Method: This study adopted a qualitative research approach with an interpretivist paradigm. The researcher wanted to explore teachers' lived experience as agents of change in the Foundation Phase class. A case study design with purposive sampling was used. Results: The findings revealed that teachers understood their roles and responsibilities as change agents in their classrooms. They agreed they were responsible for implementing the curriculum to improve basic literacy skills among EFAL learners. Conclusion: The study found that teachers, as agents of change, needed support in continuous professional development to implement the curriculum. They also highlighted the need for help from their school management teams. Contribution: This study contributes to a deeper understanding of the role of the EFAL teacher. They are no longer mediators of learning but agents of change in teaching, learning and curriculum adaptation. Their roles go beyond imparting knowledge to learners. They are developers and mediators of critical thinking, decision-making, communication, use of technology and relationship-building skills.

Background: The STEM education system has garnered significant interest due to its innovative approach in creating a multidisciplinary and integrated knowledge structure that connects science, technology, engineering, and mathematics, and allows students to apply scientific knowledge in a comprehensive and holistic manner. Consequently, evaluating the teaching methods of teachers in accordance with STEM standards is critical. This assessment should take into account various educational objectives, including cognitive, skill-based, and emotional aspects. Purpose: This study aimed to evaluate the creative teaching practices of mathematics teachers for gifted students according to STEM standards. Method: The study applied the descriptive analytical method and developed a rating scale for evaluating creative teaching practices based on STEM standards, verifying the psychometric properties in several ways. The study sample consisted of 64 teachers of mathematics for gifted students. Results: The results showed that the degree of application of creative teaching practices by the teachers of gifted students according to STEM standards was at the moderate level in three domains: planning, implementation, and assessment. Conclusions: Despite the importance of achieving integration for STEM, the actual teaching practices of teachers of the gifted according to these standards were generally average and did not reach acceptable and ambitious levels.

This research investigated teacher technological-creative fostering behaviour as determinant of teacher classroom practices in private primary schools in the Makurdi Local Government Area, Benue State, Nigeria. This study adopted the correlational research design. The population was all teachers in private primary schools in Makurdi. A sample of 70 mathematics teachers was drawn from 50 private primary schools. Two researcher-structured instruments were used for data collection, namely; the Mathematics Teacher Tech-Creativity Inventory (MTTI) and the Mathematics Teacher Classroom Practice Inventory (MTCPI). Correlation, scatterplots, and histograms were used to answer research questions, while analysis of variance was used to test the hypotheses at 0.05 level of significance. The following were the findings: the top three technological tools among others which mathematics teachers at the primary school level use most often to facilitate their teaching practices are, first interactive whiteboard, second, the calculator and third, internet surfing. Teacher tech-creativity fostering behaviour has a significant impact on teacher clarity, teacher classroom discussions, teacher feedback, teacher formative assessment and, teacher-teacher collaboration as teacher classroom practices. It was recommended that teachers of mathematics consider utilizing technology creatively during lessons as a catalyst to advance classroom teaching practices of teacher classroom clarity, class discussions, teacher feedback, formative assessment, and teacher-teacher collaboration.

The current structure of formal education makes it difficult for teachers and students to hold meaningful conversations to support high-school youth's meaning-making of critical social-justice issues. This paper presents data on three high-school youth's knowledge and experiences with social justice issues during the pandemic. Specifically, the paper aims to explore how youth construct knowledge and counter dominant discourses through utilizing informal learning spaces, such as social media platforms, peer and family conversations, as well as personal encounters. In addition, and more importantly, an exploration of how formal education can incorporate social-justice issues into the curriculum is considered. The analysis of these high school youth's interview conversations presents their diverging needs to learn about social-justice topics in both formal and informal learning contexts. The data also illustrates the power of their voices in a way that could inform future curriculum development. Discussions and implications highlight the possibility of creating such ethical spaces in formal education to engage in social-justice topics.

Social justice and health equity are foundational to community health nursing. Arts-based pedagogy has learning and reflexive value for community and population health education within nursing and health professions curricula. Art has been increasingly used in health care and in promoting health, including in nursing education. However, research has not explored the use of arts to teach community health nursing students about social justice. The objective of this study was to understand how the inclusion of a collaborative artistic process relates to the understanding of social justice issues for second-year baccalaureate nursing students enrolled in a community health nursing course. Visual art and symbolic components were added to an existing group concept mapping assignment of community health nursing interventions from a social justice approach. We engaged in analysis within interpretive phenomenological inquiry to understand and share students' experiences with constructing and giving meaning to symbols and art pieces, internalizing the concept of social justice, and collaborating with group members. Students used symbols and visual representation to explore social justice and health. Students' narrative reflections encompassed experiences finding personal power, engaging in empathy, reflecting on their own position and privilege, and benefitting from non-traditional forms of learning. Students recounted group processes that deepened their understanding of concepts, increased their appreciation of the need for advocacy, and enabled creative freedom in the context of collective vision. The addition of a collaborative creative, artistic process enhanced students' learning about social justice and health.

