Creative Learning

Creative activism is an approach to education that asks: ‘What can happen when we take learning outside the classroom and think of it happening everywhere?’ Two charities – House of Imagination and Cambridge Curiosity and Imagination – have been asking this question in their creative place-making programmes working with socially engaged artists and communities linked to primary schools in Bath and Cambridge. Young children and adults co-create and speculate about the future of their communities and environments in these different geographical locations. This article draws together the authors’ shared understanding of creative pedagogies and the value to everyone of working in this way.

Negli anni recenti, a livello internazionale, il sistema dell’educazione è stato sottoposto a rinnovata critica. Crescente attenzione è stata posta sulla costruzione di ambienti e occasioni di apprendimento creativo che sostengano l’individualità dei bambini e sui processi conoscitivi interattivi. Contesti educativi come scuole e musei si sono aperti maggiormente al coinvolgimento e all’integrazione di diverse conoscenze e competenze. In questa cornice, quale contributo può venire dai designer e dalla pratica del design?
Design e apprendimento creativo raccoglie attorno a questo interrogativo alcune risposte e riflessioni attraverso la voce e le esperienze di designer, pedagogisti, teorici, psicologi, mediatori museali e educatori.
Il volume presenta e discute le attività sviluppate nell’ambito di EDDES Educare attraverso/con il design: stimolare l’apprendimento creativo in contesti museali e scolastici, progetto di ricerca triennale interfacoltà
(Facoltà di Design e Arti e Facoltà di Scienze della Formazione) condotto presso la Libera Università di Bolzano nel periodo 2014-2017.

Con contributi di: Giovanni Anceschi, Annalisa Casagranda, Michele Corna, Pietro Corraini, Emanuela De Cecco, Alessandra Farneti, Jorge Frascara, Francesca Genova, Roberto Gigliotti, Brita Köhler, Walter Lorenz, Franco Lorenzoni, Giulia Mirandola, Guillermina Noël, Juanjo Oller, Pedagogías Invisibles, Jonathan Pierini, Ilaria Rodella, Stephan August Schmidt-Wulffen, Simone Simonelli, Carlo Tamanini, Beate Weyland.

Although artistic practices have been shown to have value for intercultural education in contexts such as community projects, research into the use of these methods for Critical Intercultural Communication Pedagogy (CICP) in HE is scarce. This reflexive, interpretivist practitioner case study addresses this gap, investigating the value of creative, arts-inspired tasks for learning within my own undergraduate Intercultural Communication course at a large university in Germany. Three subquestions addressed (i) the participants' attitudes to the tasks, (ii) the role of creative process for learning, and (iii) the relative merits of the tasks set.

Twenty-four participants carried out a collaborative poster-making task and created individual collages which were subseqently shared. Their experiences were discussed in individual and small group semi-structured interviews, carried out in two phases. Participants' reflective course portfolios and my own researcher diary supplemented this data in a 'bricolage' approach to research that was adapted to the study's context and aims. Analysis was characterised by processes of abduction (Alvesson and Sköldberg, 2009) whereby theory and empirical data are successively reinterpreted in the light of each other in an intellectual rather than technical process. Ellingson's (2009) conceptualisation of 'crystallization' informed the inclusion of artistic work and 'interludes' alongside the main narrative in the thesis.

The contribution of the study is two-fold, demonstrating the value of artistic practices for undergraduate learning and as an application and extension of CICP specifically, developing the theoretical work of Halualani (2017) and Sobré (2017). Six key findings emerged from the discussion of the data. Three key findings demonstrated the ability of artistic processes and products to (a) fulfil the need for relatedness, (b) allow the generation of insightful, personally meaningful knowledge, and (c) serve as prompts for reflective thinking. Two further findings identified productive dialectical tensions for the creative process and qualitative differences between the collaborative and individual tasks. The final finding showed how arts-inspired work could advance and extend notions of CICP in HE, encouraging open attitudes and authentic connections with others, a tolerance of ambiguity and risk, an appreciation of difference, and critical self-reflection. Because the tasks were also found to validate undergraduate students' unique voices and nurture agency, it is argued that they offered participants more emancipatory ways to approach their learning.

