ICT: a number of methods using online tools such as blogs, wikis, social networks and virtual worlds to ‘spark creativity’ are described. The strategies aim to help students understand, develop and improve their personal creative thinking processes. By using online tools, learning environments can be enhanced to allow students to explore, rationalize, combine and share ideas in ways that encourage creativity skills such as critical analysis, problem solving, development and implementation.Read more Northcott, Miliszewska & Dakich (2007).
What should you think about when fostering creativity, innovation and imagination in your teaching
Answer Yes to these
Teaching philosophy: I believe in student-centred learning. I think about the contribution I am making to the development of students skills and capabilities for their future professional lives.
Pedagogies: Approaches for fostering creativity, innovation and imaginationwhich characteristically emphasize constructivist learning suit my teaching.
Curriculum: There are specific learning outcomes I wish my students to have in my course.
Tools for learning: I can motivate my students to adopt creative, innovative and imaginative learningstrategies. I can incorporate strategies for creativity, innovation and imaginationinto my course.
Commitment: I can identify a ‘creativity, innovation and imagination’champion who will support innovative practice.
Why is it important?
Creativity and innovation are essential qualities for surviving and thriving in the knowledge-based society of the twenty-first century (Craft, 2006). Creativity is a necessary way of thinking and doing and is not just relevant to the cultural industries (McWilliam, 2007). Creativity and innovation are essential for managing complexity, challenges and turbulence of the economic and social orders in which we live where knowledge creation is a highly valued commodity (McWilliam, 2007; Swirski, Wood & Solomnides, 2008). The response of higher education therefore is to support and prepare students to effectively manage and work in such environments by supporting the development of creativity, flexibility and motivation (Knight & Yorke, 2003).
What is it and how does it support learning? What does recent research say?
The creative mind often goes against the grain, breaks new ground, asks new questions and considers unfamiliar ideas (Gardner, 2006). They are independent, confident, sensitive, curious and committed (Franklin & Theall, 2007). Creative learners explore new ways of thinking and derive unexpected answers. They are tenacious and will risk failure to make a difference (Gardner, 2006). Aligned to creativity, imagination is the ability to speculate alternative realities and to explore personal, social and aesthetic possibilities (Greene, 2001).
Creative learners need to learn to give and receive constructive criticism and to decipher what criticism they have received is to be accepted or ignored. They need to learn to internalize and anticipate criticism and as a result become their own best critics (Gardner, 2006).
Creativity is found in all disciplines where design, research and innovation are practiced (Franklin & Theall, 2007) and even though there may be conceptual variations in how it is understood, underlying characteristics of creativity involve “notions of novelty and originality combined with notions of utility and value” (Kleiman, 2008, p 209).
Creativity must also be socially situated because the legitimation of creative work is dependent on community in that creativity must be judged and accepted as worthwhile by a disciplinary or knowledgeable audience and not the individual (Dineen & Collins, 2005, Gardner, 2006).
McWilliam (2007) argues that creativity can be taught in all disciplines but a number of pedagogical implications need to be considered so that learning is not about the passing of fixed knowledge. In building students’ capacity for creativity in future work environments, she suggests the ‘prod-user’ model where students and academics work collaboratively to ‘edit reality’ and produce outcomes through assembling, adapting, experimenting, meddling and playing. They use processes that include mixing, juxtaposing, comparing and discarding information to arrive at a solution and have abilities to judge and assess the quality of work.
A recent small scale study by Walker & Gleaves (2008) that investigated students’ perceptions and understandings of creativity as an assessment criterion found that students need support to ensure they have situated rather than abstract notions of creativity.
Kleiman (2006) builds on research that explores the ways that academics conceptualize creativity in relation to their teaching. His study in the arts, humanities and science disciplines revealed five variations that view creativity as an experience that can be constraint-focused, process-focused, product-focused experience, transformation-focused and fulfillment-focused. He also suggests that academics need to be actively involved in nurturing their students’ creativity rather than only delivering a ‘creativity agenda’.