Online ISSN: 1989-9572

Keywords : creativity


Mafalda and museum educators. Strategies for teaching creation from Childhood Visual Culture

Amparo Alonso-Sanz

Journal for Educators, Teachers and Trainers, 2014, Volume 5, Issue 1, Pages 19-30

This research takes childrenʼs visual culture as a reference to deal with an educational problem – namely, the creative design of didactic activities with an artistic content– through intersections and interactions with aspects of gender as well as social and cultural criticism. A theoretical framework serves as the basis to present the interest and relevance of Mafalda as a visual culture character: for its international significance; for having been previously used with pedagogical aims, for being a forerunner of criticism focused on the educational system, for being known by everyone who forms part of the formal and informal educational system, and for offering a transversal treatment of gender issues. Based on generativist pedagogy, an attempt is made to alter the practice of 25 museum educators in the city of Buenos Aires using a creativity encouragement strategy. The structure consists of three stages: [1] previous reflection on the study object, the way in which certain artistic contents were conventionally learnt; [2] inspiration through ʻcreative visualizationʼ with Mafalda comic strips by Quino; and [3] proposal of creative alternatives for the context of informal teaching. The outcome of this experience is a set of 8 proposals for action in museums, which modify the traditional way to transmit artistic contents to the public and can be confirmed as creative knowledge alternatives. The conclusions highlight the extent to which childrenʼs visual culture is useful for didactic design strategies as triggers of creative thinking.

An Integrated Project for the development of creativity in Secondary Education

Sara Mahillo Miranda, Carmen Martínez Samper, Pilar Abós Olivares

Journal for Educators, Teachers and Trainers, 2014, Volume 5, Issue 1, Pages 162-176

TELL ME A STORY has its starting point in the line of research: "Courses for sculptural, scenic and audiovisual creativity” (modality B), developed at the Masters in Teaching of Drawing and Fine Arts at the University of Zaragoza. The Integrated Project, which has been set out to develop creativity from the triple perspective indicated, seeks to promote the culture of creativity from interdisciplinary collaboration. TELL ME A STORY is a methodology proposal which consists in playing a story (or literary adaptation) to a group of students which has an educational stage lower than ours. A multidisciplinary is performed in which knowledge of different subjects interrelate. For this, the students deal with different scheduled tasks such as selecting or adapting a story, deciding the type of representation, using musical or audiovisual resources, making publicity act (the poster), preparing an illustration of the story, design and implement the necessary scenery and represent the r of their labor

Invoking a creative and innovative spirit in music teacher education

Carlos R. Abril

Journal for Educators, Teachers and Trainers, 2014, Volume 5, Issue 1, Pages 9-18

Students in all subject areas are expected to think creatively which means they should “use a wide range of idea creation techniques, create new and worthwhile ideas, and elaborate, refine, analyze and evaluation their own ideas in order to improve and maximize creative efforts.” They are also expected to work creatively with others and innovate. Students should communicate their ideas effectively to others, be responsive to the diverse ideas and viewpoints of others, demonstrate originality while recognizing constraints and limitations, and learn from mistakes and failures. Additionally, they should innovate, that is, create something useful and tangible as a result of their thinking and working with others (Partnership for 21st Century Skills, 2011). This vision of curriculum with an eye towards creativity and innovation is meant to guide primary and secondary teachers. Unfortunately, many of the teachers for whom this was intended were not educated in settings where such ideas were valued or practiced, thus those who did not have experiences creating and innovating might be less comfortable and well versed in incorporating those habits of mind and practice in their own classrooms. For example, this might explain why composition and improvisation, creative listening and interpretative performance in school music programs have taken a backseat to more top-down, teacher directive music learning experiences. This article offers ideas for music teacher educators to facilitate more creative and innovative thinking and practice in preservice education. In so doing, preservice teachers can become more creative and innovative, and thus be better prepared to guide their own students.

