Structured creative processes in learning playwriting: invoking imaginative pedagogies

The concept of the ‘creative’ in creative writing has a vexed history. This article explores the myths surrounding creativity and how they have influenced the way teachers have approached playwriting pedagogy. It reports on research into the teaching and learning experiences of students and teachers in secondary schools, focusing on the participants’ understanding of creativity and the impact this had on the pedagogical process. The research found that a counterproductive idealist view of creativity persists in classrooms: the teachers and students were operating on a conception of creativity and creative practice that reflected a belief in a mystical and unknowable creative process. This article explores the experiences of creativity through systems theory and argues that this approach can inform teaching and learning for creative processes and products. The article concludes that the teaching and learning practices were unnecessarily tentative and that knowledge of creativity theory would improve the students’ development of both playwriting proficiency as well as creativity-relevant skills. It suggests that demystifying the creative process should result in greater student proficiency and improved teaching and learning experiences for teachers and students.     

Formative Assessment in EFL Writing: An Exploratory Case Study

In second‐language writing, assessment has traditionally focused on the written products and how well (or badly) students perform in writing. Teachers dominate the assessment process as testers, while students remain passive testees. Assessment is something teachers ‘do to’ rather than ‘with’ students, mainly for administrative and reporting purposes (i.e. summative). Such assessment, being more retrospective than prospective, holds little value for teaching and learning. In recent years, with a major paradigm shift in assessment and evaluation in English language teaching, writing assessment informed primarily by a product and summative orientation, is considered increasingly inadequate. Such assessment, which focuses on measurement – i.e. marking, monitoring and checking, fails to capture the formative potential of assessment for promoting learning. A formative approach to assessment, on the other hand, focuses more on inquiry – i.e. discovering, diagnosing and understanding, as well as the opportunities assessment provides for improving teaching and learning. To harness the potential of formative assessment in the writing classroom, it is axiomatic that classroom assessment practices be geared towards maximizing student learning. This provides the impetus for my study, which investigates an EFL teacher's attempt to implement formative assessment in her writing classroom and its impact on her classroom practice and students' beliefs and attitudes to writing.     

Negotiating identity between career and family roles: A study of international graduate students’ wives in the US

This paper is based on a long-term ethnography of an adult creative writing class situated in a major urban art gallery in the United Kingdom. It takes the claims of one group of older adults—that creative writing made them ‘feel younger’—as the starting point for exploring this connection further. It places these claims broadly within theories of learning in later life that advocate creative expression and reminiscence as important practices for educators of older adults. However, the main analysis employs anthropological theories of creativity and ageing in order to question the cultural assumptions about creativity and the period of older age informing theory and practice. The paper argues that the value of creative writing for the individuals studied lies both in the fact that it is a relational (rather than individual) process and a means of being in the present. These findings contradict traditional conceptions about creativity as future-oriented and older people as retrospective; they also raise questions about narratives of empowerment, individual agency and the importance of ‘reminiscence’ in some of the literature on older adult learning.     

What is the impact on six underachieving year 4 children's choice of language and development of character when ‘writing in role’?

This study examines the impact that the ‘writing in role’ drama strategy has upon underachieving year 4 children's writing. The findings draw upon observations during the activities, group interviews with the sample group and analysis of children's writing. The study shows that children have positive attitudes towards the ‘writing in role’ strategy and an increased motivation to write. Technical aspects of writing were improved which developed interesting and flourishing pieces of creative writing.     

Deferred creativity: Exploring the impact of an undergraduate learning experience on professional practice

This paper explores the impact of an art-based learning experience on former Education students' professional practice. Feedback from trainee teachers indicated that the true value of the creative process was only realised after they had graduated – what I have come to term ‘deferred creativity’. The findings suggest that focusing on the development of their own creative characteristics, skills and attitudes helped students to become more creative practitioners. By drawing on the reflections of our alumni, we can help future students to develop the key creative competencies and skills required for 21st century life.     