The National Curriculum is a document written by the Department for Education and contains the statutory requirements all teachers in maintained schools in England must follow. This research study will examine the path primary teachers in England, those who teach 5 to 11 year olds, navigate to meet the requirements of the National Curriculum and encourage the skills of historical enquiry all whilst providing a creative and engaging environment for their young learners. To do this, semi-structured interviews with established primary school teachers, including some history subject leads, were employed to generate a rich description of the strategies they used to successfully navigate this tightrope. Findings show that the teachers involved in this study used a variety of creative strategies including drama, enrichment activities and examination of historical evidence to provide learning experiences of high epistemic quality. This will be used to provide a bank of ideas and strategies for primary ECTs entering the profession and enhance their professional development.

The objectives of this research were 1) to study creative economy learning approaches to promote sustainable citizenship for secondary school students in the Upper Northern Special Economic Development Zones, Thailand, and 2) to design guidelines for creative economy learning management to promote sustainable citizenship. for secondary school students in the Upper Northern Special Economic Development Zones, Thailand, and 3) to study the results of using creative economy learning management approaches to promote sustainable citizenship for secondary school students in the Upper Northern Special Economic Development Zones, Thailand. The research was action research. Samples in this research included 1) a group of 15 people who provided information on creative economy learning with the selection based on purposive sampling, 2) a group of 7 people who evaluate learning innovations with selection based on purposive sampling and 3) learning innovation trial group including 299 secondary school students with selection based on simple random sampling, coming up with a total of 321 students. The research tools included 1) a semi-unstructured interview form, 2) a form to evaluate the effectiveness of learning management approaches, and 3) a sustainable citizenship assessment form. The research results revealed that: (1) The study on creative economy learning approaches to promote sustainable citizenship for secondary school students in the Upper Northern Special Economic Development Zones, Thailand revealed that creative economy learning management is an integration of creative economy concepts and a basis for learning for students to focus on skills, knowledge and understanding of the economic system with a production system of products and services that rely on the existing experiences and knowledge base. This can be done by making use of cultural resources, including economy, traditions, ways of life, and ways of living, combined with knowledge. creativity and technology level to lead to the appropriate upgrading of one's own economic system. The creative economy learning management to promote sustainable citizenship for secondary school students in the Upper Northern Special Economic Development Zones, Thailand will require promotion to bring about learning competency in 4 areas, consisting of 1) Competency regarding Community Engaged Learning 2) Economic Literacy Competency 3) Competency regarding Environmental Awareness and Green Citizenship and 4) Competency regarding Creative Economy Innovation Development; (2) Designing creative economy learning guidelines to promote sustainable citizenship for secondary school students in the Upper Northern Special Economic Development Zones, Thailand, it was found that the researcher had designed a learning plan that integrated creative economy learning methods. It is designed as a lesson plan for the creative economy by using the area-based learning cycle teaching strategy (AAAR Teaching Approach) of Mangkhang (2023) together with creative community economics learning activities for 12 class periods, with evaluation results for the overall quality at the most appropriate level; and (3) The study on the results of using creative economics learning management approaches to promote sustainable citizenship for secondary school students in the Upper Northern Special Economic Development Zones, Thailand revealed that the level of students' sustainable citizenship in an overall picture was at the highest level.

This manuscript is a conceptual article that intends to address 'playful creativity' as an underexplored but potentially insightful component of TESOL programs. To this aim, playful creativity is first defined under a critical purview of traditional and recent conceptualizations of creativity. Afterward, 'creative TESOL' is briefly addressed. 'Pedagogical humor' is next put forth as a practical outlet for playful creativity in language education. To further elaborate on (and operationalize) such creative TESOL, 'humor-integrated language learning' (HILL) is outlined. HILL is argued as an innovative pedagogical approach with far-reaching effects. The article anchors the contention for humorizing creative TESOL in a) the literature-informed benefits of pedagogical humor, b) new directions in creativity programs, and c) the criticality of creativity. Several instructional designs and a sample activity are also outlined to better familiarize readers with this approach. The paper finally addresses practical considerations and further developments in HILL within the framework of playful creative TESOL.

