Therefore, the different international contexts presented in this book allow the
analysis, we hope, to provide a more complete view on where higher education
is currently at and where it is heading with respect to creative learning. By
Author: Linda S. Watts
This book provides higher education faculty and administrators a scholarly resource on the most salient aspects and emerging trends in creative learning in higher education today. International contributors explore ways to foster creativity in any student, regardless of academic discipline or demographic characteristics and demonstrate that creativity is a skill all students can and should learn. Chapters analyzes how different countries and cultures implement creative learning, exploring issues of instruction, assessment, and ultimately how these practices are transforming learning. This important book helps higher education professionals understand and cultivate creative learning across disciplines in any college and university setting.
All of the activities in this book focus on application of brain-based research and
providing an enhanced learning environment and will work in engaging learners
and enhancing the learning experience. Creative Learning: Games and ...
learn, negotiating about curriculum and involvement in generating possibilities
for and making decisions about school priorities and directions. But while there
may be commonalities about what creative learning looks like regarding students'
Author: Edward Sellman
Creative Learning to Meet Special Needs shows teachers how to use creativity in the curriculum to support the learning of pupils with special educational needs.
More recently, there has been an explosion of creativity research in education,
drawing on the insights of creativity theory and rich in implications for the
rethinking of assessment practice. In a study of progression in creative learning,
Author: Julian Sefton-Green
Until now there has been no single text bringing together the significant literature that explores the dimensions of creative learning, despite the work of artists in schools and the development of a cadre of creative teaching and learning specialists.
In education, there is a small but growing body of research that identifies the
potency of institutional and artistic collaborations (Burnard and Swann, 2010;
Triantafyllaki and Burnard, 2010). The vision and the hope are that the creative learning ...
Author: Elizabeth Haddon
This edited volume explores how selected researchers, students and academics name and frame creative teaching and learning as constructed through the rationalities, practices, relationships, events, objects and systems that are brought to educational sites and developed by learning communities. The concept of creative learning questions the starting-points and opens up the outcomes of curriculum, and this frames creative teaching not only as a process of learning but as an agent of change. Within the book, the various creativities that are valued by different stakeholders teaching and studying in the higher music sector are delineated, and processes and understandings of creative teaching are articulated, both generally in higher music education and specifically through their application within the design of individual modules. This focus makes the text relevant to scholars, researchers and practitioners across many fields of music, including those working in musicology, composition, performance, music education, and music psychology. The book contributes new perspectives on our understanding of the role of creative teaching and learning and processes in creative teaching across the domain of music learning in higher music education sectors.
This small workbook is a fun way for parenTs anal Their liTTle ones To be creaTive anal inTeracT. There are Various exercises wiTh The alphabeT,
numbers, anal colors. ln each case There are associaTeal sauares where
picTures can be ...
Author: Adam L. D'Amato-Neff
Category: Family & Relationships
A fun and exciting way for parents to learn and interact with their children. This edition covers letters, numbers, and colors. Adults have even used this book for themselves as a personal journal and extension of their book of mirrors.
The main point to note from this report is the assertion that policies on curriculum
and pedagogy are open to external influence and presumably we could add the
educational creative learning discourse. Nevertheless, the report also shows ...
Author: Bob Jeffrey
Creative Learning in the Primary School uses ethnographic research to consider the main features of creative teaching and learning within the context of contemporary policy reforms. In particular, the authors are interested in the clash between two oppositional discourses - creativity and performativity - and how they are resolved in creative teacher practice. The book complements previous work by these authors on creative teaching by giving more consideration to creative learning. The first section of the book explores the nature of creative teaching and learning by examining four key features: relevance, control, ownership and innovation. The authors devote a chapter to each of these aspects, outlining their properties and illustrating them with a wide range of examples, mainly from recent practice in primary schools. The second section presents some instructive examples of schools promoting creative learning, and how creative primary schools have responded to the policy reforms of recent years. The chapters focus specifically on: how pupils act as a powerful resource for creative learning for each other and for their teachers; how teachers have appropriated the reforms to enhance their creativity; and how one school has moved over a period of ten years from heavy constraint to high creativity. The blend of analysis, case-study material and implications for practice will make this book attractive to primary teachers, school managers, policy makers, teacher educators and researchers.
