Creative learning environments in education-A systematic literature review

This paper reports on a systematic review of 210 pieces of educational research, policy and professional literature relating to creative environments for learning in schools, commissioned by Learning and Teaching Scotland (LTS). Despite the volume of academic literature in this field, the team of six reviewers found comparatively few empirical studies published in the period 2005–2011 providing findings addressing the review objectives. There was, however a reasonable weight of research evidence to support the importance of the following factors in supporting creative skills development in children and young people: flexible use of space and time; availability of appropriate materials; working outside the classroom/school; ‘playful’ or ‘games-bases’ approaches with a degree of learner autonomy; respectful relationships between teachers and learners; opportunities for peer collaboration; partnerships with outside agencies; awareness of learners’ needs; and non-prescriptive planning. The review also found evidence for impact of creative environments on pupil attainment and the development of teacher professionalism. LTS intend to use the review as a basis for recommendations to Scottish schools in promoting creativity within Curriculum for Excellence. However, the findings of the review and methodological gaps in the reviewed studies have implications for policy, practice and research internationally

A creative industries perspective on creativity and culture

The chapter considers changing definitions of creativity in relation to UK cultural policy and practice in the creative industries. Three perspectives are introduced, beginning with the notion of creativity as a product of individual creativity and talent, popularised by the UK government’s 1998 Creative Industries Mapping Document. This perspective is contrasted with an older model of creativity as a collective expression of shared values, as emphasised in earlier cultural industries policies of the 1970s and 1980s. Finally, the chapter considers contemporary views of creativity in the creative industries as participatory, user-generated, remixed and ‘democratized’. The chapter concludes that there is value in all three perspectives—the challenge for policy makers, managers and practitioners in the creative industries is connecting together individual self-expression with collective cultural values

The Use of Activity Theory as a Methodology for Developing Creativity within the Art and Design Classroom

This article discusses the use of an activity theory system as an analytical tool within the school art and design classroom. It highlights reasons for its use and makes explicit its importance for investigations into teaching and learning. It proposes that through an activity theory system, teachers and researchers are enabled to reflect on the formation of thought and develop an understanding of pedagogy, where classroom roles, rules and participation are made visible.The article draws on primary research which explores the development of creativity within the English Key Stage Three (11-14) art and design classroom. Illustrations are provided to show how through the use of an activity theory system a multi-layered analysis took place. This generated reflection on relationships and structures within and surrounding the classroom, impinging creative activity. Through using the activity theory system teachers and researchers were enabled to observe the complexity of the classroom and question socio-cultural-political structures which empowered change

Fostering creativity with wisdom

This is a postprint of an article whose final and definitive form has been published in the Cambridge Journal of Education© 2006 Copyright University of Cambridge, Faculty of Education; Cambridge Journal of Education is available online at http://www.informaworld.comOver the past five years, creativity has become a focus of attention for policy-makers in education. However, the increased interest in creativity has occurred as if without reference to any value framework. This article suggests that in fact an invisible underpinning value framework has been provided by western individualism, in turn both supporting and driven by the globalized capitalist marketplace. What could this mean for nurturing creativity with wisdom in schools? Working from the stance that wisdom involves making thoughtful, well-informed and appropriate judgments leading to sound courses of action with regard to the consequences, this paper discusses some significant objections to a market-driven model of creativity in education, discusses a possible framework for understanding creativity in a way which emphasizes responsibility as well as rights to expression and proposes wisdom as a necessary element of pedagogy

Creativity through a rhetorical lens: implications for schooling, literacy and media education

This article, which is speculative in outlook and emerges from an extended literature review on this subject, takes as its basic premise the notion that the idea of 'creativity'– whether in relation to literacy, schooling or the economy, is constructed as a series of rhetorical claims. These rhetorics of creativity emerge from the contexts of research, theory, policy and practice. Initially, we distinguish 10 rhetorics, which are described in relation to the philosophical or political traditions from which they spring. The discussion then focuses on four rhetorics – play, technology, politics/democracy and the creative classroom – which have most relevance for understandings of literacies and the way in which these are nurtured, encouraged and expressed in different social settings. This article aims to summarise the rhetorics and their major concerns, while considering how selected ones might apply to an instance of media literacy. Key questions addressed in this article ask whether creativity is more usefully understood as an internal cognitive function or an external cultural phenomenon; whether it is a ubiquitous human activity or a special faculty; whether it is necessarily 'pro-social' or should be dissident; and what the implications of a culturalist social psychological approach to creativity might be for analyses of the media literacy of children and young people