A teacher's creative potential (CP) is recognised as an integrative personality trait that includes the ability to develop innovative teaching ideas, find practical solutions to non-standard teaching tasks, select the most effective methods for engaging in creative pedagogical activities and contribute to the development of students' creativity. The purpose of the study is to identify the primary school teachers' level of CP and to explore barriers to its development. The study employed a mixed-methods research design, analyzing both qualitative and quantitative data collected by means of a survey and interviews with primary school teachers. The literature review has shown that teachers may foster their students' creativity if they have the necessary CP, ample knowledge, resources and tools, apply creativity-development techniques and create an environment that encourages creative collaboration. The survey's results showed that across all age groups and qualification levels, primary teachers' CP development was at a medium level. The interviews revealed the conditions and barriers to CP development such as psycho-emotional and educational factors and resources. The study findings will contribute to further comprehension and improvement of teachers' CP development in higher and vocational education.

This study focuses on exploring pre-service primary general teacher students' (N = 40) reflections on the opportunities they were given to awake their creativity, by participating systematically (13 weeks) in music improvisation activities, in the context of the course Music Education in a university classroom of a Greek Department of Primary Education. More specifically, it focuses on teacher-students' reflections on the implemented music improvisation activities, on team interactions, their perceptions regarding classroom atmosphere and the way they feel during their participation, their confidence-as future teachers-to integrate the music improvisation activities in their classroom, their preference for individual or group music improvisations activities, and their beliefs on the characteristics of a creative teacher. The improvisations were carried out individually, in pairs and in groups, using their voice, their body, and percussion musical instruments. Data were collected through observation, diary keeping, and questionnaires with open-ended and closed-ended questions. As the findings indicated the primary general teacher-students expressed positive attitude regarding the awaking of their own creativity, enjoyed their participation, developed a rather strong self-confidence to implement improvisational activities as future teachers and considered as creative teacher a well-prepared facilitator who ensures the conditions for an interesting, structured lesson and promotes cooperation.

Considering art and its educative potentials as a living experiment with the body's elemental constitution and modes of organisation, this article engages "water," "earth," "air," and "fire" as milieus through which a body learns to sense, move, and act in the world differently. This leads to a series of propositions for an elemental philosophy of arts education, which recognises the intersectional and decolonial potentials of bodies, and strives to amplify and proliferate these potentials through creative pedagogic practices. If, as Elizabeth Grosz (2017) proposes, "the chain of evolutionary emergence is unbroken not only materially but also conceptually" (p. 250), then arts education offers an expression of the body's incorporeal and material potentials as they change and evolve through time. Further to this position, we argue that arts education has the potential to radically reframe relationships with water, earth, air, and fire in ways that resist their co-option as tools of colonialism and intersecting categories of oppression.

This paper responds directly to the question, how do we communicate our philosophy of art education? It does this by drawing upon previous research with "House of Imagination, School Without Walls" and doctoral research exploring children's learning identity as artists, to illuminate a philosophical approach to art education and its pedagogy that highlights both human and more-than-human dimensions of learning in communities of practice involving artists, researchers and educators working alongside children and young people where spaces of possibility for practice and innovation emerge. The paper focuses particularly on current and creative research in the "Forest of Imagination," a long-term participatory contemporary arts and architecture event in Bath, UK. "Forest of Imagination" offers an alternative, creative approach to learning, focusing on ecological imagination and nature connection. As a new aesthetic imaginary, the Forest of Imagination is a living, breathing art classroom, inspiring curiosity, imagination and a deeper connection with the natural world.

There has been a renewed interest in creativity as a twenty-first century skill in K-12 mathematics education. However, previous research has paid less attention to creative actions than to other learning outcomes, which are often product- instead of process-based, especially in a programming context. Thus, situated in the context of mathematical learning in a block-based programming environment, Scratch, this study seeks to investigate how in-service mathematics teachers develop mathematical concepts and programming skills to demonstrate their creative actions as a form of professional development. By conducting task-based interviews and thematic analysis, we found that testing and iterative practices of reusing and remixing are two important kinds of creative actions inspired by the programming environment, which give rise to new possibilities for doing mathematics in terms of generating new ways to engage in mathematical processes and to understand mathematics from a computational perspective. Our findings will inform teacher education and professional development programs addressing creativity in technology-enhanced mathematics classrooms, with particular attention to the role of mathematics, programming, and their interplay in inspiring teachers' (and students') creative actions and new possibilities for doing mathematics.

