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Journal articles on the topic 'Creativity in education'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 January 2023

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1

Simonton, Dean Keith. "Teaching Creativity." Teaching of Psychology 39, no. 3 (June 21, 2012): 217–22. http://dx.doi.org/10.1177/0098628312450444.

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In the past decade, the psychological study of creativity has accelerated greatly. To facilitate the teaching of creativity, I provide an overview of the recent literature. The overview begins by discussing recent empirical results and research trends. This discussion specifically treats creativity’s cognitive, differential, developmental, and social aspects. Then I outline central controversies in the study of creativity. These debates concern the nature of creative thought (domain-specific vs. generic processes), creative development (nature vs. nurture), and creative persons (psychopathology vs. mental health). The article closes by asking not just how to teach creativity but also how to teach creativity creatively.

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2

Hamiloglu, Ceren. "Creativity in architectural education." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 4 (November 6, 2017): 105–10. http://dx.doi.org/10.18844/prosoc.v4i4.2601.

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3

Ahmad, Muktar, and Salma Shaheen. "Encouraging Creativity and Innovation in Education." Indian Journal of Applied Research 3, no. 2 (October 1, 2011): 114–17. http://dx.doi.org/10.15373/2249555x/feb2013/39.

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4

Shaheen, Robina. "Creativity and Education." Creative Education 01, no. 03 (2010): 166–69. http://dx.doi.org/10.4236/ce.2010.13026.

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5

Hodges, Gabrielle Cliff. "Creativity in education." English in Education 39, no. 3 (September 2005): 47–61. http://dx.doi.org/10.1111/j.1754-8845.2005.tb00624.x.

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6

Fasko, Daniel. "Education and Creativity." Creativity Research Journal 13, no. 3-4 (October 2001): 317–27. http://dx.doi.org/10.1207/s15326934crj1334_09.

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7

Moss, Vicki, and Judith A. Webster. "Creativity in Education." AORN Journal 41, no. 1 (January 1985): 196–202. http://dx.doi.org/10.1016/s0001-2092(07)69828-7.

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8

Jones, Timothy. "Education for Creativity." British Journal of Music Education 3, no. 1 (March 1986): 63–78. http://dx.doi.org/10.1017/s0265051700005131.

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It is quite possible that the so-called ‘creative’ activities espoused by proponents of recent approaches to music education are endangering the production of great music by the next generation of composers because as children they are not being given the necessary foundation of skills to develop the craft of composition.Isolated examples of genuine educational conviction have only served to legitimise these questionable trends by lending a certain historical authority to a modern philosophical disaster.The major problem with the recent approaches is that they fail to recognise that craftsmanship is a fundamental requirement for genuine artistic achievement.

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9

Kaplan, Danielle E. "Creativity in Education: Teaching for Creativity Development." Psychology 10, no. 02 (2019): 140–47. http://dx.doi.org/10.4236/psych.2019.102012.

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10

Suyidno, Suyidno, Mohamad Nur, Leny Yuanita, Binar Kurnia Prahani, and Budi Jatmiko. "EFFECTIVENESS OF CREATIVE RESPONSIBILITY BASED TEACHING (CRBT) MODEL ON BASIC PHYSICS LEARNING TO INCREASE STUDENT’S SCIENTIFIC CREATIVITY AND RESPONSIBILITY." Journal of Baltic Science Education 17, no. 1 (February 20, 2018): 136–51. http://dx.doi.org/10.33225/jbse/18.17.136.

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The Creative Responsibility Based Teaching (CRBT) model is an innovative physics-teaching model designed to enhance students’ scientific creativity and responsibility. Therefore, this research aims to analyze the effectiveness of CRBT model to improve scientific creativity and first year students’ responsibility on Basic Physics learning in academic year 2016/2017. This research used one group pre-test and post-test design on 144 students divided into 4 groups at University of Lambung Mangkurat, South Kalimantan (Indonesia). The data collection methods were conducted by using: scientific creativity tests emphasized on unusual uses indicator, problem finding, product improvement, creatively science problem solving, creatively experiment designing, and creatively product design; questionnaire of responsibility emphasized on: participatory indicator, respecting others, cooperation, leadership, and delivering opinion; and interviews. The data analysis technique was done by using paired t-test / Wilcoxon test, n-gain, and ANOVA / Kruskal-Wallis test. The results showed that there was a significant increase in students’ scientific creativity and responsibility at α = 5%, with n-gain average of moderate category, and both were not different (consistent) for all four groups. Thus, the CRBT model is effective for enhancing students’ scientific creativity and responsibility. Keywords: creative responsibility based teaching, physics learning, responsibility attitude, scientific creativity, first year students.

