Drawing on the history of research on teaching creativity and on arts education, the article argues that the best way to teach for creativity is to transform domain specific education, in each subject area. This requires schools to change the way each subject is taught, so that learning outcomes support the learner’s ability to create within each specific subject. The most effective learning environments are characterized by emergent, improvisational, and collaborative pedagogical structures.
This commentary argues that creativity is best viewed in terms of significant achievement and that such achievement is best developed through promoting critical inquiry.
This commentary notes the oppositional traditions that inform polarized perspectives on disability and schooling, and raises the question of the significance of such divisions for schools and for preparing teachers. Drawing on an international collaborative experience involving competing knowledge traditions the creative possibilities of uncertainty and ambiguity for reforming schools are explored.
Excerpts form a conversation on creativity with Olga Hubard, conducted prior to a symposium on the same topic at Teachers College, are interwoven with artworks by Hubard's students and professional artists.
This commentary details the creative process of New York City teachers and students coming together as players to remix Mary Shelley's Frankenstein in the summer of 2014.
Extrinsic incentives or constraints including the promise of a reward or the expectation of an evaluation have long been used by educators to motivate students. While extrinsic incentives do, in fact, help to ensure that work gets done and that it gets done on time, caution must be exercised when creativity is at stake. In teaching and learning situations where there is one “right” answer and one best path to solution, extrinsic incentives can be extremely effective. However, when more open-ended problems and activities are presented to students, these same extrinsic incentives have been shown to kill Western students’ intrinsic motivation and creativity. In the face of an expected reward or performance evaluation, students are unlikely to take risks and tend not to be fueled by an excitement about learning that would allow them to persist with challenging tasks until they achieve a creative outcome. The complexities of the relation between task motivation and performance outcomes are reviewed and cross-cultural implications are explored.
Many technological artifacts (e.g., humanoid robots, computer agents) consist of biologically inspired features of human-like appearance and behaviors that elicit a social response. The strong social components of technology permit people to share information and ideas with these artifacts. As robots cross the boundaries between humans and machines, the features of human interactions can be replicated to reveal new insights into the role of social relationships in learning and creativity. Peer robots can be designed to create ideal circumstances that enable new ways for students to reflect, reason, and learn. This, in turn, has increased expectations that robots and computer agents will enhance human learning and complement people’s physical, social, and cognitive capabilities. This paper explores how peer-like robots and robotic systems may help students learn and engage in creative ways of thinking.
This article how human rights education can utilize creative and innovative approaches for meaningful learning among marginalized communities. Specifically, the approach of one non-governmental organization in India is reviewed and presented as an example of how educators and those interested in imparting knowledge of basic rights can advance a transformative form of human rights education through innovative curricula, pedagogy and co-curricular efforts.
This is a response essay to an interview with George E. Lewis, the Edwin H. Case Professor of American Music at Columbia University, conducted by Cara Furman of Teachers College. The essay explores Lewis's thoughts on quotidian creativity and the ubiquity of improvisation, their necessity in academic institutions, and their potentially life-transforming effects for all people.
A collaborative effort in comics form inspired by Maxine Greene to explore the possibilities of social change in the intersections of education, philosophy, and the tree she looked upon outside her window. The authors, both former students of Greene’s, celebrate her life and teaching by continuing the conversation she began in their own unique way.
This chapter describes an after-school visual and performing arts program serving middle and high school youth operated in partnership between a community-based organization and two schools in Brooklyn, New York. Data collected on the program provides evidence of participants’ identity exploration and development of positive relationships and social competencies.
More than 75 years after the 1936 Yearbook was published, a globalized
society continues to advance the not-always-equal exchange of social, cultural,
and economic markers. Music is not only an integral element in
such exchanges—as a commodity and a set of practices—but also central
to discussions about education within and outside schooling
Music has pervaded American history since the founding fathers sang
hymns aboard the Mayflower. From that time until the present, music has
been so embedded in U.S. society that it is experienced subconsciously in
events and activities that are a part of daily life. Learning and instruction
take place in the home, in churches, in the community, and from private
entrepreneurs, as well as in schools. Thus, learning and teaching in
music are heavily dependent on cooperation between parents and community,
and on tradition and custom.