This paper explores the relationship between additional language (L2) literacy development and drama plays based on the experiences of adult refugees from Ukraine in Iceland. This inquiry is guided by the following questions: What are the learners' experiences and perceptions of drama classes in relation to their literacy development in Icelandic as an L2? What role might engaging in drama classes have when it comes to learners' sense of well-being? We employ a multiliteracies perspective, which has pluralised the traditional view of literacy and offered new insight into literacy teaching and learning by integrating multimodal, multi-sensorial, and critical practices into literacy education. The findings originate from a qualitative, interview-based study with five Ukrainian learners of a refugee background in Iceland. Findings suggest that learning Icelandic through drama afforded the learners an opportunity to learn Icelandic in creative, engaging, and meaningful ways. Furthermore, learning Icelandic through drama supported the enactment and development of essential capacities for personal and professional growth, such as open-mindedness, tolerance, respect, and collaboration. Many of the learners felt positively challenged to try out something new. This paper concludes with a discussion on the importance of critical, experiential L2 education that acknowledges learners' diverse lived experiences.

Social emotional learning (SEL) is an important topic in education and a desired area of professional development for teachers. This conceptual essay offers a creative approach in promoting and discussing SEL through the use of haiku poetry. The tenets from the Collaborative for Academic, Social, and Emotional Learning (CASEL) framework were synthesized into key concepts and presented as haiku poems as a pedagogical exercise to increase awareness on SEL.

The aim of this study is to examine the effects of environmental education given by creative drama method on 5-6 year old children on environmental awareness of children. The study, which has a mixed model in which qualitative and quantitative methods are used, has a quasi-experimental design with a pre-test and post-test control group. The study was carried out with a total of 26 children. The data were collected by using "Environmental Scale for Children" and by drawing pictures. As a result of the analyses of t-test, a significant difference in favour of the experimental group was found between the two groups (t= -7,676, p<0.05). It has been determined that environmental education given by drama method has a positive effect on children's environmental awareness. The content analysis method was used for the analysis of pictures drawn by children at the end of the sessions. It was found that children reflected the importance of trees/forests, living things relation, importance of air and water in their pictures.

This study examined the creative teaching for high school mathematics teachers in Saudi Arabia. The original data set included 200 teachers in high public schools in the province of Dammam, Saudi Arabia. The researcher also prepared a creative teaching questionnaire for mathematics teachers in high schools and a qualitative analysis method was employed to analyze the data. The results showed that the items on the questionnaire on creative practices ranged between (3-4.23) with a general average value (3.16) and a standard deviation (0.192), which indicated a median level of creative practice among the high school mathematics teachers in Saudi Arabia. This study suggested that it should be better to prepare training programs for mathematics teachers to acquire creative teaching skills and make them more aware of the importance of creative teaching in their classes.

This descriptive qualitative study explores lecturers' perspectives on Emergency Remote Teaching (ERT) in New Zealand Tertiary Education Institutions (TEIs) during the COVID-19 pandemic crisis. Through in-depth semi-structured interviews with the five purposively selected lecturers from four TEIs, this article investigates the challenges and opportunities lecturers experienced in teaching during the pandemic. While the findings showed some opportunities that include enhanced flexibility, teacher creativity, and saving commute time to the workplace, they also demonstrate that the pandemic created three significant challenges of (i) socio-psychological, (ii) technological, and (iii) pedagogical nature. This study recommends that TEIs need to develop a crisis management action plan to mitigate teaching-learning difficulties in a similar kind of situation in the future. Additionally, TEIs could benefit by upskilling their lecturers and students to use digital literacy and virtual teaching and learning.

Postulating that academic papers can positively impact the actual teaching practices of science teachers, this study analysed the process of understanding and utilising academic papers by science teachers to teach scientific creativity in their schools. The 45--hour graduate course of three science teachers was explored to identify the difficulties teachers encountered in trying to understand academic papers and to discover how to solve these difficulties. Second, which aspects should be considered when developing teaching materials for scientific creativity to be used in schools were analysed. A transformation model of an academic paper was proposed to understand this process, and the results were organised accordingly. According to this model, it was emphasized to translate academic papers from a general and abstract state to a local and concrete state. Therefore, the role of science educators as knowledge translators was discussed for more practical and effective use of academic papers in school. This study is expected to contribute to research-based teaching by linking academic research with teaching practice.

