What counts as creativity in education? An inquiry into the intersections of public, political, and policy discourses

In this essay, the authors examine the varied public, everyday, and academic discourses of creativity that combine to influence our current educational goals and policies, particularly in North America and Europe. From Sir Ken Robinson’s (2006) cutting remark that “Schools kill creativity!” to the Action Canada Foundation’s (2013) assessment that creativity is one of the seven core learning competencies required in the 21st century, this article portrays the compelling push and pull of creativity in education today. The authors found themselves in search of this seemingly crucial, yet increasingly undersupported aspect of their work in teacher education and research. Coming from literacy and arts education, the authors were called to question what they had always taken for granted. This article contextualizes creativity amid everyday, public, and academic discourses. Through engaging in this inquiry, the extent to which creativity is the recipe for success, as it is so often deemed to be, is assessed and a conceptual framework for creativity in action is proposed

Assessing creative process and product in higher education

This article examines how Education undergraduates explored their creative processes through the planning and presentation of an artwork. In particular, it addresses how they negotiated the demands of an assessment method which focused on both the reflective process and the finished product. This investigation is part of a more extensive study of creativity and engagement in Higher Education; it is underpinned by the idea that all students have the potential to be creative if they are provided with innovative learning experiences and open-ended assessment tasks. The empirical data was obtained from semi-structured interviews (n=30), students’ reflective sketchbooks and observations. The findings support the view that students are more motivated and engaged when they have access to alternative, creative assessment opportunities which involve experimentation and risk-taking in a supportive learning environment. The data shows that they value assessment methods which enable them to demonstrate their knowledge, understanding and skills in different ways. However, concern about the perceived subjectivity of such an assessment process, and the emphasis placed on meeting the learning outcomes, initially presented a barrier to creative development. One implication is that the conflict between creativity and assessment might be partially resolved if students played a more active part in both the formulation of summative assessment criteria and the on-going formative assessment process

Assessment of co-creativity in the process of game design

We consider game design as a sociocultural and knowledge modelling activity, engaging participants in the design of a scenario and a game universe based on a real or imaginary socio-historical context, where characters can introduce life narratives and interaction that display either known social realities or entirely new ones. In this research, participants of the co-creation activity are Malaysian students who were working in groups to design game-based learning resources for rural school children. After the co-creativity activity, the students were invited to answer the co-creativity scale, an adapted version of the Assessment Scale of Creative Collaboration (ASCC), combining both the co-creativity factors and learners’ experiences on their interests, and difficulties they faced during the co-creativity process. The preliminary results showed a high diversity on the participants’ attitudes towards collaboration, especially related to their preferences towards individual or collaborative work.</p

Digital Ink Technology for e-assessment

Current research has shown that lecturers marking electronic assignments, typically Word documents, are able to provide personalised feedback at a relevant point in a student’s piece of assessment using paper technology such as a Tablet PC. Evaluation through in-depth interview and questionnaire shows that this was important to both students and lecturers alike. Some lecturers have felt that the Tablet PC allows greater creativity in assessment than technologies such as paper and pen and PC and keyboard input device. For example the use of colour linked to learning outcomes and grammar feedback, and the ease with which the eraser can be used for re-editing. It appears that the pedagogy has been extended from the traditional ‘pen and paper’ approach to the use of ‘digital ink technology’. Students said that they liked the personal feel of the electronic hand written feedback. Reflective practice for lecturers was supported through forums and a wiki and was evaluated using virtual ethnography. Lecturers record a flow experience in assessment as either enabling or disabling their creativity in e-assessment. The potential for extending the pedagogy into graphical environments is also evident for such things as annotating graphs and diagrams, mathematical notation and scientific nomenclature

Amabile‘s consensual assessment technique: Why has it not been used more in design creativity research?

