Online ISSN: 1989-9572

Issue 1,

Issue 1

Creativity in art teaching

Ana Lucía Frega

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

Tema el del título que me ocupa hace mucho tiempo y que he podido recorrer inicialmente en
colaboración con una notable experta canadiense, la Doctora Margery M. Vaughan (Frega,
Vaughan, 1980), he transitado un proceso reflexivo y actualizado de las fuentes en mi obra Educar
en creatividad (2007/9). Pongo esas construcciones a la disposición del lector.1

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.

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.

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

Thinking in motion pictures: scientific research and creationship on the movie To cinematic Circe (praise of cinema)

Manuel Broullón Lozano

Journal for Educators, Teachers and Trainers, 2014, Volume 5, Issue 1, Pages 45-54

Around the field of the Higher Education, the quality requirements on research, the transference of knwledge and the right balance between the scientific research and creationship at the Arts and Human Studies área, let us to deal about the idea of taking the audiovisual language as a great manner to afford the challenges of the Public Universities on the XXIst Century. As a self-conscient review of our documenary movie To Cinematic Circe-Praise of Cinema (based on a previous scientific research) let us think about the possibility of correspondence between the academic speech and the digital cinema on low-cost documentary movies. If possible, let us think about the
consequences on the high educational process.

Warm-up exercises in the introduction to the singing voice work: an experience with adults with intellectual disabilities

Lucía Casal de la Fuente

Journal for Educators, Teachers and Trainers, 2014, Volume 5, Issue 1, Pages 55-67

The human voice is a means through which we can channel and express our ideas, feelings and opinions. However, many people present diverse problems when it comes time to emit and control it. In light of this problem, the experts of the voice have the duty to provide the most adjusted professional answer to each case. One of the most immediate supports is definitely the speech therapy, through which, with dedication, obstinacy and with the most sophisticated resources that have been developed, it is possible to make progress notably, as it has been demonstrated and as it is still demonstrated in numerous practical cases of the day-to-day. With the intention to discover what the introduction to the singing voice training and vocal technique involves in a group of adults with moderate intellectual disabilities, an experience of singing voice training carried out in 2012 in Down Compostela Foundation is presented in this work. The procedure (from the first sessions in the centre until the conclusion of the work); the design (from the theoretical contents to the detailed programming for the practice); the implementation (from the own practice to the changes arisen on the fly); and the evaluation and proposals of improvement of the most technical exercises of voice warming-up or warm-up exercises are explained

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.

Five dimensions to study teacher education change for improving musical creative learning

Marcelo Giglio

Journal for Educators, Teachers and Trainers, 2014, Volume 5, Issue 1, Pages 80-89

Today, creative pedagogical practices in Music Teacher Education need an intense dialogue between the worlds of practice and practice research in order to respond to constantly evolving educational, artistic and cultural needs. How can we develop favourable conditions to improve the creative learning of music? What are the dimensions that should be considered to improve creative and innovative teaching practices within the context of Teacher Education? In this reflection, I explore five dimensions of changing practices in teaching aimed at improving and developing creative music education. First, I will discuss creativity as the purpose of the change as educational
reform (curriculum) or as pedagogical innovation. I will consider teachersʼ reactions to change as a prediction of acts or representations of actors and their action in the process of change (acts, roles and skills). I will examine the interaction or relationship between individuals and partnerships for training and developing professionals. And finally, I will discuss the forms of contribution to change (teacher adaptation or adjustment activities or practices for educational purposes

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.

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.

Representation as training action stage for the acquisition of skills in higher education students

Rafaela Mª Herrero Martínez, María del Carmen García de Viguera, Belén Donoso Pérez

Journal for Educators, Teachers and Trainers, 2014, Volume 5, Issue 1, Pages 115-123

The teaching-learning process in the university has gone from being based on content-centered learning to one that promotes the acquisition of skills. From this fact, the following question is: How do we ensure that students acquire an appropriate level of skills and competencies?. There are skills that are assessed on a single subject in a given quarter and did not return to be worked throughout the title, so it is difficult to accept that students have been acquired in full. The design of this interdisciplinary proposal aims to contribute and respond to this new reality based on the methodological changes introduced by the European Higher Education Area, among them, increasing the interactivity between teachers and students, encouraging teamwork and improving interdisciplinary between areas. The stage chosen to develop this proposal is stage performance, treated from an innovative approach in which the students of the Degree in Early Childhood Education will integrate practical content learned in two subjects belonging to different courses using common assessment tools pursue one increase in the level of student competencem acquisition.

Motivation in dance education: analysis of self-determination theory

Delia Ibáñez Granados, Manuel Fernández Cruz

Journal for Educators, Teachers and Trainers, 2014, Volume 5, Issue 1, Pages 124-138

This paper addresses an analysis of self-determined motivation level students having dance: classical dance, modern dance, Belly Dancing and Ballroom, taught at the School of Music and Dance Ogíjares (Granada), attending age and the group to which they belong. By applying a questionnaire translated into Castilian by Moreno, Cervello, and Martinez (2007) instrument called Behavioral Regulation in Exercise Questionnaire-2 (BREQ-2: Markland and Tobin, 2004), with different items adapted to the field of dance. Building on the conceptualization of different minitheories that form the TAD (Self-determination theory), since motivation is an important factor in the
education of dance.

Teacherʼs performance: the theater classroom as a space for creation

Gilberto Icle, Marcia Dal Bello

Journal for Educators, Teachers and Trainers, 2014, Volume 5, Issue 1, Pages 139-150

This text introduces the concept of inner creative state based on the work of the Russian director and pedagogue Konstantin Stanislavski, describing and analyzing it within the original context in which it appeared in the Actor's Pedagogy. This notion is used as a tool to think the work of theater teachers in classrooms. This work, considered as a teacher's performance, where the body has a leading role, is analyzed within the student/teacher relationships. The research was based on the observation of the classes of ten teachers, at different educational levels, complemented by semi-structured interviews with them. The teachers were chosen based on their experiences as actors, in parallel to their work as theater teachers. This choice aimed at identifying traces of artistic performances in their activities. The notion of performance articulates, in this research, different dimensions of teacher/student relationships, emphasizing the body as the locus for those relationships. Therefore, the idea of an inner creative state raises, in the work of those teachers, relationships conducive to education. We highlight two inner creative states that are central to their work. The first one refers to the collective character of the relationships, revealing how the roles of teacher and student are not performed based on hierarchies. The second one shows how the transformation, either in the actual theatrical task of transforming oneself, or in the educational tasks of teaching and learning, is a constant in the classrooms of those teachers, producing a
specific ethic. This transformation as a condition for theatrical work in the classroom and as an assumption, presupposes an overflow of the work beyond the professional dimension. The inner creative state is presented, thus, as the construction of a collective ethics that transforms the subjects beyond the professional dimension.

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.

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

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.

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.