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DEVELOPMENT OF CREATIVE ABILITIES THROUGH ARTS EDUCATION
Abstract
The paper examines possibilities for enhancing creativity in primary school children through Arts education. Specifically, this study investigates the impact of visual, auditory and tactile stimuli (VAT stimuli)[1] on the development of creative thinking in children when these aids are carefully selected and suitable for use for a particular teaching topic within the Arts education curriculum. The study was conducted in Serbia, through an experimental two-term programme called The Development of Creativity by Employing VAT Stimuli, which included 270 first and second-year primary school pupils (7-8 year-olds). The impact of the experimental programme was assessed according to the Torrance Test of Creative Thinking (TTCT) – figural form A. This study found that the use of VAT stimuli in Arts education contributed significantly to developing and cultivating pupils’ creative abilities, and that the effect of the programme had a stronger impact on the 2nd year pupils.[1] Visual stimulus – discussion and observation of an artwork as a stimulus for artistic expression; Auditory aid – instrumental composition as a stimulus for artistic expression; Tactile stimulus – finger painting.
Nastava likovne kulture važan je činilac cjelovitog razvoja učenika, naročito u današnje vrijeme, koje je obilježeno globalnom prisutnošću vizualnih komunikacija. Unatoč osuvremenjivanju likovnopedagoške teorije, u realnoj školskoj praksi još uvijek su prisutni zastarjeli pristupi učenju i poučavanju likovne kulture. Cilj istraživanja bio je ispitati u kojoj mjeri učitelji razredne nastave koriste tradicionalne, odnosno suvremene nastavne strategije, oblike i metode rada u organiziranju i provođenju nastave likovne kulture. Uzorak je sačinjavalo 109 učitelja razredne nastave na području grada Rijeke (Hrvatska). Anketni upitnik korišten u istraživanju obuhvaćao je pitanja zatvorenog tipa. Rezultati istraživanja su potvrdili da u školskoj praksi i dalje prevladavaju ustaljeni pristupi u poučavanju likovne kulture. Stoga je potrebno inicijalno obrazovanje učitelja dodatno obogatiti stručnim znanjem i praksom iz područja metodike likovne kulture te organizirati češća stručna usavršavanja, s ciljem dostizanja zadovoljavajuće kvalitete rada učitelja na ovom području.
Prikazani su rezultati ispitivanja implicitnih teorija kreativnosti nastavnika
jedne škole. Istraživanje je imalo za cilj razumevanje nastavničkih uverenja o
kreativnosti i njenom razvoju. Korišćena je metodologija studije slučaja, u kojoj
su kombinovani kvalitativni i kvantitativni podaci. U prvoj fazi istraživanja
primenjen je upitnik, a udrugoj je organizovana fokus grupa. Rezultati prve
fazeukazuju da se kreativnost vidi kao kreativna osoba, dok su manifestacije
kreativnosti na osnovnoškolskom uzrastu češće viđene kao kreativni proces.
Doprinos škole razvoju kreativnosti učenika vidi se najviše u nastavnim i
vananstavnim aktivnostima. Rezultati druge faze potvrđuju ključnu ulogu
nastavnika u podsticanju kreativnosti, ali upućuju na niz prepreka, koje se odnose
na ograničavajući nastavni plan i program, nedovoljna materijalna i finansijska
sredstva i nedovoljno ili neadekvatno vrednovanje kreativnosti u društvu. Rad
ukazuje na mogućnosti za definisanje pravaca daljeg razvoja implicitnih teorija
kreativnosti ka uvažavanju različitih gledišta i izgrađivanju razvojnih shvatanja
kreativnosti.
Frank Barron was a pioneering creativity researcher. His vision of creativity was wonderfully rich: "The problem of psychic creation is a special case of the problem of novelty in all of nature. By what process do new forms come into being? The specification of the conditions under which novelty appears in human psychical functioning is the task to which the psychology of creativity addresses itself. In doing so, it links itself to the general scientific enterprise of describing the evolution of forms in the natural world." (Barron, 1969, p. 9) In this article I reflect on Barron as a person and as a unique scholar who drew from the arts and sciences, and in whose work we can find a treasure-trove of insights about creativity.
