247,415 research outputs found
Whatâs Your Major? College Majors as Markers of Creativity
The present research explored the value of studentsâ college majors as indicators of creativity, particularly creative traits, accomplishments, and interests. Two samples of undergraduate students indicated all of their majors, minors, and degree concentrations; each person was then simply classified as having a major in the arts or a conventional major. Consistent with past work on individual differences in creativity, students with arts majors scored significantly higher in openness to experience, knowledge about the fine arts, creative accomplishments, everyday creative actions, and creative self-concepts; they also described their major as affording more opportunities to develop and express their creativity. Taken together, the findings suggest that studentsâ majors offer interesting information about individual differences related to creativity
Writes of Spring 2014: Fostering Creativity in Theatre, Education, and Leadership
Creativity is valued in many fields. In theatre, creativity celebrates the imaginative power of a theatrical experience. In theatre for young audiences (TYA), creativity is extended from the stage to the classroom, where theatre empowers learning through creative and imaginative teaching. Teaching artists and theatre makers in the field of theatre for young audiences utilize creativity as a means of connecting artistic and educational value. Through professional development and qualitative research, this project demonstrates the importance of creativity and its role in the classroom and on stage. This study examines my role as Project Coordinator in Orlando Repertory Theatre\u27s (The REP) Writes of Spring 2014 and the developments I add to enhance the educational and artistic value and project. Specifically, I survey the findings of selected students\u27 submissions in a creative writing contest by developing and facilitating an arts integration professional development workshop for their teachers. By evaluating these findings I gain insight into the positive effect of enhancing creativity in public school classrooms. To project the value of creativity further, I apply a theoretical framework to my research. Specifically, I apply creative pedagogy, constructivism, and collective creativity to develop a fully-supported educational and artistic project. This project allows students to find writing inspiration through theatre, guides teachers to find clarity in new practices through creativity, and encourages artists to celebrate creativity in developing and producing new works
Adjusting sensibilities: researching artistic value 'on the edge'.
An understanding of the relationship between systems of production and systems of value in the visual arts is essential to the production of new sustainable approaches to creativity. Contexts for working situated on the margins such as remote rural locations focus tensions between conflicting systems of value that require us to adjust our sensibilities. This paper traces these issues through an ongoing three year research project, On the Edge (OTE) (August 2001 - 4, funded by the Arts and Humanities Research Board (AHRB)). Key stages of generative metaphor, originally identified by Schön, are used as an analytical tool to reveal the process of developing the research methodology
Co-creativity: possibilities for using the arts with people with a dementia
Purpose The purpose of this paper is to explore the concept of co-creativity in relation to artistic practice with people with a dementia. The aim of the discussion is to outline how co-creativity offers fresh approaches for engaging artists and people with dementia, can contribute to less restrictive understandings of âcreativityâ and above all, expand the understanding of people with a dementia as creative, relational and agential. Design/methodology/approach In order to examine current conceptions of co-creativity and to inform the artistic practice, relevant literature was explored and eight expert interviews were conducted. The interviews were thematically analysed and are included here. Findings This paper consequently demonstrates that improvisation, structure, leadership and equality are central elements of co-creative processes and outlines how co-creativity can offer fresh insights into the way in which the arts can engage people with a dementia, the relationship between creativity and dementia and the transformative potential of the co-creative arts for those living with a dementia. Research limitations/implications The paper discusses some of the difficulties that are inherent a co-creative approach, including power relations and the limitations of inclusivity. Due to ethical restrictions, the paper is limited by not including the perspectives of people living with a dementia. Practical implications This paper paves the way for future research into co-creative processes in a variety of different contexts. Social implications A more nuanced understanding of co-creativity with people with dementia could challenge the dominant biomedical and social paradigms that associate âdementiaâ with irretrievable loss and decline by creating opportunities for creative agency. Originality/value This exploration of co-creativity with people with dementia is the first of its kind and contributes to the wider understanding of co-creativity and co-creative practice
Creativity through Mindfulness: The Arts and Wellbeing in Education (AWE) Professional Learning Programme
This article uses findings from a case study of an arts/education professional learning programme in Wales to construct a definition of creativity that reflects on and contributes to debates around the concept, and its value within education. The programme, Arts and Wellbeing in Education (AWE) focused on supporting school teachersâ wellbeing through creative practice. The research comprised a participatory methodology that sought to explore the circulating discourse around the key concepts of creativity and wellbeing in order to identify how the team leading the programme conceptualised the value of creativity, and how this was enacted. The findings point to a notion of creativity that is an inclusive, carnival experience that may improve wellbeing through mindful approaches to creative practice
THE INFLUENCE OF YOUTUBE ON STUDENT CREATIVITY IN ART CULTURE AND WORKS (SBdP) LESSONS IN THE COVID-19 PANDEMIC