This chapter presents an overview of Aboriginal education in Canada that focuses on linking the transgenerational effects of colonialism with current issues. Educational models, partnerships, and programs already exist that make an enormous
impact on outcomes for children and youth in and from Aboriginal communities.
Examples of six successful programs that were developed in partnership with Aboriginal communities and range from elementary school through post-secondary school
are highlighted.

E-learning and blended learning is a familiar learning approach for students and lecturers alike in Indonesia and the ministry of high education even supports online learning as a way to increase people’s accessibility to higher education programs. Pivotal to online learning is the presence of Learning Management System (LMS) that integrates learning, message, and evaluation tools in one place and connect lecturers to their students. Indonesian lecturers have harnessed LMS of various kinds to fulfill their teaching objectives and to assist students in their learning process. Finding the factors that make lecturers utilize LMS in their job is necessary to predict LMS’ success in classroom. This paper presents a study using the technology acceptance model (TAM) as an attempt to analyze Indonesian lecturers’ behavioral intention to use LMS, using the core constructs in TAM; perceived ease of use, perceived usefulness, and attitude toward usage. The study added lecturers’ field of study and their amount of teaching hours as external variables. The result of this research suggests TAM was applicable in measuring Indonesian lecturers’ behavioral intention to use LMS. Furthermore, it also confirms the original TAM’s findings.

This article reflects on musical composition projects conducted in a German school, and considers the collaborative learning processes among the children. The study observed how the class shaped a community of musical practice and in this process how creative learning can contribute to the education of people who listen and learn with each other, emphasizing the collectivity and respect for diversity.
Keywords:  musical composition of children, creative learning, musical education in school.

This article is intended to quitely explain the use of Foldable Paper to raise the students' mastery on compound words. Foldable paper is the creative pape that make students improve their kinesthetic ability in which they will learn by action. This paper will focus on compound words material because the Foldable paper that will be made is a simple Foldable paper that very easy to make and consolidate two side consist words become a word of compound. The content of this paper will start with the explanation about compound words and the reason why Foldable paper is effective for learning. Involving students in making the simple Foldable and drawing the creative images of vocabularies that included in compound words is an important strategy that can chelp students to remember those compound words easier.

The history of research into creativity reveals several robust and persistent trends and oppositions. Depending on the tradition to which the researcher belongs, these oppositions are associated with a series of political and philosophical presuppositions about human beings and society that are seldom traced back to their historical roots. Recent trends see creative activity as both a cure for the ills of an increasingly troubled society, and as a charm to unlock the potential and boost the morale of demotivated and excluded sections of children and youth, the populace, the community or the work-force. Research suggests, however, that in quite specific ways creative teaching and learning are neither understood properly, nor given more than superficial significance in the criteria by which students and teachers in many settings are now judged. Via an exploration of a number of contemporary and persistent political and philosophical traditions in the theorising of creativity, this chapter asks: to what extent are any of these claims a reflection of actual events, trends and practices? Whose interests do some of these conceptualisations serve? And are there any ways in which the insights about creativity emerging from different traditions may be made to work on behalf of children and teachers?