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11

Kang, Lan, and Jiao Liu. "Fostering Creativity in Mechanical Engineering Education Based on Cooperation with Enterprises." Applied Mechanics and Materials 121-126 (October 2011): 3304–9. http://dx.doi.org/10.4028/www.scientific.net/amm.121-126.3304.

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Mechanical engineering field requires engineers with more practical problem-solving experience and skills of thinking, working and acting creatively. But, how can we develop and encourage these important skills in undergraduates? This article describes a case of nurturing creativity in undergraduates through cooperation with enterprises. Through the study of cognitive learning and creativity, a series of educational procedures and strategies are presented, they involved in basic training of fostering creativity and higher-level training of developing creativity based on commercial projects. Questionnaires from students and the actual results demonstrate that the above strategies and methods for fostering creativity in mechanical engineering undergraduates have yielded good results and students benefit from them.

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12

Priest, Thomas. "Using Creativity Assessment Experience to Nurture and Predict Compositional Creativity." Journal of Research in Music Education 49, no. 3 (October 2001): 245–57. http://dx.doi.org/10.2307/3345710.

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The purpose of this inquiry was to examine students' assessments of musical creativity in relation to their ability to function creatively as composers. Compositions collected from 54 nonmusic majors enrolled in music fundamentals classes were used as a measure of compositional creativity. Independent judges reached acceptable levels of agreement in assessing musical creativity and other dimensions allowing students to be placed into high-, middle-, and low-creativity groups. Additionally, students completed Creativity and Craftsmanship Assessments (CCA) by listening to sets of 5 exemplary compositions produced by students previously enrolled in the course. Students' verbal descriptions of creativity and craftsmanship from the CCA were categorized. A chi-square analysis of the students' descriptions yielded statistically significant differences between high-, middle-, and low- creativity groups. Students in the high-creativity group were more likely to cite temporal factors as contributing to creativity and craftsmanship than were students in the middle- or low-creativity groups (p < .01); students in the low- and middle-creativity groups were more likely to use metaphors than were students in the high-creativity group (p < .05).

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13

PARK, Chui. "Engineering Education for Creativity." Journal of JSEE 46, no. 1 (1998): 8–11. http://dx.doi.org/10.4307/jsee.46.8.

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14

Pllana, Duli. "Creativity in Modern Education." World Journal of Education 9, no. 2 (April 25, 2019): 136. http://dx.doi.org/10.5430/wje.v9n2p136.

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There will be elaborated several facts about creativity in Twenty First-Century educational reforms in six countries(The US, India, Chile, Mexico, China, and Singapore). The crucial source of the content in the paper relies on thebook, “Teaching and Learning for the Twenty-First Century” (Reimeres and Chung, 2016). Nevertheless, myexploration of creativity in modern education in the six countries has a limited range. Creativity depends on threemeaningful factors of education such as equality, quality and implementing modern educational reforms. The papersheds light on similarities and differences of six countries that they experience with the three factors (equality,creativity, and implementing modern educational reforms). All countries strive to apply equality in the whole country,although, none of the countries has employed equality throughout the nation. Some countries made better progress onapplying equality in education, and others are facing many obstacles with equal education throughout the country.Creativity is significant to every educational system, and it is interrelated with equality and applying modern education.The US system of education applies creativity in a few school districts. Other countries state creativity in theircurriculum, but they do not use it in the classrooms at all. Six countries have different economic development, anddifferent economic demands; therefore, they have different approaches to implementing modern educational reforms.Despite the fact all countries have dissimilarities with implementing creativity in educational reforms, they all knowcreativity’s weight in modern education. Creativity as a first step of the innovation that defines the progress ofeducation especially accelerates the growth of the entire economy within a society.

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15

Tsyplyakova, D. I. "Multicultural creativity in education." Voprosy kul'turologii (Issues of Cultural Studies), no. 6 (May 20, 2021): 492–99. http://dx.doi.org/10.33920/nik-01-2106-02.