This study aims to determine the effect of the use of YouTube social media on student creativity in the fourth grade subjects of cultural arts and crafts (SBdP) at SDN Nunu. This research is a quantitative study using an experimental approach using two groups, namely the experimental class group and the control class group. The design used in this research is the design "Noneqiuvalent Control Group Design". The subjects in this study were some of the fourth grade students of SDN Nunu with a total of 30 students consisting of two classes, namely class IVA as the experimental group and class IVB as the control group. The instrument used was a figural creativity test. The data analysis technique used was the normality test and the homogeneity test as a prerequisite for the t-test. Based on the results of testing the hypothesis that the experimental and control groups have a T-count of 5.280 with a T-table of 2.042, so that the significant (2-tailed) value of the posttest T-Test results of the two groups is 0.000, so the null hypothesis H0 is rejected and the Ha hypothesis is accepted because based on the T-Test test criteria the significance value is <0.05. Thus it can be concluded that there is an influence of the influence of the use of YouTube social media on student creativity in the fourth grade subjects of cultural arts and crafts (SBdP) at SDN Nunu
A Poetic Gaze into Gay Aging
The shift toward embracing creativity in qualitative research has opened up new possibilities for researchers who seek to represent themselves and their findings in ways that capture the complexities of human life. This case study on gay aging combined life history interviewing with arts-based techniques to explore how one individual made sense of his sexual orientation at a time when gay men were criminalized and pathologized. Using principles from poetic inquiry, interview data were transformed into a short poem that captures the emotional and affective undertones of gay aging. The findings reveal the utility of poetics as both a process and product that generates deeper understanding about complex social phenomena. The value of arts-based research as relational, embodied, and affective praxis are discussed. This research highlights the need for ongoing training of emerging qualitative researchers in arts-based techniques
The perennial question: âSo where will that take you?â An exploratory study of University of Waikato students' judgements of the value of study in the arts.
This thesis explores the value of study in the arts, as perceived by third year
students at the University of Waikato. The research consisted of two phases; an
initial survey of 200 students, studying both within and outside of arts disciplines,
and the second, in-depth interviewing of eight arts students. The inquiry focussed
on the value students perceive study in the arts to have, and also the value they
perceive others to ascribe to such study. In eliciting a unique perspective of
students, the study aimed to add commentary to ongoing debates about the value
of the arts, and about the value of studying the arts.
Discourses on the value of the arts often focus on the economic utility of the arts,
since they espouse creative and innovative qualities which positively add to the
economy. The value of the arts is also reported in terms of intrinsic benefits like
self-expression, as well as the benefits they can provide communities. However,
work in the arts is often reported as being at a deficit when it comes to issues of
employability. In addition, artists are often likened to outdated stereotypes.
Similar debates exist in relation to the arts in education. At school level, it seems
the arts are valued for intrinsic benefits, like cognition, and self-expression, and
for aiding achievement in all subjects. They are often also promoted for teaching
skills which are necessary for success in this day and age, including skills in selfconfidence,
creativity, and innovation. At the same time, a neoliberalist view
mandates that education, at tertiary level especially, should produce "skilled
workers" as a commodity for the economy. As such, arts disciplines are more
often compelled to justify their existence than other disciplines.
It was evident that research participantsâ perceptions echoed some of these
debates. Through the emergence of several themes, it was clear that students felt
study in the arts was not well regarded by others. However, they took heart from
intrinsic, creative, and expressive benefits of their studies. Interest or passion
mainly motivated the pursuit to study in the arts. However, the imperative to find
a job was still a concern for research participants. Tension seems to exist between
the seeming need of an "outcome", which translates to a job, and the impulse to
create something that is uniquely, and personally, expressive.
While the non-tangible values were important to arts students, benefits of money
and career were perceived to be more important to outsiders. Students posited this
difference of opinion on misconceptions, and a lack of understanding about what
study in the arts entails. While perceiving others to have negative value judgments
about study in the arts, the studentsâ personal convictions, of the usefulness and
value of their studies, were not diminished. Those interviewed also suggested
three ways to possibly change negative value judgments: increasing
understanding, projecting positive stereotypes, and positioning the arts, at school
and at university, in such a way that they become respected, and sought-after,
avenues of study.
These, and other research findings, constitute a need for further inquiry. This
research has by no means covered all aspects of arts study, but it offers the insight
of a small group of students, at a certain place and time; experiences which may
well find echoes in larger settings
Serious Fun: The Perceived Influences of Improvisational Acting on Community College Students
Theatrical improvisation lacks investigation within higher education. The findings from this phenomenological study of seven students from a Mid-Â Atlantic community college lend credibility to other research supporting arts and extracurricular activities and provide insights into what they value in their educational experience. Positive social change can come from providing students with an education that includes fun, creativity, and socialization for a successful future.https://scholarworks.waldenu.edu/archivedposters/1163/thumbnail.jp
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