The challenge of developing creativity in a Chinese context: the effectiveness of adapting Western creative pedagogy to inform creative practice

Cheung, Rebecca

doi:10.1080/14681366.2015.1087419

Cited by 14 publications

(18 citation statements)

References 27 publications

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“…An increasing number of ECE scholars argue that instead of transplanting Western ECE theories, pedagogies, and values into Asian curriculum frameworks, adapting them to the characteristics of local contexts is a much more sensible, viable, and productive strategy (e.g. Chen et al., 2017; Cheung, 2016; Li et al., 2011; Yang and Li, 2018, 2019). Similarly, we claim that a necessary step to ease the tensions experienced by the key kindergarten stakeholders in Singapore and Hong Kong will be to revise the NEL and the Guide in culturally sensitive and socially situated ways.…”

Section: Theoretical Frameworkmentioning

confidence: 99%

“…With Cheung (2016), we believe that educational discourses on creativity should be culture-specific. We argue that the way in which Singapore and Hong Kong kindergartens operate, with 3- to 4-hour programs with packed schedules, composed of 20- to 30-minute periods, make it very difficult—if not impossible—for creativity and self-expression to emerge.…”

Section: Advocating For ‘Glocalized' Curriculum Frameworkmentioning

confidence: 99%

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“That’s just impossible in my kindergarten.” Advocating for ‘glocal' early childhood curriculum frameworks

Bautista

Bull

et al. 2020

Policy Futures in Education

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As a result of globalization, kindergarten curriculum frameworks in Asia have been strongly influenced by Western theories, pedagogies, and values. In this article, we argue that Singapore’s Nurturing Early Learners and Hong Kong’s Kindergarten Education Curriculum Guide present key notions that are inconsistent with cultural values that are deeply rooted in these two societies. To overcome the challenges these inconsistencies trigger for teachers, principals, teacher educators, and parents, we advocate for the design of 'glocal' (global/local, explicitly hybrid) curriculum frameworks, based on principles that are culturally appropriate and socially situated. Drawing on recent research studies, we analyze current curriculum/practice gaps in relation to the notions of Child-Centeredness, Quality Interactions, Creativity and Self-Expression, and Play. In seeking the global/local balance that is needed in Singapore and Hong Kong, four alternative glocal notions are proposed: Child-Appropriateness, Pedagogical Quality, Arts Engagement, and Child-Led Activities. We conclude there is an urgent need for generating a solid corpus of local research in both jurisdictions, which should guide subsequent curriculum reforms and teacher preparation models. Our final aim is to contribute to early childhood education policy discussions in Asia, against the background of internationalization.

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Section: Theoretical Frameworkmentioning

confidence: 99%

Section: Advocating For ‘Glocalized' Curriculum Frameworkmentioning

confidence: 99%

“That’s just impossible in my kindergarten.” Advocating for ‘glocal' early childhood curriculum frameworks

Bautista

Bull

et al. 2020

Policy Futures in Education

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“…In Chinese societies, pedagogical practices are traditionally based on the premise of students acquiring knowledge, delivering expected answers, and behaving with obedience and discipline (K.-M. Cheng, 2011;Chien & Hui, 2010). Such practices leave little scope for the introduction of creativity, yet there are those who believe that traditional orthodoxies can be challenged through the adoption of creative pedagogies in which the dimensions of teaching for creativity, teaching creatively, and creative learning are prioritised (Cheung, 2016;Lin, 2014). Although aspects of traditional teaching and learning still prevail in East Asian classrooms, an increasing number of studies point to a change in practice.…”

Section: Limitations and Conclusionmentioning

confidence: 99%

A phenomenographic approach to understanding some Taiwanese music teachers’ experiences of creativity in the classroom

Wiles¹,

Kokotsaki

2019

Musicae Scientiae

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The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that:• a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders.Please consult the full DRO policy for further details. AbstractThis study examines what creativity means to a group of Taiwanese music teachers, and how it relates to their classroom experiences and teaching practices. The research followed a qualitative, interpretative approach. Interviews were used to gather data and were analysed according to phenomenographic principles. Analysis of the interviews indicated that two main approaches were taken by teachers regarding their experiences of creativity: a product-focused, and a process-focused approach. In the product-focused approach, creativity was defined from the outside according to externally imposed factors, frames of reference, and motivating forces. In the process-focused approach, creativity was defined from the inside, from the point of view of the individual involved, and in which personal agency, inclusion, and collaboration were valued.The approach taken by teachers towards creativity also showed a relationship to how music education was perceived. Teachers who had a product-focused approach to creativity saw music education in terms of content, while those who were process-focused had a meaningoriented view of music education that valued the experience of students over the content that was taught. Similarly, a correspondence was found between how creativity was perceived and the nature of classroom interactions that varied between teacher-centred and learner-centred.

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“…In this globalization era, creativity is an important element in development and it is a basic capital in building a better quality of human resources in a country (Bereczki, 2016;Cheung, 2016). The term creativity is very difficult to define because creativity is a multidimensional concept so that many experts are advocating the meaning of creativity (Turpin, Matthee, & Kruger, 2015).…”

Section: Introductionmentioning

confidence: 99%

“…The term creativity is very difficult to define because creativity is a multidimensional concept so that many experts are advocating the meaning of creativity (Turpin, Matthee, & Kruger, 2015). The difference in the definition of creativity put forward by experts is a complementary definition, But the term that is often used in the world of education that creativity can be interpreted as a person's ability to create something new both in concepts or real work (Cheung, 2016;Rasmussen & Østergaard, 2016).…”

Section: Introductionmentioning

confidence: 99%

Development Creativity Students Through the Application of Problem Based Learning Model in Physical Education in Reviewed of Adversity Quotient

Setiawan

Juliantine

2017

PENJAS

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AbstrakThe purpose of this research is to develop students' creativity through the application of problem based learning model in physical education in review of adversity quotient. The research method used is experimental method with 2x2 factorial designs. The population in this study are the students of 10th grade in SMK 1 Cipanas Cianjur Regency consists of 10th grade as many as 8 classes with a total of 375 students. The sample in this research is as many as 60 students, consists of 30 students with high adversity quotient skills and 30 students with low adversity quotient skills. The sampling using cluster random sampling technique. The instrument used is a questionnaire to measure the level of adversity quotient by Stolz (2000) and the creativity by Guilford (1950). The result of data analysis Two Way Anova showed that: (1) the development of students' creativity through problem based learning model is higher than direct instruction model. (2) There are differences of creativity between students who are given problem-based learning model and direct instruction model in groups of students who have high adversity quotient ability.(3)There are differences of creativity between students who are given problem-based learning model and direct instruction model in groups of students' who have low adversity quotient ability. (4) There are interactions between the learning model and the adversity quotient on students' creativity. The findings of this study confirmed that learning with problem based learning model gives more effective impact and can be applied by physical education teachers in an effort to develop student' creativity.

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The challenge of developing creativity in a Chinese context: the effectiveness of adapting Western creative pedagogy to inform creative practice

Cited by 14 publications

References 27 publications

“That’s just impossible in my kindergarten.” Advocating for ‘glocal' early childhood curriculum frameworks

“That’s just impossible in my kindergarten.” Advocating for ‘glocal' early childhood curriculum frameworks

A phenomenographic approach to understanding some Taiwanese music teachers’ experiences of creativity in the classroom

Development Creativity Students Through the Application of Problem Based Learning Model in Physical Education in Reviewed of Adversity Quotient

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