Psycho-semiotic reflection on creativity in Arts: critical discussion from a neuroscience research and their equivalent in the teaching learning process

Violeta Schwarcz López Aranguren

Journal for Educators, Teachers and Trainers, 2014, Volume 5, Issue 1, Pages 177-192

Reflect on the concept of creativity and arts learning leads us to think of the psychological processes and intersubjective constructions in the social order in which we find ourselves that are considered creative. But we should question what we call creativity, what are the factors that are delimited as aspects or properties of the creative person, or if we consider the process of building or innovation and finally if we evaluate the product as "work of art". We then opened, a number of questions that can be addressed from different perspectives and have been worked from very different fields. From neuroscience research, processes and psychological mechanisms involved, to semiotic analysis of works of art, finding certain epistemological obstacles Bacherlad to say, we should locate to account for what we mean by creativity. Also we propose a critical analysis from the joint between the investigation of subjects from a neurophysiological research line and tell if the emerging results correlate with the mechanisms and processes that unfold in the teaching-learning processes.

Creativity in music performance: Aspects that facilitate and inhibit its development in higher education

Patricia Adelaida González Moreno

Journal for Educators, Teachers and Trainers, 2014, Volume 5, Issue 1, Pages 103-114

Teaching art and music is commonly associated with the development of creative skills. Music performance involves distinctive creativities that vary among music traditions and genres. Based on classroom observations and interviews with instrumental and voice professors, this study examined conceptions of creativity in music performance, strategies used to develop studentsʼ creative skills that result in original and innovative music performances, and factors that facilitate or inhibit such creative performances. Results of the study suggest a strong emphasis on technical and musical skills as the foundation for creative performance, regardless of musical traditions. However, approaches for the study of technique, devoted time, and how it transfers to actual creative practice differs significantly among traditions. Other aspects that favor an adequate music development are the student-teacher relationships that generate autonomy, flexibility, and freedom, and environments geared towards musical exploration and innovation. Educational implications for the proper development of creativity that result in effective teaching processes for music performance are discussed.

Learning music form everyday things: creative experiences

Jusamara Souza

Journal for Educators, Teachers and Trainers, 2014, Volume 5, Issue 1, Pages 193-203

It is a tradition in music education to transform everyday objects into sources of music making or music learning. A large number of concepts and experimental reports show the possibilities of transforming objects into musical instruments or the interaction of music making with the environment. This article addresses the dimension of creativity present in the interaction of people with objects of the environment to make music through a sociological perspective of music education. This perspective conceives music as a social production which contributes to the idea of pertaining to a group, the expression or the value of a culture and the transmission of traditions and
attitudes. The article has been divided into three parts: (1) Making music as a human and as a social experience; (2) The tradition of music making with objects, and (3) Experience: transforming objects into percussion; transforming objects of nature into melodies; transforming toys into musical instruments. It is our intent to contribute to the discussion on musical creativity through interactions with everyday objects and encourage other professionals to observe and explore the musical potentialities in theirs environments.

Creative connections with Asia using videoconferencing

Myung-sook Auh, Robert Walker

Journal for Educators, Teachers and Trainers, 2014, Volume 5, Issue 1, Pages 31-44

The core activity in this project is direct contact between Australian school children both primary and secondary, with their peers in Asia, particularly in Korea. Direct contact is made through highdefinition videoconferencing whereby students talk to each other and observe each other in real time. Teachers are directly involved in organising and helping students prepare their presentations to their Asian peers, but the students themselves talk directly to their peers. The program began in 2008 and now there are 30 pairs of schools between Australia and Korea, 5 pairs for Japan, and 2 for China. This study focuses on 12 videoconferencing sessions involving Australian and Korean students. The excitement of the students in both countries is palpable, and the motivation to make the very best presentation is extremely high. Excitement, seeing new faces in their peers who are thousands of miles away across the world and who are as excited as the presenters and show it, and working to ensure that they do the best job they can in their presentations, all together act as strong motivators. But the most important aspect is the contact made between children from different countries and different cultures, who speak a different language, and who want to know about each other. The identification of creative activities as they occurred in each session was completed by three expert judges who were asked to rate behaviours simply as creative or non-creative and to give some reasons if necessary. Several spontaneous behaviours were recognized as good examples of creative behaviour

