Exploring children's creative narratives: some theoretical, methodological and applied perscpectives

This chapter introduces the edited collection, Exploring Children’s Creative Narratives that offers fresh perspectives on children’s creative narratives and that explores what these perspectives reveal about their imagination, their thought processes and how they understand the world. The chapter argues that ethnographic case studies, naturalistic observations, conversations and playful interactions with children ranging in age from two to eleven years allow the development of theoretical insights that challenge traditional accounts of creativity and narrative. It also argues that a proper understanding of creative narratives has to be an interdisciplinary endeavour if it is to do justice to the rich, complex, multi-modal and embodied nature of the children’s thought processes as revealed through their drawing and story-telling, music making, dance, drama and imaginative play. Interpretation of these processes draws on socio-cultural accounts of creativity and creative development that challenge more traditional accounts of creativity as an attribute or talent that belongs only to certain gifted individuals. The chapter (and contributors to the collection) maintains that to understand the situated nature of children’s creative activity it is important to examine the social, affective and cognitive processes that take place when children are immersed in such activity. This re-conceptualisation of children’s creativity challenges conventional educational practice and suggests that formal educational training programmes should offer teachers more sophisticated cultural discourses and experiences which will allow them to gain a more rounded understanding of children’s creative narratives

Getting In On the Act: How Arts Groups are Creating Opportunities for Active Participation

Arts participation is being redefined as people increasingly choose to engage with art in new, more active and expressive ways. This movement carries profound implications, and fresh opportunities, for the nonprofit arts sector.We are in the midst of a seismic shift in cultural production, moving from a "sit-back-and-be-told culture" to a "making-and-doing-culture." Active or participatory arts practices are emerging from the fringes of the Western cultural tradition to capture the collective imagination. Many forces have conspired to lead us to this point. The sustained economic downturn that began in 2008, rising ticket prices, the pervasiveness of social media, the roliferation of digital content and rising expectations for self-guided, on-demand, customized experiences have all contributed to a cultural environment primed for active arts practice. This shift calls for a new equilibrium in the arts ecology and a new generation of arts leaders ready to accept, integrate and celebrate all forms of cultural practice. This is, perhaps, the defining challenge of our time for artists, arts organizations and their supporters -- to embrace a more holistic view of the cultural ecology and identify new possibilities for Americans to engage with the arts.How can arts institutions adapt to this new environment?Is participatory practice contradictory to, or complementary to, a business model that relies on professional production and consumption?How can arts organizations enter this new territory without compromising their values r artistic ideals?This report aims to illuminate a growing body of practice around participatory engagement (with various illustrative case studies profiled at the end) and dispel some of the anxiety surrounding this sphere of activity

Exploring whole body interaction and design for museums

Museums increasingly use digital technology to enhance exhibition experiences for families, notably in relation to physically mediated installations for young children through natural user interfaces. Yet little is known about how families and children engage with such installations and the kinds of interactive experiences they engender in museum spaces. This paper addresses a pressing need for research to adopt an analytical focus on the body during such digitally mediated interactions in order to understand how bodily interaction contributes to meaning making in the museum context. It reports an observation study of families and children interacting with a whole-body interface (using Kinect) in the context of an installation in a museum exhibit on rare Chinese paintings. The study shows how the installation design engenders particular forms of bodily interaction, collaboration and meaning making. It also contributes design insights into whole-body interaction installations in museums and public spaces

Exploring whole body interaction and design for museums

Museums increasingly use digital technology to enhance exhibition experiences for families, notably in relation to physically mediated installations for young children through natural user interfaces. Yet little is known about how families and children engage with such installations and the kinds of interactive experiences they engender in museum spaces. This paper addresses a pressing need for research to adopt an analytical focus on the body during such digitally mediated interactions in order to understand how bodily interaction contributes to meaning making in the museum context. It reports an observation study of families and children interacting with a whole-body interface (using Kinect) in the context of an installation in a museum exhibit on rare Chinese paintings. The study shows how the installation design engenders particular forms of bodily interaction, collaboration and meaning making. It also contributes design insights into whole-body interaction installations in museums and public spaces

Include 2011 : The role of inclusive design in making social innovation happen.

Include is the biennial conference held at the RCA and hosted by the Helen Hamlyn Centre for Design. The event is directed by Jo-Anne Bichard and attracts an international delegation

Imaging, Keyboarding, and Posting Identities: Young People and New Media Technologies

Part of the Volume on Youth, Identity, and Digital Media Clicking, posting, and text messaging their way through a shifting digital landscape, young people are bending and blending genres, incorporating old ideas, activities, and images into new bricolages, changing the face, if not the substance, of social interaction and altering how they see themselves and each other. From data collected in Britain, Canada, and South Africa, we have selected cases that involve a range of technologies and contexts, from adult-mediated activities in schools and community centers to spontaneous media production done in private at home. Whether it be postings on websites, improvisations in video production, or the incorporation of objects in a multi-media presentation, these cases illustrate that, like digital cultural production, identity processes are multifaceted and in flux, constructed and deconstructed through a process of bricolage that we label as "identities-in-action." Analysis of the cases reveals certain shared features of digital production that contribute to identities-in-action: the "constructedness" of production, the collective and social aspects of individual productions, the neglected but crucial element of embodiment, the reflexivity and negotiation involved in producing and consuming one's own images, the creativity in media convergence, and the value of constructivist models of learning