The Routledge International Handbook of Creative Learning

Description

The concept of creative learning extends far beyond Arts-based learning or the development of individual creativity. It covers a range of processes and initiatives throughout the world that share common values, systems and practices aimed at making learning more creative. This applies at individual, classroom, or whole school level, always with the aim of fully realising young people’s potential.

Until now there has been no single text bringing together the significant literature that explores the dimensions of creative learning, despite the work of artists in schools and the development of a cadre of creative teaching and learning specialists. Containing a mixture of newly commissioned chapters, reprints and updated versions of previous publications, this book brings together major theorists and current research.

Comprising of key readings in creative education, it will stand as a uniquely authoritative text that will appeal to those involved in initial and continuing teacher education, as well as research academics and policy specialists.

Sections consists of:

• a general introduction to the field of creative learning
• arts learning traditions, with sub sections on discrete art forms such as drama and visual art
• accounts of practice from artist-teacher partnerships
• whole school change and reforms
• curriculum change
• assessment
• evaluative case studies of impact and effect
• global studies of policy change around creative learning.

Contents

@contents: Selected Contents: Section 1 Introduction to the reader and the field Introduction outlining the developing field of Creative Teaching and Learning and its broad relationship with initiatives and polices around the world Section 2 Creativity & learning 2.1 This section introduction by JSG/PT will explain the field of creativity theory & studies and its relationship with notions and models of learning 2.2 Shaku Banaji et al (Institute of Education, University of London, UK)‘ The rhetorics of Creativity’ based on the CP literature review. This lays out an historical review of the different ways creativity has been employed in discourses to date 2.3 Ken Robinson, (Getty Foundation) creativity and its place in changing business practices, the new economy and human capital. This may be a reprint 2.4 Howard Gardner (Harvard University, US ) on creativity in relation of theories of intelligences and human capabilities 2.5 Mark Runco (California State, US)reviewing the range of academic psychological research on creativity 2.6 Anna Craft (University Exeter/open University, UK) reviewing range of research into creativity in education and its place in teaching initiatives 2.7 Rob Pope (Oxford Brookes, UK) on historical understanding of creativity in analyses of art and culture 2.8 Liora Bresler (University of Illinois, US) on the entrepreneurial dynamic and its role in developing creative practitioners Section 3 Arts Learning 3.1 Section introduction by JSG explaining the relationships between arts and Creativity and the history of teaching and learning deriving from these paradigms 3.2 Mike Fleming (Durham University, UK) on the history of relationship between Art and Arts education (from CP literature review) 3.3 John Dewey on Art as Experience 3.4 Elliot Eisner (Stanford, US) on Art as perception and the development of connoisseurship 3.5 Kieran Egan (University British Colombia, Ca) on the role of imagination and language in perception 3.6 Kathleen Gallager (Ontario Institute for the Study of Education, Ca)reviewing models of learning in and through drama 3.7 Lois Hetland (Massachusetts Institute Art & Design, US)reviewing models of learning in and through the visual arts 3.8 Lucy Green (Institute of Education, University of London, UK) reviewing models of learning in and through music 3.9. Peter Abbs (University Sussex, UK) on creativity and the Aesthetic 3. 10 Democratic creativity. Ken Jones (University of Keele, UK) reviewing the history of this approach which is generally opposed to ‘the arts’ Section 4 Curriculum 4.1 This section introduction by KJ explores contemporary thinking about the nature, meaning and purpose of the curriculum. Contributors will be invited to ask questions about the place of creativity in respect of their pieces 4.2 Bill Pinar on ideas of how the curriculum is contested and always being made/remade (personal experience) 4.3 Michael Young (Institute of Education, University of London, UK) on historical paradigm shifts in knowledge, epistemology and curriculum development 4.4 Luis Moll (University of Arizona, US) on funds of knowledge and their relationship with formal schooling 4.5 Julian Sefton-Green on informal learning and out-of-school cultures 4.6 Robert Brooke on a creative curriculum to develop shared understanding of place and heritage 4.7 Glynda Hull (University of California, Berkeley, US) on changing forms of work for New Times and its implications for curriculum 4.8 James Beane (NC State College of education, US) on developments in Middle school curriculum reform and Integrated curriculum models 4.9 The Room 10 collective (Scotland) on Room 10 as an account of an innovative creativity curriculum 4. 