Making and being made: wise humanising creativity in interdisciplinary early years arts education

Chappell, Kerry; Pender, Tamsin; Swinford, Elizabeth; Ford, Katherine

doi:10.1080/09669760.2016.1162704

Cited by 19 publications

(8 citation statements)

References 19 publications

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“…An aesthoecological approach supports ‘the development of a “whole person” living in relationship with others’ (Chappell et al . 2016, 255). Ecologies connect us all.…”

Section: Discussionmentioning

confidence: 99%

Aesthoecology and Its Implications for Art and Design Education: Examining the Foundations

Hall¹,

Turner²

2021

Int J Art Design Ed

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Aesthoecology can be described as an ‘onto‐epistemology’ which fuses a theory of being with a theory of knowledge and deals with the affective, connected and temporal aspects of education. Where the aesthetic aspect of aesthoecology – appearance and feelings/ sensation – concerns the affective domain, the ecological aspect – spaces, places and relationships – concerns connectedness. In our title, ‘foundations’ refers both to the foundations of aesthoecology and the foundations of art and design education. We highlight the implications of aesthoecology for the art and design education of young children, as elsewhere we consider its implications for higher education. Below, we explain aesthoecology in detail; identify some of aesthoecology’s implications for art and design education; and apply these to an examination of current English early years education policy. There is much room for improvement here, thus, in the spirit of Rancière, we invite aesthoecologically informed dissensus.

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“…An aesthoecological approach supports ‘the development of a “whole person” living in relationship with others’ (Chappell et al . 2016, 255). Ecologies connect us all.…”

Section: Discussionmentioning

confidence: 99%

Aesthoecology and Its Implications for Art and Design Education: Examining the Foundations

Hall¹,

Turner²

2021

Int J Art Design Ed

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“…Learning from these, and building on my own previous work with colleagues (e.g. Chappell et al, 2012;Chappell et al, 2016), there is a strong case for future research which positions new participants in the role of researcher -for example, with colleagues, I aim to research with young dance artists as partner researchers to seek insight into their perspectives and to bring these into conversation with the wider dance field and environment as co-actants. This in turn will shift how we all think about creativity -an idea itself which is in a constant process of becoming too.…”

Section: Discussionmentioning

confidence: 99%

From Wise Humanising Creativity to (Posthumanising) Creativity

Chappell

2018

Creativity Policy, Partnerships and Practice in Education

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This chapter demonstrates that the concepts of creativity in education put forward to date can only go so far in addressing the rapid, unpredictable changes inherent in the 21 st century and the accompanying policy and practice challenges we face. The chapter shifts away from conceptualisation such as 'wise humanising creativity' and proposes a different articulation of creativity which may allow us to think about and action creativity to meet these challenges. This (post-humanising) creativity overcomes problems of humanistic conceptualisations as it allows for a full range of 'players' within the creative process, it incorporates a different, emergent take on ethics and is willing to see the future too as emergent, rather than always 'to-bedesigned'. The chapter culminates by offering examples of (post-humanising) creativity in action, aiming to bring alive how it can address our policy and practice dilemmas.liberalism" (p.5) which emphasises "markets, competition and choice " (p.11, Hall and Gunter, 2016). In this chapter I would like to demonstrate that the concepts of creativity in education put forward to date can only go so far in terms of addressing the challenges we face. I am proposing a different articulation of creativity, one influenced by the posthuman turn, which may allow us to think about and action creativity to meet the challenges. I will argue that a posthuman take on creativity overcomes problems of previous humanistic conceptualisations because it allows for a full range of 'players' within the creative process, it incorporates a different, emergent take on ethics and is willing to see the future too as emergent, rather than always 'tobe-designed'.And so, in this chapter, I discuss (post-humanising) creativity. I take as my starting point Wise Humanising Creativity (WHC), an idea which I co-developed with the late

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“…More recently there has been recognition that when an artist is involved in an early years setting there are positive outcomes for children's learning (Arts Council, 2005). It is understood their involvement cultivates and sustains creative pedagogies in the setting and contributes to a positive relational environment for parents, practitioners and artists (Chappell et al, 2016). Therefore, the arts and working with artists are reflected in English early years curriculum frameworks.…”

Section: The Arts and The Early Years Traditionmentioning

confidence: 99%