Writing and pseudo‐writing from Internet‐based sources: implications for learning and assessment

In recent years, plagiarism has been on the increase across the Western world. This article identifies Internet access as a contributory cause of this trend and addresses the implications of readily available Internet sources for the teaching and assessment of writing in schools. The basis for the article is a previous study showing a wide incidence of plagiarism in the Internet‐based writing of students in three classes at upper secondary school level in Norway. I relate the students' choices to writing as a cognitive process and as a cultural practice. My basic assumption is that the students' writing is work. It is this work we have in mind when we relate writing to learning and when we assess students' skills on the basis of their written texts. Access to the Internet changes the premises for this work because writing can be replaced by ‘pseudo‐writing’. ‘Pseudo‐writing’ is a work reducing writing practice, which neither excludes nor coincides with what we traditionally associate with plagiarism in schools. The main point in this article is that when students have access to the Internet during essay writing, the result is unavoidably a product of both writing and pseudo‐writing. Internet access thus leads to greater uncertainty about the role writing plays in student learning and makes it more difficult to take written assignments into account in assessing students' school results and effort.     

Golden times of writing: the creative compliance of writing journals

This paper examines the history, rationale, uses and abuses of writing journals in primary classrooms. We argue that writing journals form part of a pedagogy derived from an understanding of how children can be motivated to express themselves, independently of teachers. Moreover, they demonstrate the power of welcoming children's home cultures into the classroom. However, we also wish to argue that the use of writing journals is part of the teaching profession's ‘creative compliance’ that can still contribute to the marginalisation of effective educational practice. We document how, in some schools in England, writing journals have been reduced to token gestures towards creativity and independence and in effect collude with and support what is increasingly becoming a pedagogical hegemony.     

Primary pupils' creative writing: enacting identities in a Community of Writers

This paper focuses on a Community of Writers creative writing project where 25 primary school pupils from lower socio‐economic backgrounds took part in creative writing workshops over a 2‐week period at a higher education institution. Using practitioner enquiry and discourse analysis, this paper views identity as participation in ‘figured worlds’ and highlights the relationship between the children's creative writing outputs and their shifting identities (Holland et al., 1998 ). A case is made that children's authentic creative writing can be nurtured by a community that promotes intertextuality and ‘hybridity’ (Bakhtin, 1981 ) as well as balancing pedagogical ‘structure’ and ‘freedom’ (Davies et al., 2012 ) in order to provide textual space for writers to enact different identities. At a time when the global figuring power of performativity (Ball, 2003 ) actively restricts the ways in which teachers and children interact, this paper also presents an informed argument for the value of school–university research partnerships.     

Strategic Teaching: Student Learning through Working the Process

The designers of our future built environment must possess intellectual tools which will allow them to be disciplined, flexible and analytical thinkers, able to address and resolve new and complex problems. In response, an experimental and collaborative design studio was designed to inspire and build on students' knowledge and their creative thinking abilities through a series of explorative exercises and modelling. The learning experience of students undertaking this studio was enabled and guided by a collaboration of teachers experienced in both teaching and creative practice. A series of guest creative practitioners joined the studio's intensive 10‐week hands‐on workshop sessions within which students undertook set exercises. These creative research workshops then served to inform subsequent design development of the students' work through planning and documentation over a period of 4 weeks. Strategic teaching is central to the creative development process. The driving educational belief, as idea and practice, is that by bringing ideas to life in design, by working with full‐scale three‐dimensionality, students are able to cement their commitment to ‘working the process’, towards becoming excellent designers. This ambitious strategy enables students to work on the many different aspects of the design problem towards meeting their design outcome at the highest level of resolution and intent. Through a combination of pragmatic tasks – writing and developing design briefs – and visual tasks – evidence gathering and analysis of design through photographic, modelling and diagramming exercises – students were encouraged to think outside and beyond the ‘normal’ realm of design practice.     

