Enquiring Minds: Creative Approaches

This blog will be used as a reflection of my reading and experiences of creative and scientific enquiry and approaches in education. I will be exploring some selected concepts and writing about my findings on them, with an addition of using links, photographs, videos and readings to help with my research.

The key concepts I have chosen to research in order are:

• Creativity in Today’s Curriculum
• Creative Partnerships
• Creative Partnerships: Art Across the City
• Art vs Science Debate
• Creative Opportunities in Outdoor Learning Environment
• Creative Play

Followed by a brief reflection of the blog.

Creativity in Today's Curriculum

What is creativity?

'Imaginative activity fashioned so as to produce outcomes that are both original and of value' The National Advisory Committee on Creative and Cultural Education Report (1999, p.29)

Gardner (1997) believes creativity is the ability to solve problems and to think and raise questions.

Moyles (2010) views creativity as important because it allows us to react to the changing world, encouraging risk taking, innovative and flexible thinking and to have an imaginative response.

With the use of wordle.net/ I created a small collage of a few words that can be related to the idea of creativity and what it is.

(wordle.net/)

When regarding creativity within education the initial reaction of the majority would be to think of subjects within the curriculum such as Art, Design, Dance, Drama and Music. This perception that creativity takes place amongst these subjects has developed over the years, although as the government began to realise that creativity is an important aspect of an effective curriculum, they also became aware it could be applied to many subjects. The NACCCE (1999, p. 28) states that ‘Creativity is not unique to the Arts. It is equally fundamental to advances in the sciences, in mathematics, technology, in politics, business and in all areas of everyday life.’

As Early Years education has evolved the concept of creativity has too, in the generation of today, creativity in the curriculum is not only viewed as something of the arts but as a device that allows children to become independent, to think for themselves, to gain new experiences and to learn from them, gaining a new knowledge and understanding.

A significant contributor to the introduction and influence of creativity in the curriculum, is that of Maria Montessori. Montessori focused specifically on the learning methods of the early years, although there was no set curriculum to her method of teaching, she created a classroom environment where children could freely explore new skills and experiences without any force of direction from teachers. This freedom allowed children to learn independently and creatively. She particularly noticed the movement of the hand as a tool for children to express themselves, and encouraged this by providing ways for the children to work indirectly. Montessori defined this system of teaching children to draw and write as ‘indirect’, she explains that when they are taught in this way children are more capable of expressing themselves. (Montessori, 1986)

Being able to think creatively can be seen as a key skill for successful learning across the National Curriculum as there is potential for it in every subject with it being not a single power but multi-dimensional.  With encouragement from teachers for children to think creatively and to embed this skill into their learning, it can help them to gain confidence and raise their self-esteem. Fisher & Williams (2004) build on the concept of bringing the teacher and pupil together, believing that the encouragement for both teachers and pupils to be creative can help lead in the right direction for the development of more creative people.

When considering creativity in the curriculum, a frequently used term in education to illustrate the level of creativity is that of the big ‘C’ versus the little ‘c’. Researching the creativity requirements for both the little ‘c’ and big ‘C’ led to findings that little ‘c’ creativity is associated to every day problem solving and considered an important aim in early education by Craft (2002). Whereas the big ‘C’ creativity is that of much more value as Feldman et al. (1994) describes it as the accomplishment of something remarkable and new, for example a recognised piece of art, a masterpiece or life changing discovery. How can creativity be so easily restricted to these two terms when there is no real way to measure what is creative, or even a precise definition of creativity itself?

Teachers have control over their own pedagogy therefore they are able to create opportunities for themselves to teach creatively. (Bob, Jeffery & Woods, 2008) Creativity in education is beneficial because it is where the ability to think of new ways to do things stems from, a process essential to problem solving which is key in all areas of the curriculum.

References:

Bob, J., Jeffery, B. and Woods, P. (2008) Creative Learning in the Primary School. Abingdon, Oxon: Routledge.

Craft, A.(2002) Creativity and Early Years Education A Lifewide Foundation. New York: Continuum International Publishing Group Ltd.

Feldman, D., Csikszentmihalyi, M. and Gardner, H. (1994) Changing the World: A Framework for the Studay of Creativity. Westport, Conn: Greenwood Press.

Fisher, R. and Williams, M. (2004) Unlocking Creativity: Teaching Across The Curriculum. David Fulton Publishers.

Gardner, H. (1997) Extraordinary Minds. New York: HarperCollins.

Montessori, M. and Costelloe, J. (1986) Discovery of the Child. Random House Publishing Group.

Moyles, J. (2010) The Excellence of Play, Berkshire, England: McGraw-Hill International (UK) Ltd.
National Avisory Committee on Creative and Cultural Education (1999) All Our Futures: Creativity, Culture and Education.London: DfEE [Online]. Available at: http://sirkenrobinson.com/pdf/allourfutures.pdf (Accessed: 9 December 2014).

