Teaching for creativity: towards sustainable and replicable pedagogical practice

McWilliam, Erica; Dawson, Shane

doi:10.1007/s10734-008-9115-7

Cited by 128 publications

(63 citation statements)

References 15 publications

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“…This is in line with previous studies [15,19,44] that discussed the advantages of using student projects in creativity development: to solve real-life problems brings changes to students, because many problems start off by being under-or ill-defined setting work that is both critical and difficult. This means some projects involve explorations by means of repeated simulations and a hands-on personal experience that necessarily instills the development of initiative and enhances the power of creative thought.…”

Section: Drivers and Barriers To Creative Climate In Pogssupporting

confidence: 91%

A Study on Creative Climate in Project-Organized Groups (POGs) in China and Implications for Sustainable Pedagogy

Zhou

2018

Sustainability

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This paper aims to explore a research question: what are the drivers and barriers to fostering a creative climate in POGs in China and how to improve POGs towards a better sustainable pedagogy? Theoretically, this paper bridges studies on creativity, collaborative learning, creative climate, and sustainable pedagogy in one framework. Empirically, mixed methods of quantitative questionnaire survey (n = 126) and qualitative interviews (n = 15) were used to collect data. The findings demonstrate that the drivers to a creative climate include the challenge of the task, openness, trust between peers, experts' help, and group diversity, etc. However, some group problems, such as poor management, lacking of supervision supports, and students' fear of authority, etc., are barriers to a creative climate. This implies the needs of restructuring the relationships between teachers and students in POGs in order to improve it as a better sustainable pedagogy.

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Section: Drivers and Barriers To Creative Climate In Pogssupporting

confidence: 91%

A Study on Creative Climate in Project-Organized Groups (POGs) in China and Implications for Sustainable Pedagogy

Zhou

2018

Sustainability

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“…In recent years, researchers and policymakers alike have argued that it is essential for institutions of higher education to higher education to foster creativity in their students (Craft, 2006;Csikszentmihalyi, 2006;EUA, 2007, McWilliam, 2008McWilliam & Dawson, 2008, Robinson, 2001). According to several writers, creativity is an essential tool required to face and to flourish within the ever-changing contemporary world, and, as such, educators have a responsibility to develop students' creative capacities.…”

Section: Introductionmentioning

confidence: 99%

Creative Differences: Teaching Creativity Across the Disciplines

Marquis

Vajoczki

2012

ij-sotl

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Several authors have suggested that educational institutions have a responsibility to foster creativity in their students. Yet, research has shown that creativity is a variable concept that can mean different things in different fields and contexts (Kaufman & Baer, 2005). As a result, generic pedagogical techniques for developing creativity may not be equally appropriate across domains.In light of these factors, this pilot study explored (via an electronic survey of instructors) the ways in which creativity is defined and taught across McMaster University's six faculties. Results suggested areas of both commonality and difference across disciplines in terms of academics' understandings of creativity and their stated strategies for developing creativity within their students. In this respect, our data provide preliminary support for the notion that creativity teaching may be at least partially discipline-specific, and suggest that further work in this area is warranted. KeywordsCreativity, Disciplinary perspectives, Pedagogical approaches, Discipline-specificity (Kaufman & Baer, 2005). As a result, generic pedagogical techniques for developing creativity may not be equally appropriate across domains.In light of these factors, this pilot study explored (via an electronic survey of instructors) the ways in which creativity is defined and taught across McMaster University's six faculties. Results suggested areas of both commonality and difference across disciplines in terms of academics' understandings of creativity and their stated strategies for developing creativity within their students. In this respect, our data provide preliminary support for the notion that creativity teaching may be at least partially discipline-specific, and suggest that further work in this area is warranted.

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“…Students' creativity can develop with educational support (Beghetto 2010;McWilliam and Dawson 2008). Whitelock et al (2008) have identified that doctoral students' creativity is encouraged by a 'collaborative' supervision relationship, based on trust, mutual understanding and shared goals rather than on didactic directions.…”

Section: Conditions For Doctoral Students' Creativitymentioning

confidence: 99%

The stifling silence around scholarly creativity in doctoral education: experiences of students and supervisors in four disciplines

Brodin

2017

High Educ

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The demand for developing creativity among doctoral students is found in a number of educational policies all over the world. Yet, earlier studies on Swedish doctoral education suggest that doctoral students' creativity is not always encouraged. Based on a critical hermeneutic approach and cases in four different disciplines, the aim of this study was therefore (1) to explore different shapes of doctoral students' creativity in Swedish doctoral education and (2) to reveal and find possible explanations to some of the conditions stifling doctoral students' scholarly creativity. Interview data was collected from 28 participants, constituting 14 dyads of students and supervisors in four disciplines. Through hermeneutic interpretative analysis of the disciplinary cases, the results show that creativity kept on playing in musical performance, was an unexpected guest in pedagogical work, was captured in frames in philosophy and put on hold in psychiatry. Across the cases, students' scholarly creativity was essentially encapsulated in silence. This silence seemed to emanate from controlling intellectual, political and economic agendas that enabled stifling conditions of the students' scholarly creativity, where it was as follows: restricted by scholarly traditions, embodying supervisors' power and unrequested in practice. Based on these findings, the article ends in suggestions for preventing such conditions, holding that it is important to establish a discourse on scholarly creativity in doctoral education, to view doctoral students as capable creative agents and to actually ask for their scholarly creativity.

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Teaching for creativity: towards sustainable and replicable pedagogical practice

Cited by 128 publications

References 15 publications

A Study on Creative Climate in Project-Organized Groups (POGs) in China and Implications for Sustainable Pedagogy

A Study on Creative Climate in Project-Organized Groups (POGs) in China and Implications for Sustainable Pedagogy

Creative Differences: Teaching Creativity Across the Disciplines

The stifling silence around scholarly creativity in doctoral education: experiences of students and supervisors in four disciplines

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