Writing Trojan Horses and War Machines: The creative political in music education research

North American music education is a commodity sold to pre‐service and in‐service music teachers. Like all mass‐produced consumables, it is valuable to the extent that it is not creative, that is, to the extent that it is reproducible. This is demonstrated in curricular materials, notably general music series textbook and music scores available from a rapidly shrinking cadre of publishers, as well as rigid and pre‐determined pedagogical practices. Distributing resources and techniques that produce predicable, consistent, and repeatable goods and services, the economy of music teacher preparation and development must necessarily exclude creativity, which consequently must be viewed as not only inefficient but unprofitable. More than undesirable, however, creativity is constructed as dangerous as it injects difference in a system that relies on sameness. Because of its implications for music education discourse and practices, I focus my discussion on research in general and feminist critique in particular in music education. Reading through Monique Wittig's ‘The Trojan Horse’ as literary war machine, I argue that creative writing and academic research are not mutually exclusive, and that it is only through infusing the literary or creative in scholarly writing that interlocking systems of oppression may be altered and difference implicated in music education. My analysis of Roberta Lamb's (1995) research piece, ‘Tone Deaf/Symphonies Singing: Sketches for a Musicale’ depicts it as Trojan Horse, albeit one that Lamb herself, most likely as a function of editorial imperative, hobbles.     

The Importance of Conceptual and Concrete Modelling in Architectural Design Education

The design studio is the heart of architectural education. It is where future architects are moulded and the main forum for creative exploration, interaction and assimilation. This article argues for a ‘studio‐based learning’ approach in terms of the impact of design tools, especially sketching and concrete modelling, on the creativity or problem‐solving capabilities of a student. The implementation of a ‘vertical design studio’ model at Gazi University Department of Architecture is reported with examples of students’ works.     

Developing a Theoretical Framework for Response: Creative Writing as Response in the Year 6 Primary Classroom

Focusing on the creative writing of Year 6 boys as they make the transition to Year 7, this article establishes a theoretical model for creative writing as response. In line with Bakhtin's notion of utterances as ‘interpersonal’ (1986), the model demonstrates the complexity of creative writing – the text is influencing of and influenced by an author's participation in ‘figured worlds’ (Holland, Lachicotte, Skinner and Cain 1998), but also influencing of and influenced by future respondents. This article suggests that ‘weaker framing’ (Bernstein 2000) in creative writing pedagogy has the potential to alter boys' identities and refigure their worlds.     

Learning in the visual arts and the worldviews of young children

This paper reports a research study into the effects of rich, sustained visual arts instruction on 103 inner city 9‐year‐olds in two major US cities. We use the lenses of social learning theory, theories of motivation and self‐efficacy, and recent research on artistic thinking to investigate the programs' effects on children's self‐beliefs and creative thinking. The study enlisted a pre–post measure, treatment‐comparison group design along with structured observations of participant and comparison group classrooms. The arts students made significant comparative gains on a self‐efficacy scale and on an ‘originality’ subscale of a standard creativity test. These effects are attributed to children's engagement in art and to the social organization of instruction including reinforcing peer and student–adult relationships. Relationships between self‐efficacy beliefs and tendencies to think originally are explored.     

Portrait of the student as a young writer: some student survey findings about attitudes to writing and self‐efficacy as writers

This New Zealand‐based article reports on an analysis of data gathered over two years from upper primary school students on their attitudes to writing and writing instruction and their beliefs about their self‐efficacy as developing writers. Responses from 449 students in five diverse schools are included. Through an online survey administered at the beginning and end of each of the two years, students responded to a range of mostly closed questions. Conclusions (including student comments) were made about students' likes, dislikes and preferences as developing writers. Levels of association between their attitudes and gender and between their attitudes and proficiency levels were explored. Conclusions were also made about how student attitudes affect teacher practice.     