Creative Partnerships

Creative Partnerships are relationships that schools build inside and outside of their school environment, with others such as artists, performers, designers, poets and also scientists and engineers. (Fisher & Williams, 2004) They are believed to enhance creativity and develop skills in individuals, especially young people, but also within teachers themselves.

Creative Partnerships is a concept that was focused mostly in England, where the initiative for it first began in 2002. The original design for creative partnerships was that they were to be set up in disadvantaged areas as a way to engage children in to new experiences through creative activities. The partnerships were running for 9 years before the government cut the funding for them in 2011 due to the emphasis for creativity in education being replaced by a more cultured aspect, although creative partnerships do still exist today and run throughout England and Wales. 

Here is a video which talks about the Creative Partnerships Programme that was launched in the UK. 

A current Creative Partnership of today is called ‘Trail of Giants’ which is based in Cornwall where artists and sculptors work together in school playgrounds, as well as LOCWS International who offer many creative programmes working with schools.

Hall & Thompson (2007, Volume 33, Issue 3) believe that, ‘Creativity is seen as being located outside mainstream school structures, in projects rather than the National Curriculum, and in artists rather than teachers’. Creative Partnerships support this as they place emphasis on professionals in areas of creativity to provide schools with a unique experience different to the normal classroom structures. The research provided by Doherty and Harland (2001) found that participants valued the time set aside for the planning of creative partnerships and it overall had a very positive benefit.

References:
Doherty, P. and Harland, J. (2001) Partnerships for Creativity: An Evaluation of Implementation. Slough: NFER.

Fisher, R. and Williams, M. (2004) Unlocking Creativity: Teaching Across The Curriculum. David Fulton Publishers.
Hall, C. and Thomson, P. (2007) British Educational Research Journal. Routledge.
https://www.youtube.com/watch?v=9YY35PDWgx4 Accessed: (9 December 2014)

Creative Partnerships: Art Across The City

 (http://www.locwsinternational.com/)

A Creative Partnership relevant to the area of Swansea is LOCWS International, who have developed a programme called ‘Art Across the City’ that has set up a series of public art pieces across the city of Swansea created by artists within the UK.

LOCWS International also runs educational workshops within schools under the Outreach and Education Programme and also LOCWS Schools which helps to educate young people about art and engage them in creative activities. I visited an exhibition that was held by LOCWS International showcasing the work of their Outreach and Education programme in Swansea’s Grand Theatre. Rebecca Rendell, LOCWS International's Arts & Outreach Officer states that the exhibition showcases the scales of the children's imagination and how well the arts can be used as a beneficial way of learning. (LOCWS International, 2014)

Here are some photographs I took myself whilst visiting the exhibition.

Arfyn Education Centre

Ysgol Gynradd Gymraeg Pontyberem

When speaking to one of the representatives of LOCWS I asked how the children benefit from such a programme and he commented that programmes like Outreach and Education allow children to have learning opportunities outside of the classroom, as well as inside, such as visiting museums and exhibitions. Children have a chance to get out of the school environment and open their eyes to new experiences, then to be encouraged to think and respond to what they have seen. The children learn to broaden their ideas using practical skills and also achieve a sense of pride and a boost in their self-esteem as they get to view their very own artwork in such exhibitions.

I found out that the programme does not entirely focus on just the element of painting and drawing to art, but they also use resources like cameras, film, animation and also performance films and shows.

You can really see the beneficial elements of creative partnerships and the wide variety of new opportunities and experiences they can offer children that are lucky enough to be able to get involved with such partnerships.

References:

LOCWS International http://www.locwsinternational.com/?p=9323&langswitch_lang=en (Accessed: 09 December 2014)

Art vs Science Debate

‘Imagination is more important than knowledge. For knowledge is limited while imagination embraces the whole world.’ (Albert Einstein, 1931)

The debate for whether art or science is the subject that matters more has been a continuous argument over the years, and yet still we are unable to come to an answer. Radford (2008, pg. 1) asks, ‘Why are we still having the old Art vs Science debate? There is only one culture and you need an open mind to absorb as much of it as you can.’

There are certain things that we relate to science, and certain things we relate to art. It is not likely for people to think of the two different subjects to be of any similarity, although there are creative aspects to be found in both subjects. Creativity is not primarily linked to the sciences, however Fisher and Williams (2004, p. 83) states that, ‘Progression in science depends on creative leaps and links to unexpected knowledge.’  Within classes of the sciences if teachers can include more problem solving activities which encourages children to think, they are more likely to develop a sense of creativity to science. Craft, Jeffery and Leibling (2001) explain that creative thinking cannot occur unless a well-structured knowledge is already present.

