Creativity and the Arts
|Module title||Creativity and the Arts|
Dr Kerry Chappell (Convenor)
|Number students taking module (anticipated)|
Description - summary of the module content
What is creativity and how do the arts reflect and develop this phenomenon? In this module we explore overlapping relationships between creativity and the arts in education drawing on research and practice within the social sciences and arts based educational research as applied to educational contexts. It is taught by a team of specialists in creativity and the arts in relation to education. You will develop your understanding of accounts of creativity with particular reference to key theoretical approaches e.g. possibility thinking and wise humanizing creativity. You will be introduced to philosophical standpoints toward the arts and the aesthetic, and will explore pedagogical issues for creativity in learning and teaching the arts. The module includes a focus on theory, policy and practice and gives you opportunities to discuss these with reference to varied cultural contexts.
This module is suitable for specialist or non-specialist students, although non-specialist students must have an active interest in a particular art form and be willing to undertake practical arts-based activity in visual arts, music, dance and drama.
Module aims - intentions of the module
To develop understanding of the key concept of creativity.
To provide an introduction to a range of philosophical standpoints towards the arts and the aesthetic.
To provide an introduction to important pedagogical issues for creativity in learning and teaching the arts different cultural contexts from the stances of theory, policy and practice.
Intended Learning Outcomes (ILOs)
ILO: Module-specific skills
On successfully completing the module you will be able to...
- 1. demonstrate a critical understanding of the nature and value of creativity in education;
- 2. demonstrate a critical understanding of learning in the arts;
ILO: Discipline-specific skills
On successfully completing the module you will be able to...
- 3. critically reflect upon and evaluate your own approach or that of other specialist practitioners to fostering creativity in learning and teaching in the arts;
- 4. critically appraise the module content in order to question and inform your own professional practice;
ILO: Personal and key skills
On successfully completing the module you will be able to...
- 5. synthesise and organise ideas to present an argument;
- 6. undertake both directed and independent study to recognise, justify and analyse key ideas in the literature and relate to practice;
- 7. work collaboratively in small groups with peers; and
- 8. present ideas verbally and through writing and engage in critical reflective debate.
Whilst the module's precise content may vary from year to year, it is envisaged that the syllabus will cover some or all of the following topics:
- understanding creativity and how it can be framed; in particular Possibility Thinking and Wise Humanising Creativity as ways of understanding and nurturing creativity in the arts and beyond;
- exploring characteristics of the arts, discussing misapprehensions and raising questions about defining the arts in various cultural contexts;
- investigating the main theories of play, how they contribute to learning and relationship between play and creativity;
- exploring Possibility Thinking as a way of understanding and nurturing creativity in the arts and beyond;
- researching children's creativity in the arts and beyond;
- documenting and assessing creativity in the arts and beyond; develop knowledge and understanding of creative teaching and learning in particular through partnership;
- gaining an introduction to different pedagogical perspectives on learning and the implications for different teaching contexts and cultures.
The module seeks to enable you to apply approaches to creativity and the arts through active reflection on practice and theory with a focus on pedagogy alongside policy framing. Independent, collaborative and peer to peer learning is also encouraged. Core staff are joined by visiting lecturers who specialise in the applied areas such as arts-education partnership, student voice and participation; a visit is also usually made to a creative school.
This module descriptor captures two modes of delivery: campus-based (C) and blended (B). In the Learning and Teaching section below there are two sets of numbers: one pertains to campus-based delivery and one to blended delivery. Students enrolled on the blended mode will be expected to undertake more independent guided study than those on the campus-based mode.