Most investigations of creativity tend to take one of two directions: everyday creativity (also called "little-c"), which can be found in nearly all people, and eminent creativity (also called "Big-C"), which is reserved for the great. In this paper, the authors propose a Four C model of creativity that expands this dichotomy. Specifically, the authors add the idea of "mini-c," creativity inherent in the learning process, and Pro-c, the developmental and effortful progression beyond little-c that represents professional-level expertise in any creative area. The authors include different transitions and gradations of these four dimensions of creativity, and then discuss advantages and examples of the Four C Model.
In this article, I review ideas about creativity and its assessment. I open with some general remarks on the nature of creativity. Then I present the investment theory of creativity. Then I describe prompts my colleagues and I have used to measure creativity. Next I describe some of the assessments we have used to measure creativity. The ultimate goal is that assessments such as those described in this article eventually will make their way into standardized tests of abilities, talents, and skills.
Here is a myth-shattering look at the most important and misunderstood aspect of a child's development: creativity. Based on almost fifteen years of research with hundreds of children, "Growing Up Creative" answers the questions parents and teachers ask most frequently: What is creativity? How is it different from talent or intelligence? And why is it so important?
"Growing Up Creative" is filled with dozens of concrete, hands-on exercises and techniques that can help a parent or teacher keep creativity alive at home and at school. Rich with anecdotes and interviews, and drawing upon what we know of the childhoods of some of our most cherished and celebrated musicians, writers, and artists, this is state-of-the-art research sure to be embraced by any adult wanting to help a child be all he or she can be happily, healthily, and creatively. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
Summarizes the results of 142 studies testing approaches to teaching children to think creatively. The most successful approaches seem to be those that involve both cognitive and emotional functioning; provide adequate structure and motivation; and give opportunities for involvement, practice, and interaction with teachers and other children. It is noted that motivating and facilitating conditions make a difference in creative functioning, but differences seem to be greatest and most predictable when deliberate teaching is involved. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
Cognitive research on creativity is both traditional and innovative. It is traditional in the sense that many of the well-recognized processes, structures, and stores from mainstream cognitive psychology have been used to understand creative thinking. It is innovative because there is a need to understand processes which are not recognized unless one is specifically interested in creativity. Some of these are inherently subjective, a fact which is often disregarded by those hoping for a traditionally scientific analysis. Still, much of the interest in the cognitive sciences concerns how new constructs come into being; and anyone interested in that is in fact thinking about creativity. That is creativity. This article reviews several traditional cognitive topics, including knowledge, memory, classification, judgment, and categorization, and describes how each can influence creative thinking. It also presents an original model of creative thinking with problem finding, ideation, and judgmental processes as primary components, and knowledge and motivation as secondary (contributing but not controlling) components. Several issues are covered, including the relegation of motivation, the distinction between declarative and procedural knowledge, and the potential for knowledge to both facilitate and inhibit creative ideation.
Like E. Paul Torrance, my colleagues and I have tried to understand the nature of creativity, to assess it, and to improve instruction by teaching for creativity as well as teaching students to think creatively. This article reviews our investment theory of creativity, propulsion theory of creative contributions, and some of the data we have collected with regard to creativity. It also describes the propulsion theory of creative contributions. Finally, it draws some conclusions.
Obra en que se describe la experiencia de seis escuelas (dos primarias, dos secundarias y dos preparatorias) en Estados Unidos que han utilizado la teoría de las inteligencias múltiples como base de su metodología educativa para estimular el aprendizaje. Entre los resultados obtenidos se encuentran las altas calificaciones de prácticamente todos los alumnos en los exámenes estandarizados y, por lo tanto, la reducción de las diferencias entre los orígenes sociales o nacionales entre ellos.
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