Art and Science show similarities in their approaches as they are both subjects that promote a sense of involvement for children and create situations where they become in charge of their own learning. It is important for children to build upon knowledge that they already hold, and to do so through an inquiring approach to learning, having the confidence to ask ‘why’ and ‘how’. With new experiences they can become independent with a new found confidence in themselves, they can develop the ability to question certain things to build upon their knowledge, which is an element of enquiry learning.

Enquiry learning focuses on the child as being at the centre of their learning, and mainly refers to the asking of questions in order to gain new information and an understanding. When looking at creative and scientific enquiry learning, problem solving skills can be seen as a key element in both, as children use their knowledge and thinking skills to work towards a solution to the problem. Children can gain some control over their learning, therefore it becomes more relevant to their needs. Creative enquiry encourages children to go into a creative state of mind in order to allow themselves to think of new possibilities and to think independently. They are encouraged to explore and to question certain things for themselves using their own existing knowledge, but having a sense of freedom in doing so, as there is no right or wrong answer. Martin (2007) suggests that creative enquiry can also benefit the teacher as well as the learner through the teaching processes and experiences and also comments on a change in the power structure in learning as more emphasis is put on the learner becoming actively involved in the learning process.

Scientific enquiry focuses a lot more on the ideas of identification, experimentation, evidence and analysis. The aim is to understand the world around them and doing so by investigation.

There is a specialized cycle of scientific inquiry which has a circuit of 5 different stages:

Orientation – The question asked.

Prediction – Explore the question and possible answers.

Preparation – The plan of an investigation.

Investigation – Carry out the investigation/experiment.

Evaluation – Look at the results, and come to a final answer.

Working with a group to collaborate together and come up with an example of where the cycle of scientific enquiry can come into practice, I suggested the cycle of how a caterpillar becomes a butterfly. Below is an image of our cycle showing what takes place at each different stage.

The Cycle of Scientific Enquiry

Both creative and scientific enquiry have a beneficial effect on children as they become actively involved in their learning, having a positive experience and outcome to the learning process.

References:

Craft, A., Jeffery, B. and Leibling, M., 2001. Creativity in Education, Continuum International Publishing Group Ltd.

Einstein, A. (1931) Cosmic Religion and Other Opinions and Aphorisms. New York: Covici Friede Publishers.

Fisher, R. and Williams, M. (2004) Unlocking Creativity: Teaching Across The Curriculum. David Fulton Publishers.
Martin, P. (2007) Creative Inquiry: A Crucial Addition to Ways of Learning in Higher Education (0166). Creativity Centre, University of Brighton.
Radford, T. (2008) ‘Space flight can be as luminous as any model’ The Guardian, 11 April, p.1 [Online]. Available at: http://www.theguardian.com/education/2008/apr/11/highereducation.comment (Accessed: 9 December 2014).

Creative Opportunities in Outdoor Learning Environment

‘The most neglected and misunderstood dimension of the planned curriculum is the creation of an environment or setting in which education is to take place’ (Kelly and Blenkin 1988, p.35)

Learning in outdoor environments allows many creative opportunities for children to gain a sense of freedom that allows them to discover and explore new things, supported by Baldock (2001) who says that outdoor space provides children with greater opportunities for independence. By having outdoor learning experiences and being physically active and engaged, children can have a much more positive attitude towards learning as it is an enjoyable learning strategy. With the positive attitudes comes a new found confidence when gaining new knowledge and thinking for themselves. Discovery is a key element to creativity, and outdoor learning environments can certainly provide a basis for that and create opportunities for children to learn about their surroundings and the natural world.

Outdoor learning environments can be used for children to interact with each other in creative activities such as role play, using and experimenting with outdoor materials to build and create new play resources. Many children often feel freer and at ease whilst learning outdoors which can result in an increase in their overall interactions with others, and allow children to become much more confident in voicing their own opinions and ideas.

Bilton (1988) suggests that children need space at the early stages of their learning as movement and the ability to explore and actively find out things is crucial to their development.

There are many useful ways that outdoor learning can promote creativity, with visual representation being central to early years learners, it is important that they have accessibility to the right resources to create their individual way of visually expressing their own learning. These resources can include such things as paints, chalks, pastels and natural resources like sand and wood to create images, build dens and also develop games to play with one other.

These experiences are not so easily created within an indoor classroom or learning environment, however there are certain risks to be taken into account when children are in an outdoor environment. Certain elements of the outdoors such as the weather, having safe access to outdoor areas, health and the correct supervised provision need to be looked into carefully. (Garrick, 2004) Although Moss and Petrie (2002) argue that if children are not experiencing a sense of risk or danger they are missing out on an important experience of life.