The main purpose of this study is to determine the effect of using a new type of mnemonic device, utilizing dance steps in teaching Chemistry 7 in the retention rate of students on the properties of metals and non-metals. Different dance mnemonics corresponding to each property of the two types of elements were developed by the researcher. It was then utilized in teaching. The respondents of the study were the 91 grade 7 students of the two classes of the researcher in Science 7 during the first quarter of the S.Y. 2019-2020. Z-test was the statistical treatment used to compare the results of sample-experimental group to that of the population it was taken from. After utilizing the set of dance mnemonics developed corresponding to different properties of metals and non-metals, the samples performed better on the post-test compared to the population which means that using dance steps as mnemonic device increased the retention rate of grade 7 students. This study was limited only in the effect of using dance steps as a mnemonic device to increase the retention rate of grade 7 students in the properties of metals and non-metals.

The aim of the study sought to examine the impact of teacher's creativity on the creative development of early childhood learners. In providing a clear justification to the purpose of the study, the qualitative research approach and the case study as the research design. The target population for the study was all the lower primary teachers in Early Childhood Development Model in Atebubu (ECD). The census was used as the sampling technique due to the relatively small number of the participants. Ideally, the semi-structured interview was used as the instrument for the study. The study found that Intellectual risk-taking, brainstorming, teachers' narrative and dramatization activities promote learners' creative abilities and development. The study concluded that teachers creating spaces for play, giving students access to time ask questions and providing learners active environment that are resource-rich, and supporting musical play in the classroom promote learners' creative abilities. The study recommended that providing teachers with opportunities to improve their creativity via continuing professional development is an important step in enhancing their understanding of the benefits of creativity in the classroom and assisting them in becoming more creative educators.

This article describes my tumultuous journey as a course instructor and researcher investigating imagination in an educational leadership graduate seminar. I employ an arts-based pedagogy and research methodology known as Performative Inquiry. Sharing my experiences delivering this course informs my future teaching and can support colleagues interested in exploring imagination with their students. I accepted risks associated with arts-based performances and entered a shared space of vulnerability with my students. My struggles with resistance were real, and so too was the realization of the important role vulnerability plays in imagination-focused (leadership) education. I suggest that Performative Inquiry offers other (leadership) educators a powerful pedagogy and methodology for understanding imagination in their own lives, nourishing their imaginative capacities, and inquiring into their leadership education practices. Arts-based practices allow learners to feel their own imaginations and experience possibility by accepting invitations to be vulnerable and performing learning in a range of productive and generative ways.

Previous studies have shown that inquiry-based learning (IBL) and flipped learning effectively promote student engagement and learning outcomes in language classrooms. Meanwhile, technology-enhanced formative assessment (TEFA) with well-designed instructional strategies can provide engaging learning opportunities for learners of English as a Foreign Language (EFL). However, research on combining these three teaching approaches to enhance foreign language skills is scarce. Specifically, this study integrated IBL and TEFA in flipped EFL writing instruction to address the research gap. A mixed-method design was employed to explore 48 students' writing performance and their perceptions of these creative teaching strategies. The results of the quantitative analysis indicate that combining IBL and TEFA increased students' writing quality, as shown by the significant difference between their pretest and posttest writing scores. In addition, qualitative analysis of their written reflections indicated that they appreciated the dynamic and interactive learning atmosphere, displayed positive attitudes, and perceived the value of IBL and TEFA. The students also provided insights regarding the difficulties they experienced with this teaching method. The implications concerning the impact of IBL and TEFA in teaching flipped EFL writing are discussed, highlighting future suggestions for EFL educators.

The article raises the topical issue of teaching Ukrainian as a foreign language to Arab students. Representatives of the Arab world have specific features in behavior, attitude to the organization of the educational process associated with cultural traditions, and upbringing. The Ukrainian system of higher education offers high-quality training. Among scientists, teachers, and methodologists, discussions are underway to choose the most effective methods of teaching international students the Ukrainian language. The study of creative methods of teaching Arabic students Ukrainian as a foreign language is very important, as it has not yet been the subject of a separate scientific study, and has not been covered in a separate article. The goal of our article is to outline the most effective methods of forming language and speech competencies for Arab students. The goal involves completing tasks: 1) to define language and speech competence; 2) to identify the effective use of language learning creative methods (classroom and distance education); 3) to check the effectiveness of the use of creative teaching methods in the formation of language and speech competencies of Arab students in listening, reading, speaking and writing. According to the authors of the article, creative methods are methods that meet the psychological, age, and mental characteristics of Arab students. We concluded that the active use of creative methods in the educational process gives positive results informed language and speech competencies, due to which international students have the opportunity to study and communicate in Ukrainian-speaking environment. We consider such results to prove.

