characteristics of creativity
Народное образование. Педагогика
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AbstractThe Russian educational system is currently experiencing significant changes. Among the courses for transitioning to an innovative, socially oriented type of economic development included in the Concept for Long-Term Socio-Economic Development of the Russian Federation by 2020 are strategic goals in the sphere of education: a transition from a system of mass education to continuous, individualized education for all students, as well as an emphasis on the development of creative, socially responsible individuals (Novoselova, P. N., 2013). Much research by philosophers, psychologists, and pedagogues has been dedicated to the problem of forming a creative individual.
Yachina N. Formation of The Creative Person / N. Yachina, G. Fahrutdinova // Procedia - Social and Behavioral Sciences. - 2015. - Vol. 177. - P.213-216.
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Creativity Education Model through Dance Creation for Students of Junior High SchoolMalarsih (Universitas Negeri Semarang, 2015-01-01)This study aims to realize dance as a real product of a dance education process. The product is packaged in a form of audio-visual as well as a scientific publication. As the benefit from this study, the product can be used by school and specifically by dance teacher as a guidance in conducting dance lesson at school. The study on the model of creativity education through the creation is being understood as a form of developmental research. As a developmental research, the research plan is initiated by analyzing the teaching material related to dance lesson, and relate it to the creativity education which has to be accomplished through dance lesson, specifically for Junior High School students. The study will be continued with theoretical/ conceptual analysis and observation which is related to creativity education through the dance creation. In the end of this study, model of creativity education through dance creation is produced, particularly for students of Junior High School level. Results of the study show that, in doing creativity activity through dance creation, the value of the dance as an art is not become the primary aim. Moreover, the main aim of this process is towards the creativity process itself. While producing and creating the dance, two major educational points are derived, which are: the creativity and product value in a form of dance. Based on background of the idea, through this pilot project, the creativity of creating dance for public schools students, especially Junior High School, is possible to be done and used as a dance creativity learning model in Junior High School. Two suggestions are formulated in this study: (1) it is suggested for dance teachers in public schools, in this context is Junior High School teachers, to set their teaching and learning process into the creativity education as it is implied in curriculum. (2) In order to achieve the creativity education itself, the dance creation as one of art subject which is given to schools, should become the main priority in its learning implementation as an instrument to build students character to be more creative in thinking.
Teachers’ beliefs about creativity and practices for fostering creativity in science classrooms in the State of KuwaitWegerif, Rupert; Mansour, Nasser; Alsahou, Hamed (University of ExeterGraduate School of Education, 2016-01-13)Fostering students’ creativity in school subjects has recently become a central focus of educational researchers, educators, and educational policymakers around the world. In Kuwait, educational researchers and teacher educators have supported the need to foster students’ creativity via a national curriculum. Yet, the Ministry of Education has conducted few studies to explore practitioners’ perspectives on how to foster creativity through the current curriculum. The overall aims of this study were to explore science teachers’ pedagogical beliefs and practices in fostering creativity in science classrooms as well as to investigate the influences of sociocultural factors on teachers’ beliefs and practices in fostering creativity. The study also examined the consistency and inconsistency levels between teachers’ beliefs and practices. The study has a qualitative nature that stands on an interpretive worldview. The methodology uses eight case studies, each of which consisted of a male science teacher and one of his classes. Multiple methods were used, including semi-structured interviews (pre- and post-observational interviews), student focus groups, unstructured observations, participants’ drawings, and field notes. The analysis was based on thematic analysis model proposed by Braun and Clarke (2006). Thematic findings and case studies findings were drawn from the analysis of the data collected. In general, the thematic findings indicated that science teachers are able to define the meaning of creativity and its main aspects. Professed pedagogical beliefs enforce four teaching approaches to foster creativity in the science classroom: the teaching of thinking skills, inquiry-based learning, cooperative learning, and practical investigation (experimentation). The teachers believe that these approaches could promote students’ creativity in science classroom when specific sociocultural factors facilitate the effectiveness of such approaches in terms of fostering creativity. Three interdependent categories represent these facilitating factors: (1) educational setting-related factors, (2) teacher-related factors, and (3) student-related factors. Differences and similarities appeared when these professed beliefs were compared to the applied classroom practices. The thematic analysis revealed several themes underlying the main categories. Extensive teacher-centred practices and modest student-centred practices were evident; more specifically, the observations revealed primarily teacher-centred approach inside the science classes. Meanwhile, student-centred approaches were modestly applied in comparison to teacher-centred activities. The teachers justified their practices in accordance with the sociocultural factors that mediate their beliefs and practices as well as the role of their goal orientation. The science teachers perceived the mediating factors as constraints that prevent them from applying their beliefs about fostering creativity in classroom practices. Multiple constraining factors emerged, and they were categorised into personal, external, and interpersonal constraints. Concerning the case study findings, consistencies and inconsistencies were identified using a cut-off point as an analytic technique to classify teachers’ beliefs and practices into traditional (non-creativity fostering), mixed, or progressive (creativity fostering). The case study findings identified four consistency and inconsistency levels characterizing teachers’ beliefs and practices: traditional (consistent level), mainly traditional (inconsistent level), mixed (consistent level), and mainly progressive (inconsistent level). Each level was represented by an exemplary case study. The exemplary case studies revealed that sociocultural contexts influence teacher’s belief-practice relationship with respect to fostering students’ creativity in science classroom. Further, the thematic and case study findings were discussed in relation to the existing body of knowledge, followed by an illustration of significant conclusions, including some implications, contributions, limitations, and future suggestions.
Fostering creativity skills in online MBA programs: perceptions of MBA alumniAllen, Mark; Orlando, Mark D. (Pepperdine University, 2015)With companies seeking to increase organizational efficiency while promoting prosperous growth, creativity has become one of the most important leadership qualities sought after by employers. This has put a demand on Masters of Business Administration (MBA) graduates to possess creative skills, as well as a dependency for MBA students to acquire a quality MBA education. Although business education has entered into new domains of online learning, the criticism remains that business education does little to foster or strengthen students' creativity skills. Thus, with the evolution of online education arises a need to research the effectiveness of creativity within these new domains. This phenomenological study analyzed MBA alumni's perceptions about the fostering of creativity skills within an online MBA program. A qualitative study was conducted with 25 participants from 3 separate U.S. and internationally based online MBA programs in order to gain insight into the needed improvements and or positive instructional design elements, facilitation practices, and technological media tools that foster creativity in online MBA programs. This study addressed the following research questions through the lens of MBA alumni: 1. What are alumni perceptions regarding facilitation (of instructors) that either enhance and or stifle creativity skills in an online MBA program? 2. What are alumni perceptions regarding instructional design elements (exercises, assignments, and or activities that are built into curriculum) that either enhance and or stifle creativity skills in an online MBA program? 3. What are alumni perceptions regarding technological media that either enhance and or stifle creativity skills in an online MBA program? Among the findings of this study was the discovery of several themes that concur with experiences that foster creativity skills in online MBA programs: 1. Informal and flexible instructors and course content equates creative learning opportunities. 2. Various active facilitating methods foster a learning process. 3. Latitude of creative learning is enhanced by the freedom and flexibility of students' choices. 4. Program content and delivery are driving factors in incorporating new knowledge and or creativity skills. 5. Technological media tools and opportunities that are driven by the student lead to the learning and practicing of creativity.