WONDERING and GENERATING How teaching an emergent art and design curriculum at Level 2 meets learner needs and facilitates progression onto Level 3 and beyond

Exploring the effects of linear and emergent curricula on creative learning

TEACHING TO THINK LIKE AN ARTIST

"Don't kill the ideas"

Cindy Foley

PROBLEMatics OF A time-poor LINEAR CURRICULUM when teaching creativity

"...There appears to be a closing down rather than an opening up of the possibility of generating new knowledge." (SOmerville, 2008)

"...my experiences to date have illustrated to me that much art teaching and schooling are actually anti-ARt, and moreover anti-education" (Hickman, 2010)

"...creative strategies are often discouraged and curriculum-based assessment measures of creativity are underdeveloped." (Partnership of 21st Century Learning: P21), 2015

what is creativity? WHAT IS Creative Learning? how can we support & develop creative thinkerS?

CREATIVity IS NOT synonymous with:

Doing a perfect copy of an artists work

MAKING

intuitive processes that some people understand and others don’t

Being able to draw

Meeting Assessment Objectives

Process, Process, Process

ART, CRAFT AND DESIGN

Creativity IS synonymous with:

EVERYONE!

Embodied and tacit knowledge

Convergent & DIVERGENT THINKING

a MULTIDISCIPLINARY approach

PROBLEMATISING & PROBLEM SOLVING

MENTAL FLEXIBILITY

EMBRACING THE UNKNOWN

HOW can i DIVERGE FROM THE PATH LAID OUT TOWARDS A more EMERGENT CREATIVE CURRICULA?

"creativity thrives on constraints" (P21,2015)
"...irrational, messy and embodied process of becoming-other-to-one's-self" (Somerville,2008)
incorporate interdisciplinary research and dialogue
A/R/Tography and a community of practice: "processes of collaboration that nourish and enrich" (boulton, grauer, irwin, 2016)

THANK YOU FOR listening

HOW can I introduce more emergent/creative elements into my linear curriculum?

HOW CAN i ASSESS CREATIVE EMERGENT methods DESPITE CURRICULUM CONSTRAINTS?

REFERENCES:

  • Hickman, R. (2010). Why we make art and why it is taught. Chicago: Intellect.
  • Partnership of 21st Century Learning. (2015). What we know about Creativity. Retrieved from P21: Partnership of 21st Century learning: http://www.p21.org/storage/documents/docs/Research/P21_4Cs_Research_Brief_Series_-_Creativity.pdf
  • Mitchell, D. M. (2016). This is the best lesson ever, Miss…’: Disrupting Linear Logics of Visual Arts Teaching Practice. The International Journal of Art and Design Teaching, 35(2), 259–274. doi:10.1111/jade.12061
  • Rhodes, M. (1961, April). An analysis of creativity. The Phi Delta Kappan, 42(7), 305-310.
  • Somerville, M. (2008). 'Waiting in the chaotic place of unknowing': Articulating postmodern emergence. International Journal of Qualitative Studies in Education, 21(3), 209-220.
  • Springgay, S., Irwin, R., & Kind, S. W. (2005). A/r/tography as Living Inquiry Through Art and Text. Qualitative Inquiry, 11(6), 897-912.
  • Budge, K. (2016). Teaching art and design: Communicating creative practice through embodied and tacit knowledge. Arts and Humanities in Higher Education, 15(3), 432-445.

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Credits:

All my own Photographs of students work and process

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