26–27) This description of creative learning is one that would not be unfamiliar to
many educators today. We have the child exhibiting instinctive curiosity and
natural talent, a desire for selfexpression and the capacity to learn not only the
Author: Pat Thomson
It is a common ambition in society and government to make young people more creative. These aspirations are motivated by two key concerns: to make experience at school more exciting, relevant, challenging and dynamic; and to ensure that young people are able and fit to leave education and contribute to the creative economy that will underpin growth in the twenty-first century. Transforming these common aspirations into informed practice is not easy. It can mean making many changes: turning classrooms into more exciting experiences; introducing more thoughtful challenges into the curriculum; making teachers into different kinds of instructors; finding more authentic assessment processes; putting young people’s voices at the heart of learning. There are programmes, projects and initiatives that have consistently attempted to offer such change and transformation. The UK programme Creative Partnerships is the largest of these, but there are significant initiatives in many other parts of the world today, including France, Norway, Canada and the United States. This book not only draws on this body of expertise but also consolidates it, making it the first methodological text exploring creativity. Creative teaching and learning is often used as a site for research and action research, and this volume is intended to act as a textbook for this range of courses and initiatives. The book will be a key text for research in creative teaching and learning and is specifically directed at ITE, CPD, Masters and doctoral students.
Experts across the fields of architecture, education and estates management are
producing a considerable number of publications, and many new ... To do this
Towards Creative Learning Spaces is organised around three key themes: Part 1
Author: Jos Boys
Looking at relationships between learning and the spaces in which it takes place, this book considers the distinctiveness of post-compulsory education, and what matters about the design of its spaces.
But creativity in schools can mean many things: turning classrooms into more
exciting experiences, curriculum into more ... of instructors, assessment into more
authentic processes and putting young people's voice at the heart of learning.
Author: Nick Owen
Developing a Creative Curriculum shows teachers how to introduce creativity to what is often seen as a prescriptive curriculum, and addresses the tensions between innovation and the requirement to follow the curriculum.
More than anything, creative learning surely has to do with ferreting skills,
information, and knowledge out of one's own experience by perceiving significant
connections that exist within a broadly defined area. That is, if the knowledge is
Author: Lyn Lesch
Publisher: Rowman & Littlefield
Creative Learning for the Information Age: How Classrooms Can Better Prepare Students, second edition examines how students in their formative years can learn in a more creative manner and can become successful in an age in which knowledge travels so rapidly and is transformed so quickly.
Symbolic consciousness is a way of attending/questioning/critically reasoning
that artists have perfected in their learning and living. We can learn from them
how to attend to the movement of life in the moment, without expecting immediate
Author: Moira T. Carley
Publisher: Trafford Publishing
Category: Creative thinking
The fact that computers can do so much for students -- even write their papers -- creates a new incentive to ask questions about the diminishing human element in the teaching-learning process. When thirty-two commerce students submitted identical papers taken from the internet, there was a flurry of excitement about plagiarism in the local press, but not much interest in the teaching strategy that could have allowed this to happen. The human exchange between teacher and student -- once thought essential to the teaching-learning process -- has disappeared from the very structure of educational systems beyond the primary level. Where is the human element to be found in education today? In his signature book, Insight: A Study of Human Understanding, the Canadian philosopher-theologian, Bernard Lonergan (1904-1984) claims that human learning flourishes best when students experience their own minds at work asking questions and finding answers for themselves. As a long time student of Lonergan's work, I have mined his thought on human understanding to uncover a model of teaching and learning that suggests a new educational ideal for our times. This book is written out of my own desire to make accessible to readers the freedom and capacity of their own minds to learn what is real or true or valuable. It is my own attempt to contribute the human element to the educational system of our time by engaging students in their own learning process. It has become the story of students yielding to my desire to engage them in their own learning and suggesting that I write it down!
Besides, I would let them to do some other exercise beside their homework. I also
let them to get involved with creative learning. For example, I used to let children
to write stories and illustrate them; I would ask them to act some English drama ...
(Muijs and Reynolds, 2005, p62) Learning, viewed in this way, is about the
individual creating meanings for themselves. Within the cognitive family, creative learning is more likely to figure towards the constructivist end of the spectrum,
Author: Jonathan Savage
Creativity is increasingly seen as central to good learning and teaching throughout the curriculum. This book examines the political and educational context behind such developments and looks at dilemmas faced by trainee teachers as they begin their teaching practice. Demonstrating what creativity is, how it evolves and how it can be nurtured in various teaching contexts, it enables trainees to develop creativity in their teaching role and in their pupils' learning. Throughout, the book links clearly to the new Professional Standards for QTS and presents exercises, subject-based case studies and teaching examples to engage and support all secondary trainees.
the purpose of this book is to provide guidelines and practical examples for
teachers and students in early semesters in design, architecture, art and fashion
faculties as well as creative training institutes. the exercises described in this
Author: Tobias GREMMLER
Publisher: City University of HK Press
The book provides guidelines and practical creative exercises which equip creativemajor students as well as creative practitioners with fundamental knowledge on creation methods. Combination of functionality, simplicity and aesthetics in modern design is considered a fundamental design principle in the Bauhaus School in Germany, and, inspired by the School, the creative handcrafting exercises and the concepts introduced in this book are primarily coherent with this principle. The book draws a direction between two and three dimensional material-based design and modern digital creation process. The first part of the book introduces various creative handcrafting exercises on proportion, geometry and modularity, among other fundamental design principles. The creative exercises will sensitize students on aesthetical and structural issues, and thus serve as an essential building block for application of the design principles to computer-based creative processes, which are introduced in the second part of the book.
