Reflecting on a creative session with 16 – 19 year old learners in the BTEC Extended Diploma in Art and Design.
This report will evaluate a creative teaching strategy used in the BTEC Extended Diploma in Art and Design Classroom. It looks at creative teaching practice, researching, planning and applying creative ideas to help increase learners’ motivation and self-expression as well as developing my own teaching practice. This report is based on Kolb’s (1984) reflective model as presented in Gravells (2012, p.36). I will use his experiential four stage learning cycle to assist my teaching practice. Kolb maintains that we learn through experience but only if we process that and make sense of it, can we develop and refine our sessions. It is a four stage cycle and begins with concrete experience, observation and reflection, abstract conceptualisation and active experimentation.
In other words, to carry out the assigned task first. Then, reviewing what has been done; if it went as well as expected or not. The third stage, looks at interpreting what happened and why? And looking at how you could do it differently next time. Then, the last stage is defining ways to do the task differently next time. It is stated that this learning process can start at any point; it is continuous and suggests that mistakes would be repeated if there was no reflection (Gravells, 2012, p. 36).
Cowley (2005, pp.1-9) investigates creativity in-depth and debates that the key words meaning creativity come under the headings of: imaginative, original, new, of value and purposeful. Cowley emphasises that through her research she has found there is a strong emphasis on the production of ‘an end product’ which has some kind of value as well. She further concludes that the creative approach can be beneficial to: having fun, advancing humanity, impacting on our world, a cultural expression, a sense of unity, improved self-esteem, personal fulfilment, discovering own strengths and problem solving. We could also find ways to include sensory learning; creating an environment that appeals to all the senses (Cowley, 2005, p 1-9).
Petty (2009, p.322) reviews the topic of creativity in learning and lists four main reasons why it is important: 1.
To develop our students’ ability to think creatively and to solve problems 2.
To enable students to use knowledge productively and meaningfully. 3.
To increase motivation.
To provide an opportunity to explore feelings and develop skills in self-expression. Creative Culture and Education (CCE) (2009-2013) believes in the fundamental value of unlocking creativity of young people in and out of education and enabling them to experience and access a diverse range of creative and cultural activities because it: brings intrinsic pleasure and benefits to young people; raises their aspirations; improves their achievements and skills; unlocks their imaginations and brings about lasting improvements in the quality of their lives. Ofsted Inspectors have stated within CCE that they have seen evidence that young people, who have participated in Creative Partnerships activities, have improved significantly in the basic learning skills, confidence and creative skills. They said that: ‘Improvements in literacy, particularly writing and speaking were significant in the majority of schools visited... and were effective in developing in pupils some attributes of creative people: an ability to improvise, take risks, show resilience, and collaborate with others. Creative practitioners, teachers and support staff clearly valued these skills for pupils to develop and apply in order to express their own creativity...’ (Ofsted, 2009-2013, pp.1-36) Leading authority on creative thinking and philosopher, De Bono...
References: Coffield, F. (2005) ‘Research Matters: Learning Styles: help or hindrance?’ Institute of Education, Research Matters, No.26, pp. 1-8.
Cowley, S. (2005) Letting the Buggers be Creative. London: Continuum International Publishing Group.
Creativity, Culture and Education. (2009 – 2012) Why Creativity? Ofsted: The impact of Creative Partnerships. Available at: www.creative-partnerships.com/ (Accessed: 28 October 2013).
De Bono, E. (2012) How to Have Creative Ideas: 62 exercises to exercise the mind. Google Books (Online). Available at: http://books.google.co.uk/books?id=zGuV7jz5rkUC&pg=PP5&lpg=PP1&... (Accessed: 29 October 2013).
Gravells, A. (2012) Preparing to teach in the Lifelong Learning Sector. London: Learning Matters.
Honey, P and Mumford, A. (1992) The Manual of Learning Styles (3rd Edition). Maidenhead: Peter Honey Associates.
Malthouse, R. And Roffey-Barentsen, J. (2013) Reflective Practice in Education and Training (2nd Edition). London: SAGE Publications Ltd.
Miliband, D. (2004) ‘Personalised Learning: Building a New Relationship with Schools’, North of England Education Conference, Belfast, 8 January.
Petty, G. (2009) Teaching Today: A Practical Guide (4th Edition). Cheltenham: Nelson Thornes Ltd.
Reece, I. and Walker, S. (2007) Teaching, training and learning: A Practical Guide, (6th Edition): Business Education Publishing.
Schon, D. (1983) The Reflective Practitioner: How professionals think in action, Temple Smith: London.
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