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In 2015, Aretha Franklin took the stage at the 38th Annual Kennedy Center Honors ceremony. Before beginning a performance that would bring the president of the United States to tears, she placed a ...

Background While empirical research on creativity has grown steadily over the past 35 years, teachers' beliefs about creativity and their implicit beliefs about teaching for creativity remains understudied, as well as cross-cultural examination of teacher beliefs in this area. Aims This study explored the measurement invariance of beliefs about teaching for creativity (creative self-efficacy, fixed creative mindset, growth creative mindset, desirability of creativity for teaching success and value of creativity for student academic and workplace success). Sample American and Chinese educators at two universities were surveyed to rate the degree to which they agreed with statements about beliefs about teaching for creativity (N = 376). Methods Measurement invariance analysis was used Multiple-Groups Confirmatory Factor Analysis with the lavaan package in the R Statistical Programing Environment. Results Partial measurement invariance was obtained such that a model with factor loadings constrained equal across samples for four of the five constructs (creative self-efficacy, fixed creative mindset, growth creative mindset, desirability of creativity for teaching success), did not worsen model fitness. Additionally, when factor loadings for items on the value of creativity for student academic and workplace success latent variable were allowed to vary across samples, we found evidence of structural invariance. That is, the covariances among the five latent variables were found to be invariant across samples. Conclusions The major result of this study is that the theoretical structure and relations among five important creative self-constructs is invariant across American and Chinese educational constructs. However, there may be cultural differences in the value of creativity for student academic and workplace success, as perceived by teachers. Future research can focus on calibrating teacher beliefs about teaching for creativity with classroom observation, in American and Chinese educational contexts.

This integrative review examines 44 published articles (empirical, descriptive, and pedagogical frameworks) on the topic of STEAM (Science, Technology, Engineering, Arts, Mathematics) education from 2007 to 2018. Despite the emergence of STEAM as a popular pedagogical approach for enhancing students’ creativity, problem-solving skills, and interest in STEM fields, the definitions and purposes of STEAM education remain ubiquitous. Therefore, the review examined descriptions of the overall purpose of STEAM education, definitions of the STEAM acronym and the ‘A’ in STEAM, creativity as a learning outcome, elements of arts education, and arts education learning outcomes. The review found a myriad of definitions of the STEAM concept in general, a variety of interpretations for the “A” in STEAM, and an overall lack of reported learning outcomes in the areas of creativity, problem-solving, and arts education. The articles also differentiate in methods for merging STEAM disciplines, described in one of five ways: transdisciplinary, interdisciplinary, multi-disciplinary, cross-disciplinary, and arts-integration. Recommendations are provided to advance both research and practice in STEAM education.

Despite the rise of STEAM (science, technology, engineering, arts and mathematics) as an educational framework, there is a notable gap in the documentation of STEAM teaching practice and research. ...

While arts integration is an increasing area of inquiry in educational research, few studies collect and analyze data on the creative engagement of adolescents in real-time. This mixed methods study employed a convergent design to transform one set of videos depicting drama-based instructional classes into a qualitative and quantitative data set. Each data set was analyzed separately and the results were compared and merged. The qualitative data analysis revealed two cross-cutting themes: autonomous gesture as active part of learning and reciprocity and shared vulnerability in student teamwork. After the video data were analyzed qualitatively for these general themes, the classes of drama-based instruction (science, health, history and an instructional class) were compared more precisely. The video data was coded quantitatively using a Likert scale (0–3) to indicate the prevalence of creative engagement in the areas of autonomy, belonging, creative resources, and competency. The quantitative data analysis revealed differences across the classes: observed expressions of autonomy were statistically higher in the health class, belonging and creative resources were not different across classes at a statistically significant level, but competency increased progressively from Grade 6 to Grade 10. The merging of the data emphasized the reciprocating features of individual enactment and group-level reinforcement during drama-based instruction and alternate explanations for the observed differences across the instructional classes.

We report on the findings from an exploratory pilot study using the experience-sampling method (ESM) and interviews to examine learning in two undergraduate engineering technology courses designed to promote creativity. Results of the ESM analysis showed that students’ positive experience decreased slightly in the first course and increased slightly in the latter course. Surprisingly, both instructors’ presence caused students to report lower levels of willingness to express a creative idea and feel like other students were really listening. Interviews revealed student perceptions about the importance of creativity as essential to the engineering industry and beliefs about being creative in the classroom during the stages of the design process, which relies heavily on group work. Discussion builds on these themes for facilitating creative classrooms emphasizing work with peers as an integral part of curricular and instructional design.

Three independently developed educational leadership courses used the arts to depart from lecture and passive learning, prime students to solve school problems creatively, and build social justice awareness. Photo captioning was used to promote intrapersonal leadership development around professional identity formation and social justice awareness (Case 1). Arts-based activities, such as sculpture making from found objects, were used to illustrate school visions and hone interpersonal skills (Case 2). Lastly, improvisational theater role-playing was used to develop organizational goals around effective teamwork, collaboration and a positive school culture (Case 3). The cases are compared, and students’ dispositional responses are discussed with implications for arts-based leadership research.

