This is part 3 in a series of blogs on creativity in the classroom. The first is here, and the second here.
As stated previously, providing students with adequate knowledge before problem solving or inquiry is opened up is not an attempt to smother or stifle curiosity or independence, it’s simply a necessary, pragmatic and sensible approach that understands motivation, both intrinsic and extrinsic, and is trying to foster a love of learning. Daisy Christodoulou argues something similar convincingly here in a debate with Guy Claxton. I think a reasonable take away from Daisy’s perspective is this:
A knowledge approach is actually the problem-solver’s best friend, trying to develop an independent learner by keeping them enthused about inquiry because they have the capacity to engage with it.Tweet
But equally, as Guy exhorts, only teaching knowledge and forgetting about its application may also be doing students a disservice. It is not a condition of learning that all knowledge should be applied for it to be a valid learning experience, but there should be ample opportunity in a curriculum because it’s another way to engage a sense of excitement about the content, a way to foster a love of learning, and a way to begin the development of the next innovators, artists, entertainers and scientists etc. Almost without exception, students producing interesting applications of what we’ve taught them is highly motivating for them. The feelings of excitement and satisfaction evoked by successful creative endeavours would assuage Guy Claxton’s fear that students in traditional education aren’t given the preparedness for the demands of a future society that values creativity as a highly adaptive skill. If experienced, students will seek these feelings as often as possible.
It’s also another way to maintain our love of the subjects we teach when we see students creatively apply the knowledge in new and novel ways – it’s exciting! Those moments when I’ve read a really insightful interpretation of a text is one of the best parts of my job.
So where do we add it in the curriculum?
It seems that prescribing space near the end of a unit would be the first place to begin. However, end of unit tasks certainly shouldn’t be dumbed down expositions into weakened curriculum, as Joe Kirby warns against but resolves wonderfully here. Mark Enser similarly cautions us about the ease with which sequenced activities can fall into the mire of simply ‘doing’ tasks here. But like all experts, the best teachers explore all the research available to them and use their common sense, intuition and specific contexts to design a learning experience for their students that fosters a love of learning.
Here are some possible counterarguments to the legitimate issues raised in the last post that may serve to get you rethinking about how much opportunity you provide for creative application of the knowledge you’ve taught:
|Issues with creative curriculum design||Solutions to issues|
| Lack of reliability in assessing it – summative standardised tests are the only valid method of assessment at national level, so how do you assess creativity, which is highly subjective? How then can we safely say that everyone in the class is benefitting from this context? Are there some (many) who are simply bludging? and if the amount of time dedicated to creatively applying knowledge is several lessons, is this wasted time?||Can we loosen the standardised nature of some assessments to encourage creative responses to tasks, and take a leap of faith that it will still be a valid endeavour? Can we at least use criterion based measurement, even though they are wrought with validity issues? Do we have to have data on everything, or can a task have inherent value, knowing what it is developing a habit of thinking about what to do with the knowledge? Sometimes too an episodic experience can serve to strengthen the semantic knowledge in other, ostensibly hidden ways. |
Also, can we truly measure the benefits of engagement? If students are genuinely enthused about your subject having created an interesting application of what we’ve taught them, this may drive further learning in ways we can’t always foresee.