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This paper is devoted to the main problems with defining the concept of multicultural education, analyzing various approaches to the organization of this type of education and highlighting the main goals of multicultural education in the modern world.

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16

MOGI, KENICHIRO, and SHIGEO KAWAMURA. "Education that Enhances Creativity :." Annual Report of Educational Psychology in Japan 50 (2011): 5–8. http://dx.doi.org/10.5926/arepj.50.5.

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17

Lippell, Shee. "Creativity and medical education." Medical Education 36, no. 6 (May 31, 2002): 519–21. http://dx.doi.org/10.1046/j.1365-2923.2002.01223.x.

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18

Nordlund, Carrie. "Waldorf Education: Breathing Creativity." Art Education 66, no. 2 (March 2013): 13–19. http://dx.doi.org/10.1080/00043125.2013.11519211.

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19

Harrison, Tony. "Creativity in nurse education." British Journal of Nursing 1, no. 15 (December 10, 1992): 774–77. http://dx.doi.org/10.12968/bjon.1992.1.15.774.

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20

Besançon, Maud. "Creativity, Giftedness and Education." Gifted and Talented International 28, no. 1-2 (March 2013): 149–61. http://dx.doi.org/10.1080/15332276.2013.11678410.

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21

PARK, CHUL. "Engineering Education for Creativity." Journal of the Society of Mechanical Engineers 101, no. 951 (1998): 106–9. http://dx.doi.org/10.1299/jsmemag.101.951_106.

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22

Paulovich, A. "Creativity and graduate education." Molecular Biology of the Cell 4, no. 6 (June 1993): 565–68. http://dx.doi.org/10.1091/mbc.4.6.565.

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23

Yar Hamidi, Daniel, Karl Wennberg, and Henrik Berglund. "Creativity in entrepreneurship education." Journal of Small Business and Enterprise Development 15, no. 2 (May 16, 2008): 304–20. http://dx.doi.org/10.1108/14626000810871691.

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24

Gaspar, Drazena, and Mirela Mabic. "Creativity in Higher Education." Universal Journal of Educational Research 3, no. 9 (September 2015): 598–605. http://dx.doi.org/10.13189/ujer.2015.030903.

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25

Kirillov, Nicolai P., Elena G. Leontyeva, and Yulia A. Moiseenko. "Creativity in Engineering Education." Procedia - Social and Behavioral Sciences 166 (January 2015): 360–63. http://dx.doi.org/10.1016/j.sbspro.2014.12.537.

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26

Daud, Adzliana Mohd, Jizah Omar, Punia Turiman, and Kamisah Osman. "Creativity in Science Education." Procedia - Social and Behavioral Sciences 59 (October 2012): 467–74. http://dx.doi.org/10.1016/j.sbspro.2012.09.302.

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27

Jausovec, Norbert. "Brain, Creativity and Education." Open Education Journal 4, no. 1 (November 18, 2011): 50–57. http://dx.doi.org/10.2174/1874920801104010050.

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28

Collard, Paul, and Janet Looney. "Nurturing Creativity in Education." European Journal of Education 49, no. 3 (June 13, 2014): 348–64. http://dx.doi.org/10.1111/ejed.12090.

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29

Edelson, Paul Jay. "Creativity and Adult Education." New Directions for Adult and Continuing Education 1999, no. 81 (1999): 3–13. http://dx.doi.org/10.1002/ace.8101.

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30

Nelmira, Weni. "STRATEGI MENGEMBANGKAN KREATIVITAS MAHASISWA DALAM PEMBELAJARAN TATA BUSANA." PAKAR Pendidikan 16, no. 1 (January 7, 2018): 84–92. http://dx.doi.org/10.24036/pakar.v16i1.38.

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Creativity is an important role in the education of Fashion Education because only creative individuals can produce creative ideas and products. The Fashion Education has to perform its function for the formation of character, work culture, personality, skill, knowledge, behavior and various life skill according to the demands of work world. Fashion Education is still not maximized in developing the creativity of students, especially the ability to think creatively in solving the problems of daily life that it faces. For that required the creativity of educators to foster student creativity. Student creativity will emerge, if the teacher as a pilot in the classroom also has adequate creativity. The subject matter that has been prepared in the syllabus, should be well developed to achieve the predetermined educational objectives. The development of creativity can be done with brainstorming learning, giving motivation, bringing creative people to school and not limit the student excessively by directing students to express and actualize themselves in relation to oneself, to nature, and to others.