10 Christine Hall and Pat Thomson (University of Nottingham , UK) on the limits to creative pedagogical change Section 5 Assessment 5.1 JSG introduction to the changing nature and role of assessment and evaluation in teaching and learning around the world with a special focus on the challenges of evaluating for creativity 5.2 Allan Luke (Queensland institute of technology, Aus)on international systems and procedures for assessment of learning 5.3 Patricia Broadfoot (University Bristol, UK) on European systems of assessment and evaluation 5.3 Paul Black (Kings College, University of London, UK) on theories/models of assessment thinking in the UK 5.4 John Steers (National Society Art and Design education, Roehampton University, UK) on assessment in Design Education 5.5 Sue Ellis (CLPE, UK) on developing evaluation procedures in primary schools for the understanding of progression in creative learning 5.6 Elliot Eisner (Stanford, US) on evaluation/assessment and Connoisseurship Section 6 School and System Change 6.1 Pat Thomson’s introduction (University of Nottingham, UK) outlining models of school change and relationship with interests in creativity, drawing on CP literature review 6.2 Deb Hayes’s (University of Sydney, Aus) account of 'Productive Pedagogies' and school reform in Queensland 6.3 Anne Lieberman (Teachers College, Columbia College, US) on the National Writing Project (US) 6.4 Richard Hatcher (Birmingham City University, UK) on innovation networks and system change/reform 6.5 Bob Jeffrey and Geoff Troman ()pen University, UK) on tensions and contradictions between performativity and creativity 6.6 Andy Hargreaves/Ivor Goodson (US/UK) on patterns of school reform over time, and key issues that make reforms stick or fail Section 7 Measuring Impact and Effect 7.1 JSG introduction examining attempts to evaluate the impact of creative and arts based initiatives at all levels of the education system 7.1 JSG/David Parker (Creative Partnerships, UK) on the challenges involved in developing system wide indicators to measure impacts of system change/reform in creativity initiatives 7.2 John Harland (independent/NFER) on theories and models of measuring the impact of Arts education at school level 7.3 Eileen Winner/Lois Hetland (Boston College/Massachusetts Institute Art & Design, US) on meta review of the impact and effect of Arts education 7.4 Chris Higgins (University of Illinois) review of world-wide indicators of impact and effect in arts education thinking and practices 7.5 Cathy Burke (university of Leeds, UK) on an historical review of creative school initiatives, their reception and incorporation trajectories Section 8 Artist/Education Partnerships 8.1 JSG/PT/KJ section introduction on the changing role of artists working alongside teachers in schools and implications for the teaching workforce 8.2 Graham Jeffrey (University West Scotland, UK) reporting on his extensive study of Arts/teacher partnership and their construction and functioning in educational discourse 8.3 David Holland (BOP UK) based on an extensive review for Creative partnerships exploring theories of partnership in new public management theory and comparing contrasting models of partnership working 8.4 Jennie Ozga/Nafsika Alexiadou (Edinburgh/Keele University, UK)on partnership issues in general in education 8.5 Emily Pringle (independent researcher) on artist perspectives on working in education partnerships Section 9 Tradition & Innovation: cross cultural perspectives on creativity 9.1 LB Introduction on interrogating models of creativity as theorised and practices in non-Western cultural contexts 9.1 Joseph Tobin (Arizona State University, US) on comparative anthropological approaches in educational studies 9.2 Minnette Mans, University of Namibia, on Creativity in African cultures 9.3. Koji Matsunobu, University of Illinois (formerly from Hiroshima University). On Creativity as self-cultivation in Japanese and Asian cultures 9.4. Samuel Leong, Hong Kong Institute of Education. Creativity and Spirituality in Asian cultures 9.5. Bernard Darras. Sorbonne University, Paris. Creativity from a French perspective 9.6. Janinka Greenwood, Canterbury University (or others) if we want to add a chapter on Creativity in Aboriginal cultures, New Zealand 9.7 Carlina Rinaldi, University of Modena, The Reggio tradition Epilogue Shirley Brice Heath on tracking learning across domains and developing youth programmes on creativity

Author Bio

Dr. Julian Sefton-Green is an independent consultant and researcher working in Education and the Cultural and Creative Industries. He is a special Professor of Education at The University of Nottingham, UK, and an Adjunct Associate Research Professor at the University of South Australia.

Dr Pat Thomson is Professor of Education at The University of Nottingham. She was commissioned by Creative Partnerships to produce a literature review on whole school change (available on the CP website) and is directing the largest CP national research project on how schools have taken up the offer made by CP.

Dr. Liora Bresler is a Professor at the College of Education, and at the School of Art and Design, and a Fellow at the Academy of Entrepreneurial Leadership at the University of Illinois at Champaign.

Dr Ken Jones is Professor of Education at Keele University. He has taught English in London comprehensive schools, and been a teacher educator in London.

Related Subjects

1. Creativity
2. Research Methods in Education
3. Education Policy
4. Educational Research