This chapter seeks to draw needed attention to some of
music’s social and political meanings by way of illustrating how it contributes to the shaping of people’s perceptions and understandings of their world.
The rationale for an education in and through music that this chapter
provides is centered on place, arguing that it can offer a rupture in persistently
reproductive patterns within education. It does so by considering
place as an influential construct in the development of our capacities for
This chapter frames issues of adult music learning within a lifespan perspective. A lifespan perspective
does not segment adult music education into a specialized practice
of highly differentiated strategies from those of childhood; rather, it
envisions seamless relationships among music learning in educational
settings, people’s self-initiated lifelong music experiences outside such
settings, and the assurance of richly diverse and developmentally appropriate opportunities for continued music learning through adulthood.
The key issues that challenge collegiate music education programs reviewed in this chapter include changing demographics and tastes in music; transformation of the music industry; new technologies that alter the way people interact, access information, and engage musically;
cultural and financial changes in higher education; changing
expectations for primary and secondary schools; and nonschool providers of music education services.
This chapter aims to introduce a critical reflection on the field of music
education in higher education, using the Bologna Declaration and the
European context as a backdrop.
In this chapter, I share my thoughts regarding the future role of popular
music in music education at a moment when there seems to be greater
receptiveness to this idea than ever before.
It is the goal and the purpose on which the utopia is based that merit
attention. As such, in this chapter, I engage in what Gilroy (in Shelby & Gilroy, 2008) referred to as a “utopian exercise” in order to think
through our3 “romance with” (p. 134) music as “part of the core curriculum” and as “balanced, comprehensive, and sequential” (National Association for Music Education [NAfME], 2011b).
This chapter takes into account and discusses innovative learning in the
21st digital and communicative century based on life-world-phenomenology
and Hannah Arendt’s view of democracy. From this point of view, we
address and discuss how democratic practices can offer innovative musical
learning in relation to what is taking place in research and educational
projects in Sweden and the Nordic countries.
In this chapter, I will argue that (1) mediation is one of the most important aspects of digital artistry and that (2) the pedagogical implications of recognizing this are significant concerns to music educators (see also Väkevä, 2006, 2009, 2010).
This chapter argues for the critical engagement of the music education
profession to amplify positive change. This is a pragmatic view of technological
change (Hickman, 2001; Waddington, 2010) that emphasizes
agency within the interplay of wants, needs, values, and practices as people
change and are changed by technological innovation.
Each of the authors in this Yearbook spoke to the multiple responsibilities
and challenges of education in our contemporary society, each of
which intersects the internal needs and realities of our nation-state, the
demands of information technology growth, as well as the economic
codependency and the cultural changes fostered by global interactions.
This article focuses on explicit arts-based approaches that the authors employed in a 3-year teacher education study of professional conflicts experienced by novice bilingual teachers. The authors describe how they used the literary and performing arts and to what end, addressing questions regarding processes, expertise, and validity in arts-based research.
An article about learning at an informal venue: Richard Hugo House, a nonprofit center for creative writing in Seattle. The article traces the characteristics of teaching and learning in a place not segregated by age, skill level, or economic background of the people who come there.
This article examines a community-based arts classroom that represents alternative practices and relationships than are typical in most schools to understand more about the possibilities of learning and identity for disenfranchised students. The study draws on long-term engagement, participant observation, and discourse analysis to highlight the resources made available to students as well as changing patterns of student participation in workshop activities.
This paper is an exposition of a definition of art that Dewey gave in a talk to teachers in 1906.
The author examines the community mural movement as an educational activity, reviewing the history of the modern mural movement, noting its democratic direction, and concluding that community murals can potentially educate artists and non-artists.
Sprinkled throughout education journals and books is a lively discourse about the importance of the arts in every child's education. However, most of this work has been addressed to the already committed: arts educators and educationists focused on arts education. The purpose of this article is to bring together recent theories, research, and developments in arts education in order to broaden the base of discourse.