Context This chapter explores the principles that underpin the pedagogical approach to developing a 'living curriculum' alongside young people in Dharavi. This approach to researching creative pedagogy emphasises the practice of being 'inside the research event', alongside young people (Hay and Paris 2019). Compound 13 Lab provides an opportunity to engage young people in imagining alternative futures to build their hopes and aspirations. The Lab sets out to establish a creative, shared space for experimental design, exploration and dialogue, drawing on the resources of the recycling industry, rethinking plastic waste and creating a space for young people to explore issues of sustainability and ecological design as part of a broader set of learning activities that draw on the resources and materials of the neighbourhood. The Lab invites innovative, entrepreneurial solutions led by Dharavi's young people to the challenges that they face, and to build creative skills, both in their lives now and for their future livelihoods, which are likely to be uncertain, with haphazard and interrupted opportunities for earning and learning. This chapter reflects on the creative and relational pedagogies and processes that respond directly to issues of social, cognitive and environmental injustice and inequality and offer 'pedagogies of hope' for young people in Dharavi. In collaboration with ACORN India, young people in Compound 13 Lab worked alongside a team of academics, artists and activists drawn from India and the UK. Compound 13 Lab shares a building with ACORN Foundation India's Dharavi Project, which provides opportunities for learning and support for families and children living in and around the 13 th Compound. ACORN's most famous project is the percussion collective Dharavi Rocks! (see Chapter 10) which has established a reputation as one of India's leading youth arts projects, performing all over the country and occasionally internationally. The pedagogical approach is built from various traditions in youth and community arts (Jeffery, 2008), with a focus on dialogical and experimental methods. Parallels can also be drawn with the creative approaches to learning developed by the education charity House of Imagination UK (formerly 5x5x5=creativity, Bancroft et al 2008)). The charity's signature project, School Without Walls, poses the question 'What is school, and how can we do school differently? For example, School Without Walls projects begin by taking up residency with whole classes of children and inserting the creative learning space into a chosen cultural setting in which the conventions and frameworks associated with the 'classroom' begin to disappear. Children are placed at the centre of their own learning, so that the themes, programmes and content of learning is largely directed by the children, facilitated through a method of co-enquiry. Adults (including artists, educators and mentors) work alongside the young people 'as companions in learning' to facilitate meaningful, creative enquiries in real life contexts. Arts, media and design education-using creative methods and creative pedagogies-includes hands on learning with new and digital technologies. This process develops a repertoire of 'learning to learn' skills and competencies and has shown increased motivation, purposeful engagement, authentic learning and social empowerment (Hay and Paris 2019).

The article focuses on creative learning in the context of elementary music instruction in the classroom from a second-grade student perspective, exploring the ways in which students attribute meaning to their musical experiences. The author analyzes research performed with the objective of investigating articulations of creative learning in student music composition activities. The methodology consists of a case study including observation, interviews with a music teacher and focus groups with students. The results analysis points out the children’s conception about music composition process inside the classroom and musical learning process itself. It is argued that hearing and understanding the students' perspective of their own learning can offer important benefits to the teacher. The analysis reflects a music education proposal that values collaborative learning and human musical interactions from mutual listening and mutual learning.

Keywords: creative learning, children musical composition, music education in the primary school.

Through a reflective practitioner-led perspective, this paper looks at five conferences in which creative learning processes were incorporated and used as participative experiential learning community building processes. The paper explores how creative interventions were designed and used to connect conference participants and to encourage mutual inquiry, reflection and other ways of knowing.

A visit to the St. Sophia of Istanbul is like a visit to the nearly 2000 year old history of the city itself. The church is one the finest & most famous examples of Byzantine architecture in the world. It is located in the heart of old Istanbul, next to the also famous Blue Mosque, in the Sultan Ahmet Square of Istanbul. The above photograph above shows the actual view of the Hagia Sophia Church Museum (Aya Sofya Muzesi) as it appears in Istanbul today. Four minarets have been added to Hagia Sophia, after the Ottomans captured Constantinople at 1453 and converted the building from a church into the mosque. Today, Saint Sophia is neither a Church nor a Mosque, but a museum that is open to the public. The Hagia Sophia was built as a Constantinian Church by the emperor Justinian I, between A.D. 532 and 537 and at the time, it was estimated to be the largest covered space in the world. Its architects were Isidore of Miletus and Anthemius of Tralles. It was built in only five years. On May 558, the dome of the church collapsed due to a December 557 earthquake, and though a new dome was quickly rebuilt afterwards.Hagia Sophia is a Greek phrase that means 'Holy Wisdom'. This ancient basilica was also called Saint Sophia. The Turks call it 'Aya Sofya Muzesi' (Hagia Sophia Museum) or in short, Ayasofya. After its construction ended, Hagia Sophia served as a Church for the following nine centuries, until  Constantinople was invaded and taken over by the Ottomans on the 29th of May, 1453. After this date, the Hagia Sophia was converted into a mosque.
Then in 1935, during the first years of the Republic of Turkey, the Mosque was secularized and made into a museum under the direction of Mustafa Kemal Ataturk, founder of the Turkish Republic.    It became a national museum, as it remains today.