MEASUREMENT OF CHANGE IN THE MEANING OF WRITING IN FRESHMAN ENGLISH

This study had a two‐fold purpose: first, to determine whether a measurable change in the meaning of the word writing could occur during a writing course; and second, to measure meaning rather than merely student attitudes toward writing. To satisfy these purposes, a semantic differential was administered to students in both regular and developmental classes in a two‐year campus at the beginning and the end of the 10‐week term. The scale measured the meaning of the term writing according to three dimensions: evaluation, activity, and potency. Scores were compared for each student and for each class of students. A significant increase occurred in the activity dimension for students in the regular classes by the end of the term; however, their evaluative rating decreased. Developmental students showed no change. Correlations with other measures of student performance were performed: final grades in the writing course, high school G.P.A., and verbal SAT scores. Regular students’ final grades correlated positively with the evaluation dimension of writing, and their verbal SAT scores correlated positively with the activity and potency dimensions. An inverse correlation was obtained between the developmental students’ verbal SAT scores and their evaluative rating. All correlations were stronger by the end of the term. Implications for writing teachers are discussed. Use of this instrument for measuring change in students’ perceptions of writing is recommended.     

Performativity by stealth: a critique of recent initiatives on creativity

This article offers an analysis of recent development in primary education, in particular the prevailing climate of performativity and new initiatives on creativity. Since 1989 education has been dominated by the performativity discourse accompanied by the obsession with evidence: of children's learning; of teachers' performance; and of student teachers' ‘covering’ the standards. Recent initiatives would seem to signify a shift in official Government thinking on education and a move to embrace the creativity discourse. The commissioning of a national report on creativity and culture was an important first step. There was also the QCA's literature review of creativity, and the development of the QCA web site on creativity. More recently, we have seen the introduction of the new Primary National Strategy (PNS) via the DfES document Excellence and Enjoyment and Government support for creative partnerships: a programme aimed at developing creativity in learning and participation in cultural activities. This article argues that the new initiatives on creativity do not herald major change in primary education. It offers a critique of two significant texts: the Primary National Strategy and the QCA web site on creativity. It presents an alternative analysis of creativity and suggests ways forward to prevent creativity becoming hijacked by the performativity discourse.     

Exploring the relationship of creative thinking to reading and writing

This study explores if extensive practice in reading or writing is related to high creative performance. In total, 196 university students participated in the study by filling out a questionnaire and completing a creativity test. The questionnaire inquires the total courses taken in the school year, total hours spent on reading, total hours on writing, and background information. The results indicated that students who spent more time on reading/writing performed significantly better on the creativity test. This study concludes that creativity scores, especially scores of elaboration, are significantly correlated with attitudes toward reading/writing, and the amount of time spent on reading/writing.     

Using the PSSC Laboratory Course in the First Year of College

Summaries

English

In the physical sciences, laboratory instruction has always taken place alongside classroom instruction. Undergraduate physics education has been a mixture of theoretical and experimental instruction, where the theoretical part plays the dominant role. The freshman laboratory holds a prominent role because it is the place where the student acquires the skills and attitudes that will help him understand the advanced subjects.

The freshman laboratory is particularly important in countrieswhere the student's instruction in experimentation is practically non‐existent at the secondary‐school level. In these cases, where the freshman laboratory is the student's first exposure to experimental science, we are particularly concerned that together with learning the ‘right’ things the student should develop the ‘right’ attitudes; as the ‘right’ attitudes can encourage curiosity and motivation for lifelong learning.     

Student teachers as creative writers: does an understanding of creative pedagogies matter?

Teaching creative writing in primary schools requires an understanding of creative pedagogies that value autonomy and for educators to draw on their own experiences of the creative writing process to support the development of their pupils. This article draws on evidence from 58 undergraduate primary student teachers to further understand how their appreciation of creative pedagogies, combined with their experiences of creative writing, impacts on their approach to the teaching of writing in primary schools. Evidence from questionnaires and interviews reveals that factors such as freedom, choice and focusing on the personal aspects of writing are valued but often because they make writing fun for children, rather than because they develop children's creative behaviours and creative writing. Student teachers' own personal experiences of these factors affect whether they are likely to integrate them into their future practice in school. It is argued that if students experience creative writing that is underpinned by a creative pedagogy within their initial teacher education, they will be better equipped to teach creative writing and prepare children for being writers.