creativity in european schools #flri
Post on 21-Oct-2014
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A presentation supporting our research project into creativity in European schoolsTRANSCRIPT
Interviews with educational stakeholders and analysis of Good Practices on
Creativity and Innovation in Education and Training in the EU Member States
Drs. Sue Cranmer and Carlo Perrotta, Futurelab
Dr. Shakuntala Banaji, Researcher/Lecturer, Centre for the Study of Children,Youth and Media, Institute of Education, University of London
'Creativity in EU Schools'
Introduction
This study is IPTS funded:
•investigating how targeted educational stakeholders recognise and conceptualise the importance of Creativity and Innovation in compulsory schooling in the EU 27 member states
•Parallel project: Creativity in Schools in Europe: A Survey of Teachers
http://ipts.jrc.ec.europa.eu/publications/pub.cfm?id=2940
Research questions
The main research questions to be addressed by the study are:•What is the level of creative learning and innovative teaching taking place in school, according to educational stakeholders?•What is the link between educational policies on Creativity and Innovation and the educational practices according to educational stakeholders?•Identify examples of best practices of creative learning and innovative teaching in Europe?
Educational stakeholder interviews
Data collection
•90 semi-structured interviews (30 – 60 minutes, mainly in English) – school inspectors, teacher trainers and academics•10 best practices – interviews and analysis of additional documents and data (website, resources for learners and teachers, reports etc)•Initial analysis – UK and Greece
Barriers to creativity and innovation
England:• Gap between policy and practice• ‘Creativity’ named in curriculum; often seen as ‘marginal’
by teachers• Pressure to teach to the test• Gap between teaching practices – group work, project
work, peer evaluation and SATS/GCSE results• Teachers – shortage of time; overwork; confidence to
take risks, crowded PGCEs• ICT mainly complementing traditional methods,
filtering/blocking
Barriers to creativity and innovation
Scotland:• Curriculum for Excellence being introduced August 2010• More optimistic picture• Some schools remain more traditional: teachers play it
‘safe’, stand in front of class, stay in control, lack confidence to take risks
• Assessment procedures under review – challenge is to align to CfE, assess elements of creativity, process not just the product
• ICT – quite positive, schools can be remote, ICT programmes developed for students to be national/international learners (though slow/patchy)
Barriers to creativity and innovation
N Ireland:• Much more optimistic now – new curriculum allowing for
creativity• Previously much stifled by adoption of English National
Curriculum• Some parts of NI still suffer from aftermath of years of
social unrest• Teachers in NI suffer from English press coverage which
is very negative
Barriers to creativity and innovation
Greece 1:• Vagueness in what teachers understand by ‘creativity’• Can be ‘darker’• New curriculum 2003, ‘creativity’ mentioned frequently• Policy/practice gap• Teachers say they don’t know how to support it or
assess it, lack confidence, time, energy, training• ICT used to complement traditional methods
Barriers to creativity and innovation
Greece 2:• More positive, yet still policy/practice gap • “chasm” between objectives at macro level and micro
level in schools• Little space in classroom for ‘creativity’• Teachers – lack confidence, climate doesn’t support
them trying out new approaches• Assessment – to evaluate traditional content knowledge
in traditional ways• ICT – Government providing training, some teachers’
uses are a bit more innovative
European good practicesNational
The Netherlands: Value in the Valley
http://www.valueinthevalley.nl/index.html
What is it?
• Launched in 2005• Students from different fields of study and
different levels of education (secondary vocational, university) + employers
• Aiming to become innovative professionals in the area of renewable energy
• Addressing global challenges in creative and interdisciplinary ways, finding innovative ways of solving problems
How does it work?
• An online space to coordinate projects and share information and knowledge on specific subjects
3 key assumptions
• Learning and working should be more intertwined; the difference between schools and companies gradually declines
• The key to knowledge creation is cooperation and co-creation by students, lecturers and experts from the working field
• Implementing a new educational concept starts with transforming culture, bringing together the best of the worlds of education and work.
Local
• Greece: Can we “see” the sound?
What is it? • 2 instances: first in 2000/2001 and then in 2005.
It involved Greek pupils in the fifth and sixth grades (10-12 years old) in cross-curricular learning
• The pupils were provided with a range of musical instruments and tools, including computer equipment and software
The aims
• to provide pupils with the support and the tools to liberate their creative potential and imagination
• “Pupils should not spend their whole energy and time to study the work of others but they should have energy and time to create, explore and question” (Kamplys and Berki, 2006: 195).
A clear pedagogical vision
• Montessori method
• A multisensory and participatory approach to “unlock the natural disposition that every child has towards discovery”
• A democratic and emancipatory view of creativity: creativity as a liberating force
• Best practices require energy and dedication from individuals or groups
• They struggle to stimulate significant innovations at a systemic level...
• ...but illustrate the plurality of local, national and cultural understandings of C&I
• Fostering creativity in practice requires a clear pedagogical vision, it cannot be improvised