Although old Arab cities were designed bottom-up to follow the needs of their users, public spaces for use by children were not fully considered. This paper is an outcome of a funded project that hosted 30 youth (aged 13–17 years old) from different parts of El Mina city, located in the North of Lebanon, Tripoli. The project’s aim was not limited to capacity building or designing a framework for youth participation as a vision for a child-friendly city alone, as it also demonstrated community participation with the youth to realize a design vision in an unused interstitial space by the youth in the ancient city of El Mina. The funded project consisted of many different stages; this paper focuses on the site selection, design process and the final stage of implementation. The results highlight the lessons learned from the youth’s participation, the adaptive reuse of interstitial spaces, in addition to the various interests of the project’s stakeholders.

1) General introduction: the self-organised learner and the repertory grid 1
2) Personal meaning and self-organised learning                                         1
3) Who the book is for                                                                                         2
4) The need for a conversational methodology                                                 2
5) Conversations for self-organised learning                                                 2
6) The seven themes may be outlined as follows:                                         3
7) The contents of each chapter may be summarised as follows:                 4

How can the practice of an artist-teacher evolve during a collaborative practiced based inquiry drawn on the principle of Critical Pedagogy?
In this essay, I will explore the actions of some artist-teachers and I will reflect on them and describe how they evolve around a collaborative practice-based inquiry drawn on the principles of Critical Pedagogy. To do this, I will introduce the principles of Critical Pedagogy by explaining how they have been significant in our approach. Then I will map the process of a collaborative project in which these concepts have been applied. I will also find oppositional theories to Critical Pedagogy and critical thinking to understand where they come from and where they entail. I am going to find significant considerations around the issues of critical pedagogy, art education, collaboration, identity, learning and change in order to achieve a deeper understanding of them and use it in my educational work through my life.

Lazorenko, Olena (2015). Ukrainian Context of the Creative Social Actions // Філософські діалоги`2015// Філософія. Культура. Суспільство. - Зб. наукових праць, К., 2015. Випуск № 9-10. - стор.  255-265 ( 0,4 д.а.)

“Creative Social Action“` is concept of Ukrainian scholar Dr.Olena Lazorenko. The concept pursues a multidisciplinary theoretical framework (derived from social philosophy, cultural studies, economy, management of art, sociology of culture, adult learning) to study creative social actions, its spillovers effect and social outcomes. This study is aimed at furnishing a clear definition of “creative social action” that can be used by future research and practical activities from national and international perspective as well as identifying and measuring an individual’s participation in creative & learning activities undertaken to delivery this form action by different target groups and actors. Creative social action is interpreted here as access to Culture-Lifelong Learning-Networking with focus on the target group(s) within a specified and limited time. The concept combines theoretical and empirical parts. This article follow up author`s position paper published at ACT | UJ Arts and Culture, Creative Conference, University of Johannesburg in South Africa, March 2016

Professional English is a mandatory module in all Chinese universities, being taught alongside the students major. However, students often find learning English somewhat tedious as it can seem disconnected from their major and aspirations for the future. To try to overcome this shortcoming we have introduced the use of creative science as a means of linking language learning to exploring futuristic technologies with the aim of fuelling their engagement with language learning while at the same time helping them acquire valuable creative-thinking skills. In this paper we describe a two year trial be conducted at Shijiazhuang University where we operated this scheme with two batches of students, reporting our findings which show this approach produces significant learning gains over traditional methods. Finally, we describe our plans for developing an online EFL facility based around an i-Lab n the form of a virtual spacestation.

