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

Teachers' and Pupils' Perceptions of Creativity across Different Key Stages

This is the accepted version of an article subsequently published in the journal, Research in Education [© Manchester University Press]. The definitive version is available at: http://dx.doi.org/10.7227/RIE.89.1.3The new Secondary Curriculum (implemented in 2008) saw greater emphasis on creativity within the National Curriculum for England. Since this term has been boldly stated, how have teachers and pupils responded to it in the classroom? This study draws on responses from a range of pupils in different Key Stages (2 (pupils aged 7-11), 3 (pupils aged 11-14) , 4 (pupils aged 14-16), and 5) who reported that creativity helped their learning and engaged them. Teachers participated by completing a questionnaire and their responses showed teachers' differing approaches to defining (and therefore showing their understanding of applying) creativity (innovative teaching, different activities for teaching and learning). A varied list of methods for embedding it in their teaching was provided. Many more primary teachers than secondary explored their use of creative teaching and appeared more comfortable with this approach. The initiatives taken to encourage teachers to adopt a more creative approach have had some impact; however, more training is required. © 2013 Manchester University Press

Editorial: Perspectives on creative pedagogy: exploring challenges, possibilities and potential

Internationally, the first decade of the 21st century was characterised by growth in creativity research and creative classroom practice (e.g. Einarsdottir, 2003; Cremin, Burnard and Craft, 2006; Beghetto and Kaufman 2007; Sawyer, 2010). In England, the Creative Partnerships initiative increased the attention paid by researchers, policy makers and practitioners to creativity in schooling, and an interest in creative learning at the primary phase developed (e.g. QCA, 2005; Galton, 2008; Bragg, Manchester and Faulkner, 2009; Thomson and Hall, 2007; Craft and Chappell, 2009). Whilst recognition of the role and nature of creativity and interest in creative pedagogical practice has grown, tensions persist at several levels, particularly in accountability cultures, where international comparisons such as PISA and PIRLS frame and shape policy, practice and curricula. This Special Issue, planned with Anna Craft before her untimely death, responds to this context and draws together the work of a number of eminent scholars of creativity and creative pedagogies. It offers diverse perspectives from Colombia, Denmark, England, France, Poland, Hong Kong, and the USA and highlights differences as well as similarities across cultural contexts. Individually and collectively, the authors, framed by their own stances on creativity, reveal both the complexities and the possibilities of creative pedagogies. While some focus more upon conceptual challenges, others examine classroom practice, both teachers and visiting artists, and identify difficulties as well as potential. Most pay attention to both teacher and learner orientations, exemplified by Dezuanni and Jetnikoff‘s (2011:265) assertion that creative pedagogies involve ‘imaginative and innovative arrangement of curricula and teaching strategies in school classrooms’ to develop the creativity of the young