Learning and teaching
Learning activities and teaching methods (given in hours of study time)
|Scheduled Learning and Teaching Activities||Guided independent study||Placement / study abroad|
|30 (C) 18 (B)||270 (C) 282 (B)|
Details of learning activities and teaching methods
|Category||Hours of study time||Description|
|Scheduled Learning and Teaching Activities||24 (C)||(C): 2 x 1.5 hr lecture, 4 x 1.5 hr workshops, 2 x 1.5hr seminar (2 Saturdays with (B) students) AND 8 x 1.5 hr lecture/seminars|
|Scheduled Learning and Teaching Activities||12 (B)||(B): 2 x 1.5 hr lectures, 4 x 1.5 hr workshops, 2 x 1.5hr seminars (2 Saturdays with (C) students)|
|Scheduled Learning and Teaching Activities||3 (C) 3 (B)||Individual supervision by academic tutor, face to face or online.|
|Scheduled Learning and Teaching Activities||3 (C) 3 (B)||Face to face or online debates facilitated by tutors|
|Guided independent study||32 (B)||Independent Study using online directed tasks to study key aspects of creativity in specialist field arts practice|
|Guided independent study||80 (C) 60 (B)||Directed study: preparatory work for taught sessions including reading; research tasks; collaborative tasks|
|Guided independent study||90 (C) (B)||Assignment preparation|
|Guided independent study||100 (C) (B)||Self directed study|
|Form of assessment||Size of the assessment (eg length / duration)||ILOs assessed||Feedback method|
|Possibility of face to face presentation OR online presentation||1500 words equivalent for presentation (approx 10 minutes)||1-8||Verbal from tutor and peers|
Summative assessment (% of credit)
|Coursework||Written exams||Practical exams|
Details of summative assessment
|Form of assessment||% of credit||Size of the assessment (eg length / duration)||ILOs assessed||Feedback method|
|Written Assignment||40||2500 words||1-6, 8||Written and verbal from tutor|
|Written Assignment and annotated bibliography||50||2500 words plus 1000 words for bibliography||1-6, 8||Written and verbal from tutor|
|Contributions to online discussions||10||500 words||1-8||Written tutor feedback|
Details of re-assessment (where required by referral or deferral)
|Original form of assessment||Form of re-assessment||ILOs re-assessed||Timescale for re-assessment|
|Written Assignment||Written assignment (2500 words)||1-6, 8||6 weeks|
|Written Assignment and annotated bibliography||Written assignment (2500 words) and annotated bibliography (1000 words)||1-6, 8||6 weeks|
|Contributions to online discussions||Reflection on online discussion experience (500 words)||1-8||Written tutor feedback|
Indicative learning resources - Basic reading
ABBS, P. (Ed) (1988) A is the Aesthetic, London, Falmer Press. Chapter 1.
ABBS, P. (1994) The Educational Imperative, London, Falmer Press, Chapter 3
ABBS, P. (2003) Against the flow: Education, the arts and post modern culture. London: Routledge Falmer.
BANAJI, S. & BURN, A. (2010) (2nd edition) The Rhetorics of Creativity: A Review of the Literature, London, Arts Council England.
BANCROFT, S. FAWCETT, M. and HAY, P. (Eds) (2008) Researching Children Researching the World: 5x5x5=creativity. Trentham Books.
BEGHETTO, R. A. and KAUFMAN, J. C. 2007. Toward a broader conception of creativity: A case for 'mini-c' creativity. Psychology of Aesthetics, Creativity and the Arts, 12, 73-79.
BIESTA, G. J. J. (2006) Beyond learning: Democratic education for a human future Boulder: Paradigm
BODEN, (2004) The Creative Mind: Myths and Mechanisms, (2nd ed) London: Routledge. (‘In a Nutshell – pages 1-10)
BEST, D. (1992) The Rationality of Feeling, London, Falmer Press, Chapter 7.
CHAPPELL, K., WITH CRAFT, A. R., ROLFE, L., & JOBBINS, V. (2012). Humanizing creativity: Valuing our journeys of becoming. International Journal of Education & the Arts, 13(8). Retrieved [28 Nov 2013] from http://www.ijea.org/v13n8/.
CHAPPELL, K., ROLFE, L., CRAFT, A., JOBBINS, V. (2011). Close Encounters: Dance Partners for Creativity. Stoke on Trent: Trentham Books
CHAPPELL, K. & CRAFT, A. (2011). Creative Learning Conversations. Educational Research 53:3, 363-38
CHAPPELL, K., CRAFT, A., BURNARD, P., CREMIN, T (2008), Question-posing and Question-responding: the heart of ‘Possibility Thinking’ in the early years. Accepted for publication in Early Years, Vol 28, Issue 3, October 2008 pp267-286. Retrieved October 14, 2008, from http://www.informaworld.com/10.1080/09575140802224477
CRAFT A. (2005) Creativity in Schools: Tensions and Dilemmas. London: Routledge. Chapter 11: What is left? Creative co- construction
CRAFT, A (2010). Teaching for Possibility Thinking: what is it, and how do we do it? Learning Matters, Melbourne, Catholic Education Office, 15(5), 19-23
CRAFT, A. (2010), Possibility Thinking and Fostering Creativity with Wisdom: opportunities and constraints in an English context. In Bhegetto, R., Kaufman, J. (Eds). Nurturing Creativity in the Classroom. Cambridge: Cambridge University Press, 289-312
CRAFT, A. (2011). The Possibilities are Endless. Teach Nursery, 1(3) p49-50
CRAFT, A., CREMIN, T., BURNARD, P., CHAPPELL, K. (2007). Teacher Stance in Creative Learning: A Study of Progression. Thinking Skills and Creativity, Vol. 2, Issue 2, Autumn 2007 pp. 136-147
CRAFT, A., CREMIN, T., HAY, P., CLACK, J. (2012). Creative Primary Schools: Developing Pedagogy for Creativity. Paper presented at British Educational Research Association Conference, September 2012.
