Creativity in the Classroom

Description

This volume contests the current higher educational paradigm of using objectives and outcomes as ways to measure learning. Instead, the contributors propose approaches to learning that draw upon the creative arts and humanities, including cinema, literature, dance, drama and visual art.  

Introduction: The Current Educational Climate: Why the Creative Arts and Humanities are so Important to Creativity and Learning in the Classroom – Paul McIntosh

PART I: Encouraging Creativity in the Classroom 

Chapter 1: Using the Creative Arts for Collaboration – Babs Anderson and Jo Albin-Clark

Chapter 2: Introducing Arts-based Inquiry into Medical Education: ‘Exploring the Creative Arts in Health and Illness’ – Louise Younie

PART II: Using Performance 

Chapter 3: Using Cinema to Enhance the Relevance of Economics to Students’ Lives – Gherardo Girardi

Chapter 4: Fascinatin’ Rhythm: Tapping into Themes of Leadership and Management by Making Music – Dave Griffiths

Chapter 5: A Dramatic Approach to Teaching Applied Ethics – Craig Duckworth

PART III: Using Poetry 

Chapter 6: Using Poetry to Create Conditions for Dialogue in a Postgraduate Course on Managing Diversity – Christina Schwabenland

Chapter 7: Teaching and Using Poetry in Healthcare – Clare Hopkinson

Chapter 8: Gaining a Wider Perspective on Life in Medical Education – Mark Rickenbach

PART IV: Using Imagery 

Chapter 9: Beyond Words: Surfacing Self in End-of-life Care Using Image-making – Sue Spencer

Chapter 10: Fashion Students Engaging in Iconic Designs in a Business World – Ruth Marciniak, Debbie Holley and Caroline Dobson-Davies

Chapter 11: Storytelling and Cycles of Development – Karen Stuart

Chapter 12: Developing Refl ective Learning Journals – Audrey Beaumont

Chapter 13: The Overlooked: Landscapes, Artistry and Teaching – Paul Key

Chapter 14: Mirror Mirror: Experiential Workshops Exploring ‘Self’ in Social Work Education and Practice – Debbie Amas, Judy Hicks and Roxanna Anghel

Chapter 15: The Labyrinth: A Journey of Discovery – Jan Sellers

PART V: Learning Technologies and Assessment 

Chapter 16: Alternatives to the Essay: Creative Ways of Presenting Work for Assessment – Emma Bond and Jessica Clark

Chapter 17: Creativity-mediated Training, Social Networks and Practitioner Enquiry in Higher Education – Jouaquin Paredes, Agustin De La Herran and Daniel Velazquez

Conclusion: Arts-based Inquiry as Learning in Higher Education: Purposes, Processes and Responses – Digby Warren

Sujets

• Arts visuels
• Arts visuels
• Éducation
• ART
• General
• Education
• General officer

Informations

• Publié par: Intellect Books Ltd
• Date de parution: 28 janvier 2013
• Nombre de lectures: 4
• EAN13: 9781841507880
• Langue: English
• Poids de l'ouvrage: 1 Mo

