Art and Design Blogs: a Socially‐Wise Approach to Creativity

Many images of the ‘artist’ or ‘designer’ pervade the media and popular consciousness. Contemporary images of the artist and creativity that focus solely on the individual offer a very narrow depiction of the varying ways creativity occurs for artists and designers. These images do not capture the variety of creative processes and myriad ways artists and designers work. Young creatives in particular are choosing to work with a social approach to creativity. An example of this approach is the world of blogging, a form of social media where young creatives have a very active voice. This article explores how creative bloggers, that is, artists, designers and makers who blog about their practice, use a social approach to foster creativity with a sense of community, environmental and ethical awareness, a value framework that is in opposition to the market‐driven notion of liberal individualism. Is there a way to include participation in the broader art and design blogging world as part of art and design education? What can we learn from such a social approach to learning in higher education art and design programmes? This article explores these questions and shares findings of an ethnographic approach to an analysis of art and design blogs. In doing so it argues for a socially‐wise approach to creativity in art and design education as a means of promoting values other than those usually connected to the market.     

Counter-conduct in creative university research: deliberations on freedom

This article describes how a political assemblage currently at work in higher education is re-articulating academic subjectivities. This assemblage draws together entrepreneurial and humanist concepts of creativity into an intellectual resource that can change national economies. Academics are urged to use their creativity to counteract the narrowing funding base of the university. The article first introduces a history of the concept of creativity and explains how governmental agendas for creative industry and creativity in education emerged. Second, it describes a practice-based research project that grapples with the difficulties of knowledge transfer between the ‘creative’ and ‘social science’ academic disciplines. This raises questions about creative knowledge and reveals some ethical tensions in the performance of academic research. The research project is then positioned as a ‘counter-conduct’, used to short-circuit the procedures implemented for the conduct of creative research in the creative, entrepreneurial university.     

Developing Design through a Creative Problem‐Solving Process: A Group Community Art Project

For the past few years, creativity has gradually become an important element in the national cultivation of talent in Taiwan. Although traditionally art education is closely linked with creativity, the academic research on general art education is very insufficient. Therefore, the goal of this research is to investigate how creativity could be cultivated in curriculum planning for general art education at technology universities as well as what students’ learning process was when they participated in a course's creative activity. The research applied the theory and steps of creative problem‐solving (CPS) on a general art course to design a group practical activity combining with the local community. This involved converting the steps of creative problem‐solving into different stages of group design activities with the goal of constructing a design process equivalent to the process of problem‐solving. The main research results revealed that students could experience the problem‐solving process through group design activities and develop their divergent and convergent thinking at the same time. Moreover, the cooperative learning model is the most appropriate teaching strategy for students from non‐art‐related departments when cultivating their creativity.     

Nurturing Creativity in Education

Across continents, creativity is a priority for education and is central to the discourse on 21^st century learning. In this article, we explore how a greater focus on ‘everyday creativity’ in schools changes the dynamics of teaching and learning. We look briefly at the main concepts in the literature on creativity in education. We then focus on examples from the Centre for Creative Education's creative partnerships, which bring together educators, learners and creative professionals. This is followed by a discussion on how teachers assess learners’ creative dispositions, as well as the quality of creative processes and products. We conclude with recommendations for school-level strategies and policy and research to support learner and teacher creativity.     

Foucault’s ethical self-formation and David’s articulation of a creative self

Abstract

Much has been written about creativity in education policy and about how the concept is mediated in institutions like schools and universities. Although constructs like ‘creative teachers’ and ‘teachers that foster creativity’ are highly prevalent in the literature, there are few situated and contextualised accounts of what such constructs mean to the protagonist. The extent to which teachers co-opt or align themselves with discourses of creativity can be recast as a question of identity: What beliefs on creativity and associated practices are constitutive of one’s ‘teacher identity?’ This article draws on previous work that translates Foucault’s writings on ethical self-formation into an ‘identity grid’, and foregrounds the experiences of one teaching deputy-principal, to offer an account of how one teacher pursues particular practices congruent with his visions of a creative teacher. To identify rationales for actions undertaken, and to engage with situational factors of this teacher’s work, performativity and its problematic steering influences also informs this analysis. The article highlights the productive capacity of engagement with ethical self-formation, through identifying the potential it offers to access an individual-centric perspective in understanding how central concepts like creativity are negotiated and incorporated into accounts of the ‘teaching self’.     