The following research it is based on studies about creative learning, an emergent concept in the Education and Music Education areas, which focuses on the development of creativity on children during learning situation. The aim of the research was to investigate how the creative learning dimension articulates itself on musical composition activities in the primary musical education teaching context. The theoretical framework was build to encompass the children and teacher's perspectives on creative learning. The first one was built on Csikszentmihalyi's systems view of creativity, and reviewed through some researches about practices and children musical concepts focusing on three creative dimensions: the domain - children music ideas; the field - the school's community and the individual - collective and individual background. The second point of view about teacher's perspectives on creative learning focused the teacher's role in the social relationships in class and the dimensions that characterize the creative teaching: the relationships in the classroom, the students' commitment interests and the value of their contribution on musical composition activities. The method consisted on a case study carried out in a 2nd grade primary musical class. The data collection involved: (1) observation and video recording of two blocks of activities during musical composition in the participant class, (2) focused groups with students and (3) semi-structured and reflection interviews using video recordings with the participant class teacher. The results show that the dimensions of creative learning articulate themselves in the composition activities in group, musical presentation and critic on students' productions; in a cycle that starts the stabilization and investigates how the creative learning dimension articulates itself on musical composition activities in the primary musical education teaching context and stabilization of music ideas intersubjectively built in the classroom. Participating in the classes as composers, performers, and critical audience, the children build their identity in the group and become agent of their own learning, building the knowledge collectively that sustains their music ideas, which are revised and enlarged constantly by their musical reflective experiences. It is up to teacher to create the conditions to build an environment of social positive relations of groups learning processes, the commitment in mutual collaboration, interest and valuing the children contributions in class. As time goes on, these social participation ways represent the constitution of a committed community of musical practice and in the negotiation and meaning process of this practice, sharing ways to do and think music that sustains creative learning.

The study reported in this paper compared the effects of two approaches of blended learning on students’ learning outcomes in courses on intellectual property rights and patents. One group of students followed three weeks of online graduate courses and underwent peer assessment. In a second group of students, the online work and peer assessment were combined with active face-to-face experience-based learning. Pre and post-tests were used to measure the students’ knowledge about intellectual property rights and patents. In addition, a questionnaire was used to gather data on the students’ opinions regarding course arrangement and implementation, digital learning, the learning environment, and their knowledge, understanding, and implementation of intellectual property rights and patents. The data were quantitatively analyzed to determine whether the two blended learning approaches differed in terms of the effects measured. The findings show that the students approved of the online courses and also the face-to-face learning. These findings may reflect approval of the decrease in costs and time. The implication is that active face-to-face experience-based learning should supplement online courses with peer assessment, as this combination led to more successful learning outcomes among students taking courses on intellectual property rights and patents.

Call for Papers: Educational Technology & Society Special Issue on “Creative Learning in Authentic Contexts with Advanced Educational Technologies”

https://drive.google.com/file/d/16LV9GsC8y9alaahLCvfFL5L3JLKNkaGA/view

Educational Technology & Society has Impact Factor of 2.133 and 5-Year impact factor of 2.682 according to Thomson Scientific 2018 Journal Citation Report.

Submission Deadline: November 30, 2020

'Theatre for Children in Hospitals' is an overview of the professional theatre work for sick children happening in hospitals and clinics in Europe, America and Asia; the pluralism of practice, the aims and characteristics of theatre for hospitalized children.

Untuk membantu pesertadidik mengembangkan kemampuan berpikir kritis, konstruktif dan kreatif setiap guru perlu merancang suatu model pembelajaran yang aktif, inovatif, kreatif dan menyenangkan (PAIKEM). Guru yang kreatif akan membuat pembelajaran di kelas dan di lapangan sekolah menjadi menarik dan disukai oleh para peserta didik

Notions of youth ‘leadership’, partnership or collaborating with young people as ‘service users’, are currently being endorsed and elaborated across a very broad spectrum of thinking, policymaking and provision. This paper argues that if we want to understand this phenomenon, we should not look in the first instance to young people as the prime source of commentary or agency: instead, we need to understand it as a way of ‘doing’ – in this instance - the arts or education differently. The paper draws on research into how one organization, the flagship English ‘creative learning’ programme Creative Partnerships run in schools between 2002 and 2011, attempted to ‘put young people at the heart’ of its work. It argues that youth leadership should be analysed as it is enacted within and through specific sites and practices, and in terms of the subjectivities, capacities and narratives it offers to teachers, students, artists and others involved. The result is a more ambivalent account of participatory approaches, acknowledging their dilemmas as well as their achievements, and observing that they reconfigure power relations in sometimes unexpected, and sometimes all-too-familiar, ways.