Extrait

First published in the UK in 2013 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2013 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
Copyright © 2013 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Cover designer: Edwin Fox
Copy-editor: MPS Technologies
Production manager: Bethan Ball
Typesetting: Planman Technologies
ISBN 978-1-84150-516-9
eISBN 978-1-84150-788-0
Printed and bound by Bell & Bain, UK
Contents
Apologies for absence
Acknowledgements
Introduction: The Current Educational Climate: Why the Creative Arts and Humanities are so Important to Creativity and Learning in the Classroom
Paul McIntosh
PART I: Encouraging Creativity in the Classroom
Chapter 1: Using the Creative Arts for Collaboration
Babs Anderson and Jo Albin-Clark
Chapter 2: Introducing Arts-based Inquiry into Medical Education: ‘Exploring the Creative Arts in Health and Illness’
Louise Younie
PART II: Using Performance
Chapter 3: Using Cinema to Enhance the Relevance of Economics to Students' Lives
Gherardo Girardi
Chapter 4: Fascinatin' Rhythm: Tapping into Themes of Leadership and Management by Making Music
Dave Griffi ths
Chapter 5: A Dramatic Approach to Teaching Applied Ethics
Craig Duckworth
PART III: Using Poetry
Chapter 6: Using Poetry to Create Conditions for Dialogue in a Postgraduate Course on Managing Diversity
Christina Schwabenland
Chapter 7: Teaching and Using Poetry in Healthcare
Clare Hopkinson
Chapter 8: Gaining a Wider Perspective on Life in Medical Education
Mark Rickenbach
PART IV: Using Imagery
Chapter 9: Beyond Words: Surfacing Self in End-of-life Care Using Image-making
Sue Spencer
Chapter 10: Fashion Students Engaging in Iconic Designs in a Business World
Ruth Marciniak, Debbie Holley and Caroline Dobson-Davies
Chapter 11: Storytelling and Cycles of Development
Karen Stuart
Chapter 12: Developing Refl ective Learning Journals
Audrey Beaumont
Chapter 13: The Overlooked: Landscapes, Artistry and Teaching
Paul Key
Chapter 14: Mirror Mirror: Experiential Workshops Exploring 'Self' in Social Work Education and Practice
Debbie Amas, Judy Hicks and Roxanna Anghel
Chapter 15: The Labyrinth: A Journey of Discovery
Jan Sellers
PART V: Learning Technologies and Assessment
Chapter 16: Alternatives to the Essay: Creative Ways of Presenting Work for Assessment
Emma Bond and Jessica Clark
Chapter 17: Creativity-mediated Training, Social Networks and Practitioner Enquiry in Higher Education
Jouaquin Paredes, Agustin De La Herran and Daniel Velazquez
Conclusion: Arts-based Inquiry as Learning in Higher Education: Purposes, Processes and Responses
Digby Warren
Index
Apologies for absence
It is with sadness that we note the absence of four original contributors to this text. Gina Haynes, Nicki Dabner and Annette Searle of the University of Canterbury, New Zealand experienced the devastating impact of the earthquake that hit Christchurch in February 2011. Though, thankfully, their families and they survived, they lost many local resources and life’s work in the wreckage of their buildings. Nicki and Gina’s work was set to discuss the making and use of masks in initial teacher training, while Annette would have explored the use of dance in the classroom. We are also short of a chapter from Khaled Albaker who resides in Bahrain and teaches at the Bahrain Teachers College. Having met Khaled in Cambridge in 2010 prior to the Arab Spring in 2011, I was looking forward to his chapter, but sadly other priorities in his home country have taken precedence. He was planning to discuss learning about assessment through role play and drawing. I hope that he remains safe and well.
This mixture of natural disaster and political upheaval has robbed us of the chance for a truly international text and further innovative ideas, but at a personal level we wish them good fortune and full and happy futures.
Paul McIntosh
Acknowledgements
This project would not have become a reality without the goodwill and financial support of the London Metropolitan University. Not only have a number of academic staff and ex-staff participated fully in the contribution of chapters, but the university also pump-primed the start-up costs of the book. For both reasons we are entirely grateful. The Collaborative Action Research Network was also a great source of recruitment, and it is positive to uncover such a wealth of practitioners engaged in such work on an international scale, usually in isolation of other like-minded academics. We hope this brings them together and strengthens the position of such creative practice.
Paul McIntosh
Digby Warren
Introduction
The Current Educational Climate: Why the Creative Arts and Humanities are so Important to Creativity and Learning in the Classroom
Paul McIntosh
(Barts and The London School of Medicine and Dentistry, Queen Mary University London)
In recent years Higher Education has become as embedded in the consumerist economy as much as any other industry in the public or private sector. In the United Kingdom during 2011, policies were put in place in England to restructure funding to Higher Education Institutions (HEIs), reducing the core funding from the Higher Education Funding Council for England (HEFCE) and altering the funding system by leaving HEIs themselves to levy tuition fees up to £9000 per annum for three-year undergraduate studies in order to make up the difference. This is the situation as of September 2012, the date of this draft, though this is a rapidly changing arena. These fees will be met in the first instance by the taxpayer and then repaid by the student on graduation from studies. Core Funding for STEM provision (Science, Technology, Engineering and Mathematics) remains in place as these subjects are described by HEFCE as strategic and vulnerable (HEFCE 2010). Though the current government in the United Kingdom has been open about why they feel this is a legitimate change in policy and funding allocation for scientific and technical innovation to support the scientific and manufacturing economy, the employers of graduates from these fields of study, while needing technically proficient workers, are also looking for people who are creative and innovative. This does not necessarily mean creative in an ‘artistic’ sense, but with abilities to effect change by approaching problems from a different perspective. The STEM funding issue is related to both compulsory and further education in that there are concerns that there is a lack of interest and motivation shown by young people to engage with these subjects, and that consequently there is a projected deficit in the skill base needed for any future economic growth. For instance, in 1999, the report ‘All Our Futures: Creativity, Culture, and Education’ (NACCE 1999) cited factors such as rapid cultural and technological change, which exert specific pressures on children and young people in the development of social skills, powers of communication and teamwork, and further, a seeming lack of vitality in science education. It also suggested that the curriculum was inhibiting young people’s creative capabilities and that those who taught them, and there was a perceived marginalization of the arts and humanities in education. The report set out a framework for how the application of creativity in learning could inform knowledge and cultural exchange and development within the boundaries of the National Curriculum and at a wider national strategy. Whether this has been implemented fully or not, the vicarious effect of the current focus on the funding of STEM subjects due to their being ‘strategic and vulnerable’ has left the arts and humanities subjects in a tenuous position, despite their considerable contribution to the United Kingdom, both culturally and economically. More recently, in response to some of these issues, the Henley Review (2012) made recommendations, among others more specific to cultural life, to increase the exposure of trainee teachers to cultural education as a cross-departmental venture inclusive of the Department for Education and the Department for Culture Media and Sport, and to preserve funding for professional arts training. As yet, the potential for learning through the arts and culture for professional fields such as medicine or education has not been fully realized and remains in the margins; and yet when delivered by artists and performers and contextualized by practitioners from the professional discipline, arts-based methods can be powerful learning experiences.
The second area that has increasingly affected Higher Education in recent years is a move towards a more technical-rational approach to teaching, learning and assessment. Though there is a sound basis to some of this approach, that is, in relation to educational alignment so that teaching and assessment occurs within a framework of learning aims and objectives, it can also lead to a culture of safety, and, as a result, opportunities for innovative teaching and learning are rejected in favour of providing evidence of standardized processes. The ‘what works’ agenda and its techno-rational foundations have led to crude measures of performance and outcome upon which ‘quality’ of education and learning is judged within specific criteria found in documentation rather than the learner’s experience. Learners themselves are measured through this same process. Driven by national policy that accentuates pursuit of economic capital, students’ quests to satisfy the required learning outcomes of subjects studied for successful e