The ‘Night Owl’ Learning Style of Art Students: Creativity and Daily Rhythm

This article explores the deep‐rooted ‘night owl’ image of art practitioners and calls for attention on a consideration of the time for learning in art. It has been recognised that the human body has its own internal timings and knowing the ‘time’ pattern is important for better productivity in conducting creativity‐related activities. This study surveyed 230 art students and 251 management students in a university and examined if there existed any cross‐disciplinary differences in terms of self‐confidence of creative ability, preferences of a particular time for creativity tasks, and routine patterns for daily activities such as getting up, going to bed and working. The results reveal that the art students have more confidence in their creative ability than the management students; about 58 per cent of the art students feel more creative after 10 p.m., as opposed to 29.2 per cent of the management students; and there exist significant differences between the two groups in terms of what time they get up, go to sleep and prefer to work.     

The careers of fine artists and the embedded creative

While there is a growing body of scholarship on the creative industries and on the career trajectories of graduates from creative industries programmes, there has to date only been a limited amount of research that examines in detail, the careers of fine arts graduates. Fine art is arguably the least ‘vocational’ of creative disciplines, in that there are relatively few employers that seek to employ fine artists as fine artists. If fine arts graduates are not employed in their chosen field – that is, in the ‘Creative Trident’ terminology, in a core creative occupation – how do their careers parallel or differ from those of other creative graduates? Do they find employment as ‘embedded creatives’, using or applying their experience and practice in sectors beyond the core creative industries, or as ‘support workers’, enabling and facilitating the creative work of others? Do they experience portfolio careers? And how do their artistic training and attitudes to creativity affect their working relationships and experiences? This article draws on rich qualitative data about the experiences of a small group of graduates (including the author) who all graduated from the same course at the same institution in the UK in 1994, to provide some insights into the career paths and trajectories of a sample of fine arts graduates.     

Lifelong learning policies and discourses: critical reflections from Aotearoa,New Zealand

This article examines New Zealand experiences and understandings of lifelong education and lifelong learning over the past 30 years or so. It investigates the place of lifelong education and lifelong learning discourses in shaping public policy in Aotearoa as well as questions about the similarities and differences between the discourse in New Zealand and in Europe and the UK. The aim of the paper is to throw light on the following questions: what effects, if any, have notions of lifelong education or lifelong learning had on public policy discourses on tertiary education and the education of adults? Is there evidence to suggest that notions of either ‘lifelong education’ or ‘lifelong learning’ have provided a vision or sense of purpose or set of guidelines in developing public policies? Have they served to justify or legitimate new initiatives or funding arrangements? And, if so, what is the nature of this influence? Finally, in the light of this discussion the article also examines the question whether notions of ‘lifelong education’ and ‘lifelong learning’ as they have featured in the academic and policy literature are predominantly located in a Euro‐centred discourse and hence how they might be reconstituted to reflect more adequately discourses of learning and education in other parts of the world.     

The promise and peril of education: the teaching of in/tolerance in an era of globalisation

This article addresses the pedagogical implications and possibilities that globalisation poses for educational policy and praxis as it relates to teaching about difference in an ever more diverse world. Among the most salient questions in an era of accelerated globalisation is how seemingly different cultures, civilisations, nationalities, ethnicities and races are to coexist peacefully in an increasingly borderless world, or whether they are forever destined to experience conflict based on cultural chasms in the guise of a ‘clash of civilisations’. This article highlights the tension between two perspectives on education: education as a force in cultivating intolerance and education as a panacea for intolerance. While not negating the potential for education to remedy social ills, we consider the extent to which education can produce change in the opposite direction. In the following pages, we present a context for our discussion of in/tolerance by providing an overview of the double‐edged, or Janus‐faced, qualities that both education and globalisation possess. We then draw on social‐psychological, anthropological and sociological literatures in bringing together three theoretical constructs—moral exclusion, the genocidal continuum and symbolic violence—in examining how intolerance is created and reproduced within educational settings. Following this overview, we present three vignettes to exemplify the teaching of intolerance in different historical and geo‐political contexts, namely, Nazi Germany, Rwanda and Israel. Finally, we conclude with recommendations that pay particular attention to the kind of education that that teaching of tolerance necessitates.     