A great example of an outdoor learning environment is that of a Forest School. The main influence in this way of working with children came from Denmark, where children could explore at their own pace the environment around them. In the 1990’S outdoor settings were beginning to be used as a form of learning, then moving on to woodland areas, which soon became known as Forest Schools. A definition of a Forest School can be provided by Wellings (2012), the Forest School National Governing Body Development Officer, who states that Forest Schools are an inspirational process offering learners opportunities to achieve and develop their self-esteem through first hand experiences in a natural  or woodland environment.

Forest Schools can help to develop a wide variety of skills over time, certainly in aspects of creativity as they are partly engaged in learning through the method of play, and also the exploration of their multiple senses. The basis for Forest Schools is very child centred as they have full control of their learning in the outdoor environment and decision of what they do, which helps to promote enquiry as they begin to ask questions about new experiences and findings they are not so familiar with. Knight (2009, p. 32) also recognises how Forest Schools can help with the development of keys skills, ‘Many Forest School activities are self-initiated they are also self-regulated, and allow children to develop their skills and habits.’

References:

Baldock, P. (2001) Regulating Early Years Services. David Fulton Publish.

Bilton, H. (1998) Outdoor Play in the Early Years: Management and Innovation. London: David Fulton Publishers Ltd.

Garrick, R. (2004) Playing Outdoors in the Early Years (Classmates). Continuum International Publishing Group Ltd.

Kelly, V. and Blenkin, G.( 1988) Early childhood education: a developmental curriculum. London: SAGE Publications Inc.
Knight, S. (2009) Forest Schools and Outdoor Learning in the Early Years. Sage Publications Ltd.
Moss, P. and Petrie, P. (1998) From Children’s Services to Children’s Spaces. London: Routledge.
Wellings, E. (2012) Forest School National Governing Body Business Plan 2012. Cumbria: Institute for Outdoor Learning.

Creative Play

(http://cpmcounselling.com/blog/)

The emphasis and importance of play within the curriculum has recognizably increased over the years which has been specifically seen in the Early Years Foundation Phase. The EYFS notifies enabling environments as one of its key principles, to create an environment that encourages creativity and the experience of new materials and skills. (Moyles, 2010)

There are many numerous types of play to be used in a learning environment that have been identified by different theorists, although my research has shown the most frequent to be fantasy, physical, exploratory, creative, manipulative and games with rules. Although there are definitions to each type of play they can often interlink with one other and children can experience multiple plays occurring at once.

Bennett (1996) and Moyles (2009) have both commented on how powerful the process of learning through play is, and the idea that learning will spontaneously occur as the child takes control over their own learning, and bases it upon their own needs. Piaget’s theory on cognitive development also promoted the child as an explorer or a developing scientist to the extent of the child having the ability to think and understand things by discovering on their own, which helps to promote inquiry amongst children.

Creative play is significant in a child’s development of independence, as it focuses on encouraging children to explore the environment they are in and the rest of the world. It also allows opportunities for children to communicate and express their feelings through creative play activities such as drawing, painting, and sometimes role play.

Creative play offers opportunities for children to discover weaknesses and strengths in areas of learning very early on in their education. Children can become aware of the learning styles that are most beneficial for them, taking into consideration the VAK learning styles, visual, auditory and kinaesthetic. Children can build upon areas that they less confident in as creative learning can combine all three learning styles and give them that opportunity.

Broadhead et al. (2010) agrees that children learn in many different ways but argues that research has not proved that by learning through play you can gain unique developmental qualities, however Isaac (1993) considers play is a child’s life and a way in which one comes to understand the world.

References:

Bennett, N. et al. (1996) Teaching through Play: Teachers’ thinking and classroom practice. McGraw-Hill Companies, The.

Broadhead, P., Howards, J. and Wood, E.A. (2010) Play and Learning in the Early Years: From Research to Practice. United Kingdom: SAGE Publications Ltd.

Isaacs, S. (1933) Social Developmentin Young Children. London: Routledge.

Moyles, J. (2009) Play: the powerful means of learning, in S. Smidt (ed.) The Early Years: A Reader. London: Routledge.

Moyles, J. (2010) The Excellence of Play. 3^rd edn. Berkshire, England: McGraw-Hill International (UK) Ltd.

Reflection

With regards to the best type of education a teacher can offer, from my research on the enquiring mind and different approaches, I strongly believe that a creative approach to learning across the curriculum can prove to be highly beneficial in all areas. Creativity is at the centre of inquiry. If children are provided with the opportunity for new experiences and to build on self-esteem through these experiences, they can gain the confidence to take control of their learning and develop the independence and confidence to advance their own knowledge, taking risks and questioning their learning. If education was simply focused on the passing of tests or exams, would children be physically and mentally prepared for when they are out in the world?  Scientific enquiry provides a good basis for the early years to understand the process of having a question and going through the stages to get an end result but where are the first hand experiences? Through a creative approach children can benefit from experiences that can help them to understand what way of learning is best for them to succeed, not only in learning but in life.