Educational policymakers and workforce studies emphasize creativity for teachers and students, yet there is an overreliance on performance measures and ratings of creativity that excludes the perspective of how teachers construct epistemic beliefs about what creativity means to them. This paper presents results from a qualitative study using semi-structured interviews to unearth epistemic beliefs about teaching for creativity as described by sixteen pre-service and in-service teachers enrolled in teacher education, Masters and PhD programs in an American university. Using qualitative content analysis, five themes emerged: teaching for creativity as a component of teaching success, discordant beliefs about creative teaching abilities, diverse beliefs about student creative potential, the importance of creativity for student learning and freedom to express new ideas. We discuss further how beliefs conflicted, namely the confusion about student potential as innate, malleable or a fusion of both, and the conflation of creativity with the arts. For implications, we propose future research exploring the calibration of teacher epistemic beliefs with teaching behavior in the classroom.

This review presents a synthesis of the state of arts-based management education scholarship, with teaching and research recommendations. To begin, the lack of creativity and empathy development in management students is presented. Next, literature-based descriptions of arts-based management exercises focus on how to use improvisational theatre, visual arts (film, collage, drawing, sculpture, and photo-captioning), poetry, narrative writing and storytelling, and music in the management classroom. Then, each art form is analyzed in terms of its capacity to develop creativity (the ability to produce new, useful, and high-quality ideas and products) and empathy (the ability to understand another person’s feelings and want justice for him or her), as conceptualized in recent psychological research. Based on these descriptions and analysis, three arts-based teaching challenges are proposed for advancing practice in this area: confronting the shifting role of instructor and learner; forging collaborations with professional artists, art faculty, and students; and promoting active arts-participation in students. Finally, research recommendations are offered for extending the field with a table of eight design elements.

Implicit theories of creativity have become a focus of research for a number of important reasons. In this chapter we outline evidence that implicit theories are the product of social learning, and, as such are not likely to be totally domain general. We first discuss a small taxonomy of implicit theories including self-theories, and mindsets. Then we present evidence that implicit theories are not constant across domain boundaries. Finally, we discuss implications of this theoretical view for creativity research and educational research and practice.

This article reports on the theoretical and empirical development of a four-stage model intended for developing management cognition in the area of creative problem solving that was piloted with a doctoral student who holds a managerial position in a college. Using a single subject case study design that employs experience sampling methodology, the models flips the order of the teach-then-assess approach: Stage 1 examined the student’s approach to solving problems at work through collecting two weeks of survey responses on her smartphone at work. Stage 2 scaffolded the student’s approach to creative problem solving with a focused discussion of research on the role affect plays in problem solving. Stage 3 gave the student time to reflect upon this research by journaling for five days, followed by a discussion with faculty members. Finally, Stage 4 repeated examining the student’s approach to problem solving through a survey on her smartphone and presented the student with an analysis of the two rounds of ESM data, and how it differed depending on solving a “new” versus “prevalent” problem (i.e., Stage 1 & Stage 4) and her journal entries. This time she derived new ways to solve organizational problems. Student data from these four stages is compared to extant literature and analyzing creative problem solving practices with real-time data collection methods is discussed.

Purpose – The purpose of this paper is to report on a pilot study of the emotional states associated with educational leadership students’ attempts at problem solving “on the fly” in their schools and organizations. Design/methodology/approach – Experience sampling methodology (ESM) was used to study 375 “problem-perceiving moments” in leadership students using iPod touches, followed by individual cognitive interviews (CIs). Findings – Students reported higher levels of intrinsic motivation and cognitive engagement when solving new vs old problems. Students experienced both more positive and more negative emotions when attempting to problem solve than when reporting that they were not solving problems, yet lower levels of self-efficacy coupled with insufficient time to reflect on their leadership goals while at work. Consistent with previous research, students reported engaging in metacognitive and reflective activities more frequently while with supervisors and colleagues. In the CIs, students’ narrative descriptions generally supported the quantitative analysis. For example, students described “putting out fires,” and discussed multi-tasking as a deterrent to problem solving. They also talked about balancing the emotional “highs and lows” throughout their day as well as the role of social affirmation in the problem solving process. Research limitations/implications – While the limitations of this small pilot study include a small sample using self-report data, the implications for educational leadership faculty are to explicitly integrate psychological research into leadership courses to expand students’ knowledge of creative problem solving and focus on building their self-efficacy. Originality/value – Even though students might not perceive they are good at problem solving, faculty can help them learn how to regulate their emotions and create teamwork conditions for constructively vetting problems. In turn, this kind of instruction and research can enhance leadership students’ persistence as problem solvers, which may help prevent leadership burnout and turnover.