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31

Nelmira, Weni. "STRATEGI MENGEMBANGKAN KREATIVITAS MAHASISWA DALAM PEMBELAJARAN TATA BUSANA." JURNAL PENDIDIKAN DAN KELUARGA 9, no. 2 (June 29, 2018): 27. http://dx.doi.org/10.24036/jpk/vol9-iss2/46.

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Creativity is an important role in the education of Fashion Education because only creative individuals can produce creative ideas and products. The Fashion Education has to perform its function for the formation of character, work culture, personality, skill, knowledge, behavior and various life skill according to the demands of work world. Fashion Education is still not maximized in developing the creativity of students, especially the ability to think creatively in solving the problems of daily life that it faces. For that required the creativity of educators to foster student creativity. Student creativity will emerge, if the teacher as a pilot in the classroom also has adequate creativity. The subject matter that has been prepared in the syllabus, should be well developed to achieve the predetermined educational objectives. The development of creativity can be done with brainstorming learning, giving motivation, bringing creative people to school and not limit the student excessively by directing students to express and actualize themselves in relation to oneself, to nature, and to others.

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32

Jeffrey *, Bob, and Anna Craft. "Teaching creatively and teaching for creativity: distinctions and relationships." Educational Studies 30, no. 1 (March 2004): 77–87. http://dx.doi.org/10.1080/0305569032000159750.

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33

Kim, Kyung Hee. "Demystifying Creativity: What Creativity Isn’t and Is?" Roeper Review 41, no. 2 (April 3, 2019): 119–28. http://dx.doi.org/10.1080/02783193.2019.1585397.

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34

Park, Sinhyang. "The College Students’ Perceptions of Creativity and Creativity Education." Journal of Research Methodology 4, no. 3 (November 30, 2019): 33–62. http://dx.doi.org/10.21487/jrm.2019.11.4.3.33.

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35

Yamaguchi, Yosuke. "Do moral education and creativity education conflict?" Journal of Human Environmental Studies 19, no. 1 (2021): 41–50. http://dx.doi.org/10.4189/shes.19.41.

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36

Hyungsook Kim. "Creativity and Character Education Through Arts Education." Journal of Art Education 32 (September 2012): 1–29. http://dx.doi.org/10.35657/jae.2012.32.0.001.

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37

Davis, John M. "Supporting creativity, inclusion and collaborative multi-professional learning." Improving Schools 16, no. 1 (March 2013): 5–20. http://dx.doi.org/10.1177/1365480213480260.

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This article connects arguments in the field of integrated and multi-professional working concerning the need to promote a strengths-based approach to children, childhood and children’s services with writing about creativity in schooling. It utilizes strength-based and social justice approaches to encourage professionals who work with children and families to recognize the diversity of childhood and support children and families to collaboratively, creatively and flexibly develop solutions to their own life issues and their learning. It questions the extent to which schools are ready to be places that enable collaborative dialogue and considers whether targets and tests lead schools to stifle creativity. It draws from the CREANOVA project funded by the European Commission’s Education, Audiovisual and Culture Executive Agency (EACEA) to demonstrate the quantitative basis for the argument that flexibility stimulates creativity, and demonstrates that creativity flourishes in environments that value autonomy, openness, supportive structures and collaborative relationships. This finding enables the article to conclude that a culture shift can be achieved that stimulates creativity and innovation in childhood if organizations recognize the abilities of children to stimulate each other’s creativity, support children’s freedom to learn collaboratively and challenge barriers to learning such as targets and top-down performance indicators.

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38

Ripple, Richard E. "Ordinary creativity." Contemporary Educational Psychology 14, no. 3 (July 1989): 189–202. http://dx.doi.org/10.1016/0361-476x(89)90009-x.

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39

Otte, M., and W. Zawadowski. "Creativity." Educational Studies in Mathematics 16, no. 1 (February 1985): 95–97. http://dx.doi.org/10.1007/bf00354885.