CRAFT, A., JEFFREY, B. and LEIBLING, M. (Eds) (2001), Creativity in Education. London: Continuum . Chapter 3: Anna Craft – Little c Creativity
CRAFT, A., McCONNON, L., MATTHEWS, A. (2012) Creativity and child-initiated play: fostering possibility thinking in four-year-olds. Thinking Skills and Creativity , 7(1) , 48-61. doi:10.1016/j.tsc.2011.11.005
Creative Partnerships (2007) Building Creative Partnerships: A Handbook for Schools, London, Arts Council England. CREMIN, T., BURNARD, P., and CRAFT, A. (2006). Pedagogy and possibility thinking in the early years, Journal of Thinking Skills and Creativity Vol. 1, Issue 2, Autumn 2006, pp.108-119
CREMIN, T., CHAPPELL, K., CRAFT (2013), Reciprocity between narrative, questioning and imagination in the early and primary years. Thinking Skills and Creativity 9 (2013) 135– 151 DoI http://dx.doi.org/10.1016/j.tsc.2012.11.003
FLEMING, Michael (2008) Arts in education and creativity: a review of the literature, Creative Partnerships and Arts Council England, London
GALLAGHER, K. M. (2011) In search of a theoretical basis for storytelling in education research: story as method, International Journal of Research & Method in Education, 34:1, 49-61 http://dx.doi.org/10.1080/1743727X.2011.552308
JEFFERY, G. (Ed) (2005), The Creative College: Building a Successful Learning Culture in the Arts, Stoke on Trent, Trentham Books. Chapter 5 - Professional identities: artist and activist teachers?
JEFFREY, B. & CRAFT, A. (2004), Teaching Creatively and Teaching for Creativity: distinctions and relationships, Educational Studies, 30 (1), 77-87.
NATIONAL ADVISORY COMMITTEE ON CREATIVE AND CULTURAL EDUCATION (NACCCE) (1999) All Our Futures: Creativity, Culture and Education. London: DfEE
McLELLAN, R., GALTON, M., STEWARD, S., PAGE, C. (2012) The impact of creative initiatives on well-being: a literature review. Newcastle Upon Tyne: Creativity, Culture and Education. Chapter 5 Concluding thoughts: the relationship between creativity and wellbeing. Available at h: ttp://www.creativitycultureeducation.org/wp-content/uploads/CCE-Literature-Review- Wellbeing-and-Creativity.pdf
McWILLIAM, E. (2008). Unlearning how to teach. Innovations in Education and Teaching International, 45 (3), 263-269.
MOYLES, J. (2005) The Excellence of Play [2nd Edition] Maidenhead: Open University Press.
PAGEL, Mark (2012) Wired for Culture: the natural history of human cooperation, Allen Lane, pp.108-113
RINALIDI, C (2006) In Dialogue with Reggio Emilia: Listening, researching and learning, London, Routledge. Chapter 4:documentation and assessment
RING, K. (2006). Supporting young children drawing: Developing a role. International Journal of Education through Art, 2, 3, 195-209.
ROBINSON, K. (2001) Out of Our Minds: learning to be creative, Oxford: Capstone. Chapter 7 – Balancing the books
ROBINSON, K. (2009). The Element. How Finding Your Passion Changes Everything. Place, Publisher?
SPENCER, E., LUCAS, B., CLAXTON, G. (2012). Progression in Creativity: developing new forms of assessment. Newcastle: CCE
http://www.creativitycultureeducation.org/wp-content/uploads/Progression-in-Creativity-Final-Report-April-2012.pdf (7 July 2012)
THOMSON, P., HALL, C., JONES, K. & SEFTON-GREEN, J. (2012) The signature pedagogies project Final Report. Newcastle upon Tyne: Creativity, Culture and Education. Available at: http://www.creativitycultureeducation.org/wp-content/uploads/Signature_Pedagogies_Final_Report_April_2012.pdf
TROTMAN, D. (2008) Liberating the wise educator, cultivating professional judgement in professional practice. In A. Craft, H. Gardner & G. Claxton Creativity, wisdom and trusteeship: Exploring the role of education. Thousand Oaks, CA: Corwin Press
WOOD, E, and ATTFIELD, J. (1996) Play, Learning and the Early Childhood Curriculum, London, Paul Chapman.
WINNER, E., GOLDSTEIN, T., VINCENT-LANCRIN, S. (2013). Art for art’s sake: The impact of arts education. Educational Research and Innovation, OECD Publishing. http://dx.doi.org/10.1787/9789264180789-en.
Module has an active ELE page
|NQF level (module)|
|Available as distance learning?|
|Last revision date|