Creativity through a rhetorical lens: implications for schooling,literacy and media education

This article, which is speculative in outlook and emerges from an extended literature review on this subject, takes as its basic premise the notion that the idea of ‘creativity’– whether in relation to literacy, schooling or the economy, is constructed as a series of rhetorical claims. These rhetorics of creativity emerge from the contexts of research, theory, policy and practice. Initially, we distinguish 10 rhetorics, which are described in relation to the philosophical or political traditions from which they spring. The discussion then focuses on four rhetorics – play, technology, politics/democracy and the creative classroom – which have most relevance for understandings of literacies and the way in which these are nurtured, encouraged and expressed in different social settings. This article aims to summarise the rhetorics and their major concerns, while considering how selected ones might apply to an instance of media literacy. Key questions addressed in this article ask whether creativity is more usefully understood as an internal cognitive function or an external cultural phenomenon; whether it is a ubiquitous human activity or a special faculty; whether it is necessarily ‘pro‐social’ or should be dissident; and what the implications of a culturalist social psychological approach to creativity might be for analyses of the media literacy of children and young people.     

Artwashing Education?

Education increasingly operates in neoliberal terms; privatisation, marketisation and competition have become key drivers for schools in England. This article explores the findings from an ethnography that points to how arts education practices are being used to ‘art‐wash’ schools resulting in parents with the requisite economic, social and cultural capitals ensuring that their children benefit the most from a creative education. Whilst most of the narratives on artwashing have so far focused on arts institutions and global capital, this article questions how some of the specific processes of gentrification may be extended to the current education system in England and ask if schools and arts organisations may increasingly be ‘art‐washing education’.     

On Art and Knowledge

I comment upon the recent blossoming of writing on art, knowledge and research and connect this to its material roots in the changing nature of higher education. I find much of this writing wanting in that it implies a division of art into ‘knowledge‐producing’ and ‘non knowledge‐producing’ art. I examine how art objects might be said to generate knowledge, particularly the kind of propositional knowledge which sits at the centre of both traditional epistemology and ‘knowledge transfer’ in the contemporary academy. Although there are many ways in which artworks might variously generate such knowledge, I conclude that there is none that is common to all. I go on to examine other kinds of knowledge, particularly Gilbert Ryle's ‘knowledge‐how’ and use this as a staging post to suggest that there is yet another kind of knowledge, produced by all works of art. Finally I borrow some ideas from recent work in the philosophy of science to suggest a concrete mechanism by which this knowledge is made available to us.     

On Flying,Writing Poetry and Doing Educational Research

This article is written in a personal capacity; it is based on a presentation entitled ‘If the child is father to the man, can the researcher be mother to the poet?’ given as part of the ECER symposium, ‘Telling stories: truth and fiction in educational research’ hosted by David Bridges, at the European Conference on Educational Research, University of Edinburgh, 23 September 2000. It is meant as a stimulus to discussion about the relationship between poetry as a species of ‘creative’ writing, and research writing—how and why they might be complementarities as well as opposites. Rather than attempting a theoretical paper, the author uses excerpts from her own poetry—and those of the prize‐winning poet, Jane Draycott, with whom she recently co‐authored a book, and whose ideas have contributed to this article—to explore these ideas.     

A Decline in Drawing Ability?

This research surveys changing attitudes to drawing pedagogy, in the context of digitisation, moves toward student‐centred learning in art & design higher education, and anecdotal reports of declining competence. Based on student, teacher and examiner’s experiences, it has been possible to gain insights into how drawing instruction has changed over the past generation. This article examines the attitudes, values and concerns of students and educators regarding drawing instruction. The study reveals that, in the UK, drawing skills are considered to be gradually declining, while traditional notions of skill are called into question. Drawing as a means of visual recording, representation and communication remains valued, although no longer essential as it once was; drawing to augment thought process is increasingly recognised as an integral skill which enables innovation. The latter is rarely ‘taught’ but relies on core competencies that many lecturers fear are being eroded. Increasing value is placed on drawing ‘as process’, as provision is moving towards individualised instruction requiring students to work independently. While new technologies are a factor, this article re‐frames the issue as an imbalance between creative outcomes and creative process, with a disparity between school and university levels. This article calls for a renewed emphasis on ‘drawing as process’ as preparation for university, and for further consideration of the core competencies underpinning the use of drawing as a tool of thought, and how these might be standardised.     