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40

Fatt, James Poon Teng. "Creative Education." Industry and Higher Education 11, no. 2 (April 1997): 106–15. http://dx.doi.org/10.1177/095042229701100208.

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Most companies today are basking in the workforce benefits of the baby boom. However, the impending crisis in the workforce lies in the fact that the workplace itself is calling for rising levels of competence and a new managerial mindset that are changing the operational methods of companies and diminishing the need for workers with assembly-line mentality. The means of developing a new mindset and enhancing worker creativity and flexibility lie in creative education. The purpose of this paper is, therefore, to address the importance of creative education by reference to the conventional systems in Japan and the creativity at work in the industry. The benefits of creative education in the schools, universities, and industry are emphasized, as are the opposing factors that stifle creativity. The paper concludes with suggestions on how to advance creative education in a new wave to enable any government to unleash and empower the creativity and intellect of its educated workforce.

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41

Sherrill, Claudine. "Fostering Creativity in Handicapped Children." Adapted Physical Activity Quarterly 3, no. 3 (July 1986): 236–49. http://dx.doi.org/10.1123/apaq.3.3.236.

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The purpose of this paper is to increase awareness of creativity as a goal of adapted physical education, to describe assessment techniques, and to suggest instructional approaches for developing creativity in the movement setting. Creative behaviors that can be developed in handicapped children and youth include fluency, flexibility, originality, elaboration, risk-taking, courage, curiosity, and imagination. Research on creativity and handicapped children is identified and cited. Assessment instruments reviewed are Torrance Tests of Creative Thinking, Wyrick Test of Motor Creativity, Torrance Test of Thinking Creatively in Action and Movement, TWU Motor Creativity Rating Scale, and Brennan Test of Creative Motor Performance. Instructional approaches described are dance and movement education, games analysis intervention, and shared decision-making versus teacher decision-making. Also discussed are modeling and the influence of specific teaching behaviors on handicapped children’s classroom responses.

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42

Sirajudin, N., J. Suratno, and Pamuti. "Developing creativity through STEM education." Journal of Physics: Conference Series 1806, no. 1 (March 1, 2021): 012211. http://dx.doi.org/10.1088/1742-6596/1806/1/012211.

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43

Del Moral Pérez, Mª Esther. "Information technology, creativity and education." Educar 25 (July 1, 1999): 33. http://dx.doi.org/10.5565/rev/educar.290.

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44

EPURE, Manuel. "Entrepreneurship Education: Innovation and Creativity." Procedia of Economics and Business Administraion 5, no. 1 (December 15, 2019): 46–58. http://dx.doi.org/10.26458/v5.i1.6.

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45

Jeff Adams. "Creativity in Education: Contemporary Meanings." Journal of Research in Art Education 15, no. 2 (June 2014): 23–32. http://dx.doi.org/10.20977/kkosea.2014.15.2.23.

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46

Palimski, Cornelia. "Creativity in special music education." Univers Pedagogic, no. 3(71) (November 2021): 41–45. http://dx.doi.org/10.52387/1811-5470.2021.3.06.

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Today, the development of creative and innovative thinking has become an important task of the modern education system. Stimulating creativity is one of the main goals of music education, which involves important changes affecting both the teachers’ mentality and traditional teaching and training methods. In the process of music education, the primary task is to awaken the creative principle of students, to stimulate their interest not only in the result of the creative act, but also in the process of musical activity that reveals the creative nature of the personality, the ways of creating, interpreting, listening and perceiving musical art.

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47

FRYER, MARILYN. "Creativity Education in the UK :." Annual Report of Educational Psychology in Japan 49 (2010): 5–8. http://dx.doi.org/10.5926/arepj.49.5.

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48

Running, Donald J. "Creativity Research in Music Education." Update: Applications of Research in Music Education 27, no. 1 (November 2008): 41–48. http://dx.doi.org/10.1177/8755123308322280.

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49

Livingston, Larry. "Teaching Creativity in Higher Education." Arts Education Policy Review 111, no. 2 (January 27, 2010): 59–62. http://dx.doi.org/10.1080/10632910903455884.

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50

Bazarra-Fernandez, Antonio. "Bone education: innovation and creativity." Procedia - Social and Behavioral Sciences 2, no. 2 (2010): 290–94. http://dx.doi.org/10.1016/j.sbspro.2010.03.012.

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