Drama education: A touch of the creative mind and communicative-expressive ability of elementary school children in Hong Kong

Hui, Anna N. N.; Lau, Sing

doi:10.1016/j.tsc.2005.06.001

Cited by 57 publications

(31 citation statements)

References 5 publications

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“…For instance, some researchers (e.g., Hui & Lau, 2006;Paletz & Peng, 2009) provided rating criteria for their judges; others asked novice people as judges (e.g., Kaufman, Baer, & Cole, 2009;Kaufman, Gentile, & Baer, 2005). Barbot, Orriols, andPouyade (2008-2010) computerized CAT procedure and programmed Consensual Assessment TechniqueInterface (CAT-i) in which products were presented in a random order and a 7-point rating scale was provided for all the judges (Botella, Zenasni, & Lubart, 2011 Fourth, several new inventories (n ¼ 10) have been created during the past 10 years and their reliability and validity were also supported in the literature.…”

Section: Review Of Research Methodologies and Methodsmentioning

confidence: 99%

An Empirical Review of Research Methodologies and Methods in Creativity Studies (2003–2012)

Long

2014

Creativity Research Journal

101

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Based on the data collected from 5 prestigious creativity journals, research methodologies and methods of 612 empirical studies on creativity, published between 2003 and 2012, were reviewed and compared to those in gifted education. Major findings included: (a) Creativity research was predominantly quantitative and psychometrics and experiment were the most frequently utilized quantitative methodologies, (b) judges were employed frequently to assess creativity and correlational techniques were utilized most widely to analyze quantitative data, (c) case study was the most frequently used qualitative methodology, (d) most mixed-methods studies were rooted in quantitative methodology, and (e) both creativity and gifted education research were dominated by quantitative methodologies, but there were less qualitative studies and slightly more mixed-methods studies on creativity. Implications of these findings were further discussed and future research directions were suggested.

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Section: Review Of Research Methodologies and Methodsmentioning

confidence: 99%

An Empirical Review of Research Methodologies and Methods in Creativity Studies (2003–2012)

Long

2014

Creativity Research Journal

101

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“…They focus on exercise and practice and primarily use short exercises, facilitated processes and workshops to provide the trainees with experiences (Burstiner, 1973;Glover, 1980;Kangas, 2010;Khatena, 1971;Miller, Russ, Gibson, & Hall 1970;Nelson & Lalemi, 1991;Parker, 1998;Zachopoulou, Trevlas, & Konstadinidou, 2006). Examples of embodied creativity training programs include drama education (Hui & Lau, 2006;Lin, 2010), creative drama (Karakelle, 2009) and role play training (Karwowski & Soszynski, 2008). The other approach is reflective creativity training, which focuses on developing understanding of theories, models, tools, techniques or processes.…”

Section: Introductionmentioning

confidence: 99%

Embodied creativity training: Effects on creative self-efficacy and creative production

Byrge

Tang

2015

Thinking Skills and Creativity

103

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“…(cf. Erbay et al, 2010;Toivanen, 2010, 36-41;Hui, 2006). The turnover from one communication model to other appeared to be challenging in the preliminary study.…”

Section: Communication In the Groupmentioning

confidence: 99%

Group Factors As A Part Of Drama Education

Toivanen¹,

Pyykkö

2012

EJSBS

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This article aims to answer the following questions: 1) How do structural factors of a group appear in drama teaching? 2) How do structural factors of a group influence the progression and functionality of a drama lesson? An analytic model of the structural factors that influence drama lessons was developed in a preliminary study by Toivanen, Pyykkö & Ruismäki (Procedia -Social and Behavioral Sciences 29, 2011). The purpose of the developed analyzing model was to help prospective teachers to increase their theoretical knowledge of the structural factors that influence drama teaching. The chosen structural factors as the target of the theoretical study are; norms, roles, statuses and communication in the group. In this study the research material contained seven videotaped drama lessons held by class teacher trainees at the Helsinki University Teacher Training School in Finland. The pupils were from the Teacher Training School of Helsinki University's primary school. The set of data used in this study was collected in spring 2011 and 2012. The video material included lessons from the 1 st and 2 nd grades. Researchers coded the video recordings that formed the basis of the analysis. This study confirms that consideration of the pupil's group roles has an impact on the success of the lesson. The success of the lesson means pupils commitment and active participation in the drama work. The considering of group roles had a connection to all the other studied structural factors of the group. Traınee teachers' remedial actions during drama lessons were also aligned with the consideration of group roles. The teaching-studying-learning process in the context of the classroom drama is challenging as compared to many other ways of teaching. The nature of classroom drama requires a physical mentality that should be involved in fictional roles, time and space as well as in the social group http: //dx.doi.org/10.15405/FutureAcademy/ejsbs(2301//dx.doi.org/10.15405/FutureAcademy/ejsbs( -2218//dx.doi.org/10.15405/FutureAcademy/ejsbs( ).2012 Toivanen & Pyykkö/ EJSBS 151 roles of the class. Teachers using drama need to be able to facilitate the working dynamics of both kinds of groups in empty space. Becoming a teacher using drama in education requires knowledge of group dynamics (pedagogical skills) and drama (substance management) in order to anticipate problems in drama teaching situations.

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Drama education: A touch of the creative mind and communicative-expressive ability of elementary school children in Hong Kong

Cited by 57 publications

References 5 publications

An Empirical Review of Research Methodologies and Methods in Creativity Studies (2003–2012)

An Empirical Review of Research Methodologies and Methods in Creativity Studies (2003–2012)

Embodied creativity training: Effects on creative self-efficacy and creative production

Group Factors As A Part Of Drama Education

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