Amabile’s Consensual Assessment Technique (CAT) has been described as the “gold standard” of creativity assessment; been extensively used within creativity research, and is seen as the most popular method of assessing creative outputs. Its discussion within scholarly research has continued to grow year by year. However, since 1996, a systematic review of the CAT has not been undertaken, and, within design journals, appears not to have occurred, in relation to design, or more broadly, the creative industries in general. Yet, the consensus of domain judges is a prevalent methodology for design education, and professional design awards. This paper presents the findings from a systematic literature review of the CAT covering works from 1982 to 2011. It details key journals and authors publishing or citing CAT related studies, and highlights the limited number of CAT studies within design journals, with suggestions for why this may be the case

YouTube as a repository : the creative practice of students as producers of Open Educational Resources

In this paper we present an alternative view of Open Educational Resources (OERs). Rather than focusing on open media resources produced by expert practitioners for use by peers and learners, we examine the practice of learners as active agents, producing open media resources using the devices in their pockets: their mobile phones. In this study, students are the producers and operate simultaneously as legitimate members of the YouTube community and producers of educational content for future cohorts. Taking an Action Research approach we investigated how student’s engagement with open media resources related to their creativity. Using Kleiman’s framework of fives conceptual themes which emerged from academics experiences of creativity (constraint, process, product, transformation, fulfillment), we found that these themes revealed the opportunities designed into the assessed task and provided a useful lens with which to view students’ authentic creative experiences. Students’ experience of creativity mapped on to Kleiman’s framework, and was affected by assessment. Dimensions of openness changed across platforms, although the impact of authenticity and publication on creativity was evident, and the production of open media resources that have a dual function as OERs has clear benefits in terms of knowledge sharing and community participation.The transformational impacts for students were evident in the short term but would merit a longitudinal study. A series of conclusions are drawn to inform future practice and research

Kreativitas Guru IPA Kelas VII Dan VIII Dalam Penyusunan Penilaian Autentik Di SMP Negeri 1 Pecangaan Jepara Semester Gasal Tahun Ajaran 2014/2015

Authentic assessment is an assessment process from beginning to the end in the learning process with a series of several specific assessment. On arranging authentic assessment is required creativity to process rubric which is available into a real assessment. This research is aim to determine the creativity science teachers VII and VIII class in arranging of authentic assessment at state junior high school of Pecangaan 1 Jepara odd semester of academic year 2014/2015. This research is a qualitative descriptive study using a case study approach, data collection techniques with the study of documentation, interviews and observation. Data obtained from arranging of assessment instruments in the RPP which has been prepared by science teachers at state junior high school of Pecangaan 1 Jepara odd semester academic year 2014/2015. The data has been analyzed using descriptive statistics. Based on the results of the research shown that creativity in arranging authentic assessment was ungood (49.33%). This is can be looked from the arranging of assessment observations (76.53%), self-assessment (68.99%), multiple choice assessment (49.66%), description of assessment (64.1%), assessment assignment (13.34%) , performance assessment (76.37%), project assessment (30%) and assessment of the portfolio (15.71%). An appropriatability of arranging authentic assessment with the criteria that have been standardized are unfavourable (49.24). It can be concluded that creativity and appropriatability grade of science teachers VII and VIII class in arranging authentic assessment in state junior high school of Pecangaan 1 Jepara odd semester academic year 2014/2015 are unfavorable

Exploring creativity and progression in transition through assessment is for learning

This paper provides an overview of the aims, methods and findings of the Capability and Progression in Transition through Assessment for Learning in Design and Technology (CAPITTAL-DT) project. This project, funded by Determined to Succeed Scotland, aimed to identify useful approaches to aid progression in creativity through the current initiative entitled 'Assessment is for learning' (AifL, SEED, 2002). AifL encourages learners and teachers to engage with assessment for, as, and of learning and adopt a range of strategies and ideas. The project team gathered baseline and follow up data from teachers and learners using questionnaires to gauge attitudes towards creativity, structured conceptual design activities to assess performance, learner evaluations and teacher interviews. The team concludes that there is scope for adopting the tools explored to support formative and sustainable assessment strategies and approaches to gathering meaningful indicators that can be embedded into enterprising teaching and learning for Design and Technology Education

Constraints and autonomy for creativity in extracurricular gamejams and curricular assessment

The engagement observed by the players of the games that they play is a desirable quality that has not gone unnoticed in the field of education, leading to concepts such as gamification of education, game-based learning and serious games for training. Game designer Sid Meier is often cited as defining games as being ‘a series of interesting decisions’. The concept of choice implies an autonomous selection from a constrained set of options. This article reflects on the impact of autonomy and constraints, and extrinsic and intrinsic motivators on students’ software development work during both curricular and extracurricular activities. Finally, a model for the design of games for game-based learning is proposed in terms of autonomy and constraints with respect to learning outcomes