Teachers can use mobile applications to integrate the visual arts back into the classroom, but how? This article generates recommendations for selecting and using well-designed mobile applications in the visual arts beyond a “click and view ” approach. Using quantitative content analysis, the results show the extent to which a sample of 16 mobile applications promoted physiological features (e.g., interactive touch), psychological learning principles (post, share comment/art work), pedagogical voice (e.g., social constructivist teaching), socio-cultural dimensions (artist ’s background), aesthetic understanding (e.g., line, color) and creative self-efficacy (e.g., the belief in the ability to make a new painting). We propose to address this imbalance through the pedagogical model Play, Curricular activities, Reflection, Discussion (PCARD).

Despite the current press to improve school leadership, little scholarly attention focuses on building problem‐solving skills in university leadership preparation programmes. This paper reports on two qualitative case studies that examined educational leadership students’ probing of school problems through the arts. Fieldwork was used to derive inductive explanations of minimally documented leadership experience (grounded theory) and understanding human development through producing and/or participating in works of art (arts‐based inquiry). Data sources included videos and participant observations of improvisational theatre role‐plays; observations of making pottery, drawing and three‐dimensional metaphors; interviews; and extant documents including student journals, web‐based discussions and course evaluations. Study #1 found that educational leadership students reflected on personal and professional fears, engaged in creative risks and returned to creative roots. In study #2, six phases of problem‐solvi...

How does improvisational theatre promote aesthetic learning in leaders, emphasizing emotion and somatic, or sensory, knowledge? While improvisational theatre has been used in organizational settings, there is little empirical research describing the aesthetic learning process geared towards preparing educational leaders. Based on a case study of an educational leadership institute using grounded theory to investigate the use of improvisational theatre, four learning conditions emerged for promoting the phenomenon of the aesthetic learning process. The article describes key features of this process - catharsis, empathy, and heightened sensory perception - as compared to works by Dewey, Greene, and Freire. These aesthetic aspects challenge the traditional role of leadership ‘trainer’ and leadership ‘student’ and reflect a more collaborative conception of leadership development as conveyed in public pedagogy literature.

This study investigated the effects of text notes and voice notes on the comprehension of science texts by fifth grade students. The study was conducted to determine whether digital note taking was an effective reading strategy, and whether one form of digital note taking was more effective than the other. Results revealed that general education students made statistically significant gains for both science texts: Cells, and Heredity. For Cells, the voice notes group outperformed their text note peers at a level that was statistically significant. Special education students also made greater test gains using voice notes rather than text notes, and this difference was statistically significant for short-answer tests on Heredity. Additional analyses revealed diverse note taking strategies, which appeared consistent across media.

This chapter reports on the seemingly incongruous use of 2D media-avatar drawings and 3D media-math-based digital gameplay. As part of a larger mixed methods study, we examined students’ cultural identity, player styles, and tacit perceptions of schooling while inventing their own avatars, which are analyzed as symbols representing who they are and who they wish to be as gameplayers enrolled in a yearlong game-based course. Interviews, class discussions, observations, drawings, and short questionnaires were used to analyze issues of identity that emerged during the drawing process and the ways that the pedagogical activity of making the drawings affected student engagement in the game-based learning process. An emergent typology of drawings is reported on: race-based, where the student explicitly affiliated himself with his race and cultural, and race-less avatar drawings, where the student does not associate himself with race and cultural. This typology is explained in terms of two representative students. Finally, we compare the findings with extant theories of student identity and arts-based research as well as generate implications for an integrated theory of academic, possible, and virtual selves that emphasize the dynamic and culturally responsive needs of learners in educational settings that use gameplaying as a learning modality.

Background/ContextBeliefs about teaching for creativity is a newer area of empirical investigation in education.PurposeThe purpose of the quantitative study was to measure teachers’ domain-specific beliefs about teaching for creativity, piloted for the first time in this study, and compare these beliefs with domain-general beliefs about creativity.SubjectsThe study subjects were preservice and practicing teachers enrolled in bachelor's, master's, and doctoral (PhD and EdD) education programs within a private university located in the northeastern United States.Research DesignThis study surveyed a convenience sample of preservice and practicing teachers’ beliefs about creativity and their beliefs about teaching for creativity to examine their creative self-efficacy, growth and fixed creative mindsets, desirability of creativity for teaching success, and valuing creativity for student learning.Data Collection and AnalysisA total of 149 students completed a measure on beliefs about creativity (domain-general) and beliefs about teaching for creativity (domain-specific). Exploratory factor analysis was conducted to examine potential newly aligned items and factors with a change in wording.ResultsThe factor structure of the Fixed Creative Mindset items, Creative Self-Efficacy items and Desirability items was stable when rewording them to represent teacher perspectives. The Growth Creative Mindset items do not show the same stability, but two of the items seem to be related to a single factor, which is evidence that these items are functioning well. The newly worded Value items loaded on a separate factor, with only one cross loading. Educators rated themselves high in most areas, and low in the area of Fixed Creative Mindset. The results indicate that the Beliefs About Teaching for Creativity scales are reliable, with significant correlations among factors.RecommendationsWe propose research and policy recommendations to further examine the complex relationship between teachers’ beliefs about teaching for creativity and their pedagogical practices, especially in the area of growth and fixed creative mindset.