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.

Human beings are born creative, however, as they grow and interact with society, they often become less creative or are taught to be uncreative. Children are naturally full of curiosity and creativity; they perceive their surroundings in unique ways. However, the environments in which they grow up often stifle their creativity. In modern society, it is crucial to employ creative teaching methods to bring out the best in students and foster their creativity. Creative teaching also serves to increase students' interest in the subject matter. According to the National Advisory Committee on Creative and Cultural Education, the primary task in teaching creativity is "to encourage young people to believe in their creative potential, engage their sense of possibility, and instill the confidence to try." Creativity in teaching plays a vital role in enhancing students' learning experiences. Research in educational contexts suggests that confidence, enthusiasm, and commitment are common qualities found in creative teachers. This article explains how creative teaching develops creativity and increases interest among students in learning, the barriers to creative teaching in the classroom and concludes with recommendations to develop creativity in teachers.

Based on well-known concepts, including organizational creativity, inclusive leadership theories as well as the input-process-output and its extended version, the current study investigated the effects an inclusive leadership style had on creative teaching through the mediating roles of intra-school knowledge sharing and innovative climate. A questionnaire using a convenience sampling method was conducted among 490 high school teachers in Vietnam, with a return rate of 95.5% (468 respondents) and 446 valid datasets for purposes of analysis. The study indicated that an inclusive leadership style has a positive effect on knowledge sharing, innovative climate, and creative teaching. The mediating role of knowledge sharing and innovative climate were also established in relation to inclusive leadership style and creative teaching. Theoretical and practical implications from our research include recommendations for governments, educators, and policymakers.

This mixed-methods study examined 220 teachers' responses from a new instrument, the Imagination, Creativity, and Innovation (ICI) Index. ICI Index scores represented teachers' predictions of how students would rate their school's support for student creativity, which was assumed to represent the teachers' perspective of the actual support for student creativity at the school. Teachers of grades 6-8 (n = 55) had significantly lower ICI Index scores than teachers of grades 3-5 (n = 155; p = 0.03, g = 0.35). Regular classroom teachers (n = 151) did not differ significantly from gifted and talented teachers (n = 49) on their ICI scores (p = 0.065). Qualitative analysis found that, when asked to give examples of products, performances, and services produced by students that were points of pride, most teachers discussed their own creative teaching practices rather than student-initiated projects. Most major content areas were represented, and many responses were interdisciplinary. The most common audience was the school community. Time, including scheduled special periods, was commonly discussed as a support for creativity. Teachers with high ICI Index scores usually wrote about how the school community collaborated to provide creative opportunities to all students, whereas teachers with low ICI Index scores reported that support for student creativity was absent or limited to specific groups.

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.

This article examines two ethnographers' fieldwork with young people applying co-production film-making methods and three ways to approach youth-led filmmaking work for researchers and educators. Implicit to our argument is a belief, based on several multimodal projects, that filmmaking consolidates literacy skills and gives young people a more expansive, lived, and at times disruptive sense of literacy learning. In this special issue focusing on research into children's language, literacy and literature, we give readers a way to take forward a living literacies approach to film work in 3-13 literacy teaching and learning.

The curriculum work of teachers is understood and conceptualised in different ways. A prevalent view is that teachers are an integral part of a system of transmission and their work with curriculum essentially a technical exercise. Some form of this view seems to be assumed by policymakers, parents and at least some teachers. However, when this same work is considered from the perspective of interpretation theory or 'hermeneutics', a contrasting picture emerges. Rather than positioning teachers as relays of explicit information, interpretation theory alerts us to the complexities and uncertainties inherent in the reading, appreciation and application of texts. On this view, meaning is not stable but transformed through interpretation, and the process itself has no definite end point. Interpretation theory thus undermines major assumptions of the technical-transmission understanding of curriculum work. In this paper, the potential contribution of this body of theory to illuminating curriculum work is explored. Noting that hermeneutics is a vast area of study, a selection of concepts will be made that demonstrates some of these insights. The exploration will yield both critical and generative contributions to curriculum theory. The way hermeneutics undermines the transmission view of teachers' curriculum work will become clear, and at the same time, the inherent creativity of curriculum interpretation becomes an inescapable feature of teacher expertise that could be celebrated rather than neglected, denied or repressed. A hermeneutic analysis of curriculum work thus has implications for what teachers know and do and for their role in contemporary society.