Final report on creativity as assessed by functional magnetic resonance imaging and SCAMPER tool

Ana Lucía Frega

Journal for Educators, Teachers and Trainers, 2014, Volume 5, Issue 1, Pages 68-79

This text introduces the Based partially on the Torrance model to describe creativity and his approach to its evaluation a research oriented to evaluate creative performance and functional brain activation was run in Argentina. The study was co-leaded by a neurologist and a music educator, involving multidisciplinary teams. A tool developed and validated in a previous work (S.C.A.M.P.E.R) has been applied to assess creative performance in a group of 24 voluntary students from a university grade Music Therapy career. A functional magnetic resonance imaging paradigm, involving simple audible rhythmical stimuli and collection of subject responses to creation and
repetition tasks, was designed and then implemented. Our results suggested that subjects with better performances on fluidity and flexibility assessments showed in both cerebral hemispheres active brain areas associated to cognitive, emotional and perceptual processes whereas subjects with poorer performances activated brain areas mostly related with complex sensorimotor integration, predominantly unilaterally.

Artistic creativity development in secondary education

Natalia Larraz Rábanos

Journal for Educators, Teachers and Trainers, 2014, Volume 5, Issue 1, Pages 151-161

Encouraging art education and creativity in secondary school it is a very relevant issue because their importance to achieve a comprehensive studentʼs development and because most of the societies are declining and underestimating its importance. This article attempts to analyze the importance of art and creativity education in secondary school in order to make a proposal to develop them in the art education curriculum. To this end, this work has focused primarily on the analysis of the methodological and the organizational aspects as a key for teaching, to be integrated in everyday teachers work. A series of recommendations to foster creativity in the aspects of the curriculum such as the organization of time, materials and resources, groupings, activities, creative strategies and evaluation has been made. The conclusions of this work explores the idea that despite the clear theoretical and empirical awareness of the art creativity in the curriculum, there are many issues that must permeate social and collective consciousness to make practices and educational policies for its promotion and development. Such practices should include the promotion of the art creativity deliberately in the curriculum development, in the teaching learning-processes and the necessary involvement of teachers in this process.

Education, disabitity and development of creativity

Mag Mabel Del Giúdice

Journal for Educators, Teachers and Trainers, 2014, Volume 5, Issue 1, Pages 90-102

The aim of this pape ris to crawl bibliograpchi -2005 to present- of the definition of creativity as a quality of the persona, process, product and context. By characterizing the creative context we focus on the influence of education for the development of creativity in people with disabilities. People with intellectual disabilities need education and job-specific training to achieve social integration and independence in their lives, the study of environmental conditions an favoring the development of creativity will real individual psychological resources for young people to resolve issues and adapt to the environment and context conditions to promote social integration. The creativity and thought process is held in two explanatory one that understands that the degree of creativity depends on the mental processes of the individual and the other, is holding the development of creativity is influenced by context. The study of the development of creativity in people with disabilities we will be challenged nativist positions, environmentalists and interactive intervention to locate alternatives for achieving adaptive behavior and participation in social life.

Empowering Learners and Educators

Joseph D. Novak

Journal for Educators, Teachers and Trainers, 2013, Volume 4, Issue 1, Pages 14-24

The most important factor leading to empowerment of individuals is the ability and commitment to achieve high levels of meaningful learning. Meaningful learning requires integration of new concepts and propositions into the learnerʼs cognitive structure to achieve high levels of organized knowledge that can be represented as knowledge models. Concept mapping and new educational strategies can facilitate the process.