The creativity ‘vocabulary’ is an innovative short book that includes a collection of essay about creativity understood through the prism of (new) words. These words are meant to form a new vocabulary of creativity and are introduced in the volume in alphabetical order.

The premise of this book is that a new vocabulary of creativity is required if we are to think in original and productive ways about creative phenomena. In both scientific research and lay discourses about creativity we often come across a variety of terms such as innovation, invention, improvisation, discovery, giftedness, talent, intuition, transformation, emergence, reconstruction, combination, genius, eminence, divergent thinking, exploration, openness, etc. These terms are not ‘innocent’ but carry with them a way of understanding (and indeed, constructing) the phenomenon we are interested in. It has been repeatedly pointed out in the creativity literature (Glaveanu, 2010; Tanggaard, 2013; Saywer, 2012; Amabile, 1996) that the vocabulary of creativity is mostly oriented towards describing the individual, its attributes and internal processes. And even when we convey ‘elements’ outside of the individual creator (e.g., related to the material and social environment) there is often a disconnection between person and context supported, among other things, by the very terms we use to refer to one or the other. Indeed, the field is often ridden by dichotomies (Glaveanu, 2012) and, among them, the distinctions made between person, product, process, and environment (Rhodes, 1961) need to be questioned. The person and the environment are interdependent in creative work, the process can be a product and products themselves can contribute to their own making (Glaveanu, 2014). Unfortunately, however, the language of creativity we commonly use reifies such distinctions and doesn’t help us develop more relational and innovative ways of looking at (and talking about) creativity.

In this context, the main contribution of this volume is that each chapter will use one concept – which is not often mentioned in connection to creativity – and consider the implications of commonly using it as part of our creativity vocabulary. The resulting small ‘vocabulary’ will have each entry written by an expert in the area of creativity, organisations and culture from Aalborg University, in Denmark, where a cultural conception of creativity is being developed by the three editors and their colleagues. The authors will also experiment with creative ways of writing without compromising scientific rigour but in ways that make this book accessible and thought-provoking.

It is our hope that this short and original ‘vocabulary of creativity’ will inspire new theoretical developments by questioning the rigidity of thinking about creativity in a more or less normative, well-established manner (e.g., the traditional definition of creativity as novelty plus value often found in the literature). The concepts highlighted by each essay have the potential to help us cut across dichotomies and can inspire new ways of not only thinking about but also engaging in creative action in our everyday life. Concepts are never neutral descriptions of reality but have both a history and a certain ‘intentionality’ inscribed into them. By reshaping the language of creativity (see also Glaveanu, 2013) this book goes beyond a simple change of terms. It is an invitation to consider our assumptions about creativity and, literally, think outside the box of an old vocabulary.

Frustrated by high student attrition and failure rates – both course-specific and overall within Victoria University of Wellington’s (VUW) Level 4 University Preparation programme – I developed and introduced team-based, creative learning exercises and assessments into the social science elective (UP016) in an attempt to overcome this situation. The introduction of team-based, creative learning (TBCL) resulted in improved student retention and course pass rates for UP016 and has had positive socio-educational outcomes for both students and teachers. This article and the accompanying video, produced with the assistance of an AKO Good Practice Publication Grant (GPPG10-004), examines the rationales behind the introduction of TBCL; the operational mechanics (e.g. group formation); problems encountered and consequent refinements made; possible improvements for future applications of TBCL; and the impact of TBCL on student retention and success in UP016 over four trimesters during 2009-2010.

Through a reflective practitioner -led perspective, this paper looks at five conferences in which creative learning processes were incorporated and used as participative experiential learning community building processes.  The paper explores how creative interventions were designed and used to connect conference participants and to encourage mutual inquiry, reflection and other ways of knowing.