A multi-section coordinated math for social sciences course at a Hispanic-Serving Institution went through a major revision which included the addition of many resources. One resource was educational songs, including a lyric video on the three possible outcomes when solving a system of linear equations. The learning objective associated with this topic is one where learning (if not also teaching) may fall short, thus motivating a creative way to increase engagement. We discuss results from anonymous surveys of students and instructors to assess this educational song's potential to support student engagement (and hopefully learning), contextualized with qualitative data such as classroom observation. Recommendations for future assessment and class use are provided.

The standardised and instrumental view of teaching overshadows the unintentional spontaneous, unpredictable aspects of teaching captured by the notion of "pedagogical tact." Pedagogical tact is grounded in teacher-pupil relations involving trust and care. This article illustrates how pedagogical tact can be used as an analytical tool in empirical educational research. The overall aim was to explore how tactful acting manifests itself in teachers' pedagogical decision-making, and what can facilitate or impede teachers' tactful acting. The author provides examples from two cases. The first case shows how the teacher balances freedom and constraint in making decisions about grading. The second case demonstrates how a beginning teacher handles a situation involving a student with special needs. The findings show that the conditions for tactful acting are determined by various aspects of the educational practice, such as the teacher's freedom to make pedagogical decisions and the teacher's obligations towards the students, principal, and parents.

This article responds to Olof Franck's vision of a less didactic and more creative approach to Education for Sustainable Development. We consider how a multidisciplinary applied theatre project, bringing together Earth Sciences, Ancient Rock Art, storytelling, digital technology, and drama education knowledges and techniques can foster a more creative approach. The article is rooted in our analysis of the "African Rock Art: protecting the past, facilitating the future" project. We reflect on the challenges and possibilities of engaging with issues of climate crisis, responsibility, agency, and action in the Korogocho informal settlements in Nairobi, Kenya.

This study investigates the analogies used by a sample of secondary mathematics teachers when they described the concept of function. The study is concerned with understanding what analogies were used by the participant teachers and conceptions of functions positioned in those analogies. Using examples from a set of responses to five open-ended questionnaire items, the article presents the main analogies found in the descriptions of the participant teachers and examines ways in which these are structurally mapped to function by applying Gentner's "structure-mapping" theory of analogy. Among those discussed are the "child-mother linkage" and "machine/factory" analogies. Of interest is the predominance of illustrations that show a correspondence approach to functions (mappings and input-output machines), while a covariation approach is entirely absent. The article makes the case for using the concept of analogy as a tool in research on teachers' Mathematical Knowledge for Teaching (MKT).

This longitudinal research study explores the pedagogy of multiliteracies in the first professional 4 years of teaching by recent education graduates in Ontario, Canada. Within this longitudinal study, the philosophical foundations of identity and worldview of practicing teachers are illuminated as being pertinent to how these teachers reflect upon, inform, and engage their pedagogical decisions. Data from this study reveals a story of change from teacher candidate to practicing teacher while progressing in multiliteracies pedagogy over time. Findings suggest that both experience and time to apply educational learning to professional practice are significant in the progress of beginning teachers in becoming confident and creative in their classrooms when applying new ways of teaching and learning within pedagogy.

The pedagogies of fostering possibility thinking (PT) have been investigated for over a decade in early year and primary settings. This paper reports the findings of a qualitative study that sought to identify the teachers' pedagogical practices that foster children's (aged 9-10) PT through alternative resources of learning such as museums in Cyprus. Eight primary teachers took part, and the findings were compared with the existing PT literature which offers an in-depth investigation of the pedagogical features nurturing PT (time, space, learner's agency, standing back and forward). The analysis also suggests a new pedagogy (narrative improvisation) that teachers started using after the museum visit. The study provides a starting point for further research on the aspirations of pedagogies fostering PT using alternative resources of learning such as museum spaces. This paper presents the key findings of the study through a figure and ends with suggestions for further research.