Participatory creativities: developing a research design for children’s pastoral encounters with the natural world

ABSTRACT

In this paper, the author discusses the interrelationship between creativity, children’s experiences of the natural world and pastoral education. Based on a research design developed whilst undertaking a professional doctorate in education (EdD), and grounded in a theoretical framework of children’s rights, the author explores the creative uncertainties of collaboratively researching children’s educational experiences with nature. The paper considers the ways in which the research design supports a pastoral care agenda, whilst encouraging the emergence of ‘creative artefacts’, alongside the extent to which the focus of the research, encounters with the natural world, might be deemed pastorally minded in its own right. The children who have participated in the research then draw the paper to a close, sharing what their involvement in the project has meant to them. Images and excerpts of children’s own creative reflections are offered as illustration of the powerful confluence of the Creative and the Pastoral.     

Art Conquers All? Herbert Read's Education through Art

Herbert Read's Education through Art (henceforth ETA) is a pioneering attempt to provide empirical evidence for the need for art in the public school system. Rooting for art education, Read applies the conclusions of the newly evolving psychological research to his thesis on education, which he holds to be a contemporary revival of Plato's educational theory. Psychological research proves, Read believes, that art is required for the healthy cognitive and emotional development of the child, thereby creating a stable and productive society. ‘Education through art’ nurtures each individual's potential, so that every professional direction one would later take would be ‘art'. Since its publication in 1943, art‐education enthusiasts seem to hold that Read was on the right track, but that ETA suffers from a lack of evidence – a mere technicality that can be amended when research advances. Contrariwise, I argue that Read's thesis is inherently problematic, rather than empirically inaccurate. Psychological research may never suffice for the justification of art education, if ‘art education’ is both substituted for ‘creativity’ and expected to produce testable – immediate and quantifiable – results. My interest is not only in Read's theory per se, but in this form of justification. To wit, the discussion examines ETA as a case study in the empirical justification of art education.     

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.     

Body‐Building: A Female Student's Use of the Transitional Spaces of a Painting Degree Course to Explore her Sexual Desirability and Aesthetics as a ‘Grotesque’ Female Body

Whilst a part of the fine art degree course is about teaching technical skills and learning from tutor/peer group crits, a larger part is about the facilitation of a ‘safe’ and structured space in which students gain the confidence to experiment with personal ideas, to hone a self‐critical reflection and understand who they are as individuals, before being cast out into the world as ‘artist’. In this article I examine the thought processes and decision‐making of one undergraduate female painting student. For this student, who struggled to find her own ‘grotesque’ female body image in the canon of art historical works or contemporary popular media, the spaces of the painting degree course created a frame for possible enactments of identity and desire, as well as for playing with roles and practices. Through a mix of interviews with the student, viewing her visual work and written narratives, I analyse how she was able to carve out a space for her visual representation within the institutional frame. My analysis reveals how this student uses the transitional spaces of the degree course to develop creative strategies through which to explore her sexual desirability and aesthetic self. As an individual who felt marginalised from the visual realm of the ‘body beautiful’, the degree course offered an important refuge where she could examine how she felt about her own body and develop a confidence and character to present her body to the world.     

Carpe Diem: Tales of Desire and the Unexpected

Education generally and philosophy of education in particular cannot turn a blind eye to the world of young people. Thus there are interesting questions about artists such as Marilyn Manson: is his popularity due to the performance or the music? Is his act an expression of frustration at the lack of an answer to the question of the meaning of life? And is the quest for the sensual the modern version of carpe diem? After noting the creative and destructive tendencies of ‘seizing the day’, this paper highlights different characteristics of this idea. An interpretation is offered in terms of sensuousness, the enjoyment of art and confrontation with the other. Present‐day so‐called nihilistic tendencies can thus be understood somewhat differently, in terms of consolation for the loneliness of the human condition.