CREATIVITY IN PRIMARY SCHOOLS!!!

My second blog will be about how creativity could potentially impact on primary education.

 ‘Creativity’ is clarified by many descriptions, but most of the meanings summarise to similar definitions to imagination, originality, productivity, problem solving and producing an outcome of value (Sharp, 2004). One of the main characteristics of a human is creativity, as this gives us the ability to create new concepts. That is what makes us different from just smart machines (Boden, 1992).  A NACCCE report specified a democratic definition of creativity:

“all people are capable of creative achievement in some area of activity, provided the conditions are right and they have acquired the relevant knowledge and skills. Moreover, a democratic society should provide opportunities for everyone to succeed according to their own strengths and abilities.” (NACCCE, 1999).

This interpretation is conflicting with Pinker’s suggestion that creativity is an innate feature and is not a skill that could be taught (Pinker, 1995). This concept will have a negative outcome from an education perspective as it’s highly likely for the children to be Pidgeon holed into this characteristic. Therefore, the other children who are perceived as ‘not creative’, will not be able to explore creativity. Traditionally creativity was considered as a separate ability to be involved with creation only, and was not given the opportunity to be taught freely (Fleming, 2012).

Professor Donaldson suggested that good teaching and learning is by applying creative pedagogy in the classroom. This can be approached by encouraging problem solving, creative and critical thinking (Donaldson, 2015). This purpose of creative pedagogy will promote the capability for children to make connections, critically evaluate essential information, acquire a deep understanding of a concept and transferring the skills and knowledge to real life situations to solve problems in an analytical way (OECD, 2008).  

Professor Dai Smith implied the significance of creativity in todays education. He insinuated that the acquisition of innovative skills and knowledge will be most effective for this progressively creative society (Smith, 2013). This achievement of knowledge and skills is highly likely to have a profound impact on the successful futures curriculum for Wales, as the first 2 purposes for development can be sustained (Donaldson, 2015).

Introducing this diverse teaching approach could be extremely challenging for the teachers and practitioners who have been following their individual teaching methods for many years. They will need the support in order to develop their skills in arts and creativity. Therefore, sustainability will be built to provision the development of their practice and policy (Welsh Government, 2015). 

Using creativity in pedagogical practice should be essential to find methods which will be authentic and most effective for learning, either by practical applications or making emotional/personal connections. Therefore, becoming more creatively involved yourself and the children and allowing risk taking, autonomy, curiosity and development of the imagination, will progress to a pedagogical conscious to become a creative teacher (Cremin, 2009).

Introducing outdoor learning in the practice could improve a creative session. For the early years, implementing a holistic approach of the outdoors by applying the stimuli of the natural environment of all the senses to attract the children’s attention. The change of the natural world and sensory diversity will provide a rich context for learning. Outdoor learning will enhance their learning as they will be getting a first-hand experience on top of enjoyment, risk-taking, freedom, physical exercise and social development, (Rea, T & Waite, S, 2006). However, to achieve authenticity from an outdoor session is challenging. The children perceive the outdoor as ‘free-time’ or ‘play-time’, therefore will take advantage of this. Adapting the pedagogical practice from the classroom to the outdoor space can be challenging for the teachers. This could lead them to lose control of the class or what the aim for that session was supposed to be (Roberts, 2006). Outdoor learning environment does offer alternative ways to engage children collaboratively in a creative manner, however, it is sceptical to be aware of how much of this creativity will be valued without clear inspection measures (Waite et al, 2005). 

References

Armitage, M, (2001). The ins and outs of school playground play: children’s use of ‘play places'. Play today in the primary school playground: Life, learning and creativity (pp. 37-58). Buckingham: Open University Press.

Boden, M, (1992). The Creative Mind. London: Abacus.

Cremin, T, (2009). Creative teachers and creative teaching. Creativity in Primary Education (2nd ed.). Exeter: Learning Matters, pp. 36–46.

Donaldson, G, (2015). Successful futures: Independent review of curriculum and assessment arrangements in Wales. Welsh Government.

Fleming, M. (2012). The arts in education: An introduction to aesthetics, theory and pedagogy.  Oxford: Routledge.

N.A.C.C.C.E. (1999). All our futures: creativity, culture and education. London: DfEE

OECD (2008). Innovating to Learn, Learning to Innovate. OECD: Paris.