This paper delves deeply into the creative pedagogies which support cutting edge digital STEAM practice across primary and secondary school settings. It contextualises the research within current STEAM agendas including transdisciplinarity, and STEAM and technology and goes on to offer insight from the novel context of ocean learning to develop and extend a theorisation of creative pedagogies as entwining both creative teaching and teaching for creativity as embodied, democratic, dialogic and material processes. Intra-action between theory, praxis, nature, culture, the digital and humans enables an emergent perspective about changing the dynamics of power to develop ocean or environmental learning and related activism. Derived from research into an ocean education project, which aimed to develop students' ocean literacy through the combined educative principles of creative pedagogies and digital technologies (Augmented and Virtual Realities), the research draws on data from six projects across primary and secondary school settings in Denmark, Spain and England. It used a "diffractive" analytic technique, inspired by new materialist theory, to explore the messy mixtures of natural, cultural and technological environments that were being learned through. This involved the development of four material-dialogic assemblages each including diffractive switches. Each is presented first through a "piece" which demonstrates each assemblage's connection to the core question, followed by "ripples," which briefly articulate the new learning and questions arising from that assemblage. The four assemblages cover the irresistibility of making kin, the relationships between lively bodies and virtual environments, the importance of spacetimematter in environmental edu-activism and trajectories between transience, stability and dialogic space. The paper leaves the reader/engager with a selection of prompts to highlight the research's contribution to current STEAM agendas related to changing power dynamics, and to provoke reader/engagers' own practices. These can include new pedagogies and activisms, as well as theoretical developments to the combined educative principles of creative pedagogies and digital technologies within STEAM education.

It is essential that concepts surrounding species interactions and their importance for biodiversity conservation are widely taught and understood. Incorporating playfulness into ecological education initiatives can attract more interest in these aspects of ecology. Over the last three decades Pokémon has engaged with millions of people by replicating many aspects of real-world wildlife in cartoons and games. Studies have speculated how the Pokémon franchise creates opportunities for didactic purposes. This study aims to identify the potential for ecological interactions portrayed in the Pokémon universe to contribute to children's engagement and learning. We first gathered information on all the ecological interactions described among Pokémon 'species' from the franchise's website. We found 150 Pokémon species engaging in an array of different ecological interactions. We tested the use of Pokémon as a teaching tool about ecological interactions to high-school students aged [greater than or equal to] 18 years. The use of Pokémon significantly increased learning of almost half of ecological interactions and raised engagement, particularly among students who like the franchise. Our findings show that Pokémon can be a playful and didactic tool for teaching about ecological interactions.

Many universities focus on improving pedagogy through training sessions related to technology and assessment. However, what is missing is an emphasis on the humanistic side of teaching, specifically emphasizing empathy in the classroom. This essay makes an argument for faculty to employ empathy in their teaching. Empathy is a learned behavior that motivated faculty can develop and enhance to better serve students. Empathetic teaching is critical for sport management professors due to the numerous challenges and stressors students face, notwithstanding the competitive sport job market. The essay concludes with a novel example of the lessons faculty can employ using knowledge of the motivations of attending a concert to help create an empathetic classroom experience.

In this conceptual essay, I ask, what might happen when educators default to unexamined habits in their classrooms? How might we be ignoring the more creative pedagogical options, not for lack of good intentions but simply out of routine and tradition? I utilize John Dewey's ('Habit.' In "John Dewey: The Later works," edited by J. A. Boydston, Vol. 17, 298-309. Southern Illinois University Press, 1902/1990) exploration of habit as it provides a constructive lens through which we can think about our own pedagogy as I explore the negative role that habit can play for a thoughtful and creative practitioner. I then turn to assumption analysis (Brookfield, "Becoming a Critically Reflective Teacher," 2nd ed.; eBook edition, Jossey-Bass, 2017, https://www.wiley.com/enus/Becoming+a+Critically+Reflective+Teacher%2C+2nd+Edition-p-9781119050711) as a method to uncover hidden habits and argue that in an era of standardization, when so much might be recommended or even dictated to us, we need to continue to be vigilant about critically questioning our own approaches. To illustrate my assertions, I include examples from my own practice as a teacher educator.

Secondary visual arts education provides learners with opportunities to develop critical thinking, and their creative potential, as part of their personal growth. This development happens when visual arts teachers actively integrate creative pedagogies to target creative thinking in learners. "Ghana's 2019 National Pre-tertiary Curriculum Framework" has added creativity as one goal for all learners. This research study explores teachers' perceptions and use of creative pedagogies as part of implementing this creativity into their teaching. A multi-site qualitative case study was conducted in government secondary schools within Sekondi-Takoradi, Ghana, and data were gathered from interviews and participant observations. The 16 cases specifically examined creative pedagogies in practice in the secondary visual arts programme, as the subject of visual arts is commensurate with developing creativity. The study revealed that teachers' pedagogical perceptions of developing creativity do not align with the actual pedagogies they employ, with teachers being observed to emphasise teacher-centred pedagogies. It is suggested that the integration of creative pedagogies should be contextualised in Ghana's secondary visual arts programme, in order to support teachers to meet the goal of creativity development for all learners.