Notions of youth ‘leadership’, partnership or collaborating with young people as ‘service users’, are currently being endorsed and elaborated across a very broad spectrum of thinking, policymaking and provision. This paper argues that if we want to understand this phenomenon, we should not look in the first instance to young people as the prime source of commentary or agency: instead, we need to understand it as a way of ‘doing’ – in this instance - the arts or education differently. The paper draws on research into how one organisation, the flagship English ‘creative learning’ programme, Creative Partnerships, run in schools between 2002 and 2011, attempted to ‘put young people at the heart’ of its work. It argues that youth leadership should be analysed as it is enacted within and through specific sites and practices, and in terms of the subjectivities, capacities and narratives it offers to teachers, students, artists and others involved. The result is a more ambivalent account o...

Notions of youth ‘leadership’, partnership or collaborating with young people as ‘service users’, are currently being endorsed and elaborated across a very broad spectrum of thinking, policymaking and provision. This paper argues that if we want to understand this phenomenon, we should not look in the first instance to young people as the prime source of commentary or agency: instead, we need to understand it as a way of ‘doing’ – in this instance - the arts or education differently. The paper draws on research into how one organisation, the flagship English ‘creative learning’ programme, Creative Partnerships, run in schools between 2002 and 2011, attempted to ‘put young people at the heart’ of its work. It argues that youth leadership should be analysed as it is enacted within and through specific sites and practices, and in terms of the subjectivities, capacities and narratives it offers to teachers, students, artists and others involved. The result is a more ambivalent account o...

The paper sees creativity as a nexus of ideas that if pedagogically developed in students' school algebra, will positively affect the economic development and sustainability of the nation. Based on such conviction, the researchers through a survey study seek the opinion of 155 (96= male and 59= female) Junior Secondary School Two (JSS2) students' perception of variables that make algebraic classroom creative. Two research questions were asked and answered using descriptive statistic of mean and standard deviation. Algebra Creativity Enhancing Teaching/learning Strategy (ACETS), a 12-item instrument developed by the researchers was validated by three experts in mathematics education and two experts in measurement and evaluation. The reliability of the instrument was established using Cronbach Alpha which gave a reliability index of 0.80. Among the findings are, active participation in algebra class activities (e.g algebra games) give students more understanding and stepwise guides enables students' understanding. Recommendations such as encouraging mathematics teachers to acquire creativity pedagogical knowledge through training and reading, and use same in their lesson plans and class activities among others were made. It was concluded that, the mathematics teacher be encourage to embark on personal capacity development.

This article outlines ideas and some results of a design-for-learning experiment, involving nurse students working with arts in the nurse education in Denmark. The original purpose of the experiment was to investigate new ways of supporting personal knowledge building and building of professional judgement skills for nurse students, according to a phenomenological and aesthetic approach to learning. However, the results and learning outcome for the students surprisingly showed that working with arts had the effect that the nurse students began acting creatively in their building of personal and professional knowledge. The experiment suggests that working with arts can contribute to building nurse students’ building of ‘relational creativity’ as a basis for professional judgement. Relational creativity is not an established theoretical concept, but the article argues that the term might have significance not only to nurse students, but also to new ways of thinking about knowledge, professional judgement and learning perspectives in relational professions in general.

Almost all approaches to learning by analogy concentrate on what I will call predictive analogy, namely the process of inferring further similarities between two objects given some existing similarities. While the role of predictive analogy as a general purpose learning heuristic is rather dubious, a point I will make briefly in this paper, there is another mode of analogy-namely the process of creating similarities between two
objects where none existed before, and which I will refer to as interpretive analogy-that aids learning in much more significant ways. However, the process underlying interpretive analogy has not been properly addressed yet. In this paper I introduce this mode of analogy, discuss its role in learning, and present an algebraic approach to formalizing the underlying process.

Economic educators interested in incorporating project-based learning can incorporate Econ Beats in their classrooms. Using student reported measures of learning we evaluate students' perception of the efficacy of Econ Beats, a project that requires students to remake popular music in to economic terms. The project is also a team-based learning exercise Our data includes 275 students at the college level and 90 students at the high school level. Students report that they are excited to work on Econ Beats at rates higher than other group projects. Students report that they enjoyed the project and learned economic concepts and definitions. Educators considering active learning or incorporating a transdisciplinary approach to teaching economics can implement Econ Beats.