Author: J. Howard WhitehousePublish On: 2014-12-04
THE PRACTICE OF POTTERY MONGST the arts and crafts we have given boys
the opportunity of learning, we have found pottery of much educational influence.
Any boy who wishes may use the pottery and receive instruction from the master
Author: J. Howard Whitehouse
Publisher: Cambridge University Press
This book, which was first published in 1928, provides a concise account of life at Bembridge school and the methods employed there.
Harvey, Brendon, Harvey, Josie. Part 1 The Individual 1 Creative Learning
Spaces Imagine an actor walking onto a Part 1 The Individual.
Author: Harvey, Brendon
Publisher: McGraw-Hill Education (UK)
This practical book explores creative ways of teaching and learning in the lifelong learning sector and provides a toolkit of creative teaching approaches with the potential to transform your teaching practice. Drawing on various techniques and diverse environments the book illustrates a variety of approaches, offering insights and conclusions drawn from a rich range of practice examples and highlighting the potential pitfalls of creative practices. The book tackles crucial issues such as: The characteristics of a creative tutor Boosting your creative confidence, and that of your learners Creative methods to excite and engage learners Constructing a creative session Developing resilience and self-care strategies Throughout the book there are activities, reflection points and extension tasks, as well as the frequent use of symbols and cross-referencing notes to help you see the links between sections. Creative Teaching Approaches in the Lifelong Learning Sector will appeal to trainee and experienced teachers working in the lifelong learning sector, including further and higher education, work-based learning, and adult and community settings. "So much more than a manual or menu of how to bring creativity into teaching, this book will be refreshing for experienced lecturers, trainers and teachers, and an inspirational as well as reassuring font of ideas for those new to the role. In addition to presenting practical ideas for individuals to use, Brendon Harvey and Josie Harvey's book is uniquely valuable in addressing institutional challenges that can face those introducing new creative ways of working, as well as providing counsel on how the lecturer/trainer/teacher can protect their own well-being when stepping into creative territory." Dr Clare Rigg, Head of Department of Business, Hotel, Catering & Tourism, Institute of Technology Tralee, County Kerry, Ireland "Brendon and Josie have drawn on their wealth of experience to co-author a practical teaching guide to meet the needs of 21st century learners in the Lifelong Learning Sector. It is an excellent guide for both those new to teaching and also those seeking to meet the challenges of becoming more creative and using new technologies and social media more effectively in their professional practise. For the new teacher, there is a welcoming section addressing some of the anxieties which may be present before and during the early stages of practise as well as great examples of what to include in a creative session without breaking the bank! The final section focuses on creativity within the organisational context and introduces us to the 'Trojan Mouse' and the benefits of action research. This is a recommended read for anyone looking to update their practice." Debbie Fletcher, Vice Principal of Leeds City College "Drawing on their own experiences, as shared with us in the stories of their respective journeys from the world of traditional teaching and training methods and environments to that of creative active engagement of and with learners, the Harveys provide valuable insights into and a practical guide for learning facilitators in a variety of contexts to take or enhance their own journeys into the use of Creative Approaches in the Lifelong Learning Sector. Complete with stories, cases, and examples supported by provocative thinking points and activities and exercises for learning facilitators, this is a must-have resource. Consistent with their message, this is a creatively written and presented practical guide that inspires outside-the-box thought and action eschewing any attempts to provide "recipes" but rather championing the need for diversity of methods and approaches based on learners, setting, context, and other variables." Tony G. LeTrent-Jones, Adjunct Professor, University of North Carolina, USA, and Elon University, USA
Abstract: Creative learning is discussed with respect to a specific physics topic. A teaching example, based on an apparatus that demonstrates the standard dynamo model of geomagnetism, is presented.
Abstract: Creative learning is discussed with respect to a specific physics topic. A teaching example, based on an apparatus that demonstrates the standard dynamo model of geomagnetism, is presented. It features many of the basic physics concepts within the syllabus of electromagnetism at high-school and university. To stimulate conceptual learning and to invite student explorations, the apparatus is designed to exhibit simplicity and transparency. Due to the connection to natural phenomena and to engineering applications it promotes a holistic view of physics. The apparatus is therefore useful for practising creative learning.
In the present study a newly developed instrument for university course
evaluation in term of technology, innovative teaching, creative learning, and
creative potential (TIC-c) is tested on a sample of participants of the courses of