|Creative application is messy – in a class of many children completing multiple projects, it is extremely difficult to manage their progress and whether there is sufficient application from all. Each project would have to be assessed in terms of its practicality and feasibility, and adjusted if unrealistic on both fronts. Like EYFS teachers who insist that scripted lessons are impractical in terms of managing the children, likewise secondary students left to open undirected learning can be equally troublesome, and most teachers could do without the exhaustion of it all.||Building the metacognition of how to approach a creative task can alleviate this issue. Helping students become more reasonable with their projects, helping them learn about resources and time management as early as possible, and beginning with creative opportunities that are actually quite limited in scope so as to build that thinking. Culturing a classroom of high expectations is crucial to build this type of thinking also, and this post by Cerridwen Eccles exemplifies that.|
|Lack of expertise in other fields– students working on projects may not have the appropriate skills needed to carry out the intentions of their project. E.g. artistic, technological, etc. and employing other areas of the school to assist is a logistical issue. This then takes us back to the original issue that prevents this type of learning from being successful – when the knowledge base isn’t sufficient for actual learning to happen.||Never has there been a stronger argument for keeping the arts as a central focus in school. Ensuring that a curriculum provides students access to a range of mediums to express themselves is key here. Limiting creative experiences initially to areas that have been learnt in other subjects would be a wise place to build the success of creative time in classes. Primary teachers seem to be particularly good at this, say for example using art to strengthen other curriculum areas. These teachers teach students how to paint and draw so that this knowledge can be applied with ease in expression of ideas related to other learning. Having a good understanding of what students are taught in other subjects is a good place to start.|
|There’s so much content – as soon as a unit is completed, it is assessed, and the next one introduced, predominantly with external examinations in mind. Boards of education seem to have rammed so much content into the curriculum possibly because of a fear of there being empty spaces – because creative aspects can’t be assessed, those who don’t provide such learning experiences need something to do – the corollary of this is that everyone pays the price with the need to add more content.||Taking the established knowledge to creative places will result in deeper understandings, and ironically, may result in more learning happening overall, as students find the next topic potentially easier having built schemas that facilitate acquisition of new, but related information; the espousing of a quest for depth of knowledge is a common thread in every piece of education literature I’ve ever read about goals of education. The absolute key then is to design your curriculum that has obvious links. Claire Hill articulates such a proposition beautifully here. |
Also, mini creative moments during units of work can serve as creative opportunities for students who have secured content and are waiting for others in the class to get there too. This may be in the form of challenging questions, designing representations, applying understanding to new contexts etc. This differentiation can be simply done as the teacher wanders the room and sees students ready for such exploration.
|It’s hard enough teaching the knowledge right – few of us have mastered the intricacies required to take students to mastery, and with the next part of the course needed to be got at, not only is there not time to foster an experimental context of the knowledge, but students likely haven’t mastered the knowledge to be able to use it effectively anyway. I hold myself up against educators like Tom Needham and Adam Boxer in this regard, educators who are meticulous in their planning and delivery of content to ensure mastery. I recommend you check them out.||I think a well designed curriculum borrowing from the expertise of educators who have clearly mastered the craft is the answer here. Direct instruction hosts connotations of restrictive pedagogy, but in reality no teacher wants there to be gaps in learning, so if direct instruction eliminates them, it would seem feasible to entertain the method. Using worked examples and focusing on removing ambiguity in communication is teh topic of this superb series of blogs by Tom Needham here. Adam Boxer also discusses the importance of then slowly removing the scaffold to increase the challenge here.|
|To allow space for practising skills – Inexorable accountability results in schools panicking, ‘like swimmers that do cling together, and choke their art’*, by sterilising curriculum, and teaching to the test. Opponents to this aspect of modern schooling are numerous, correct and vociferous about the reductionist outcomes of accountability, but nevertheless, this elephant is very much still in the room.||Logically it is quite clear that teaching to the test simply doesn’t work. The reason is that tests are a sample of a domain of knowledge, and if you only teach a sample then students won’t have the requisite knowledge if that sample isn’t in the next exam. It is also so boring to teach in this way. It doesn’t mean that you wouldn’t have the end game in mind; pragmatically you just have to, but you would understand what knowledge is needed and design curriculum that builds towards it. That’s just good teaching anyway.|
It is imperative that educators do not conflate the argument for creativity with the idea that learning isn’t worthwhile unless it has a creative element. Often, the learning itself in adding to the student’s knowledge is a worthwhile endeavour, and I am certain that teachers will add to this post their own ideas about how creativity can be a natural part of a learning sequence, from which lots of inquiry can be generated. So, is there space in your curriculum for some creative application of the knowledge that you have spent considerable energy designing and presenting to your students? I’d love to hear your thoughts.
I’m Paul Moss. Follow me on Twitter @edmerger , and follow this blog for more education and English teaching posts.
A really engaging read. Yes, this seems to be an old problem: the overwhelming burden of trying to get through content. But the older I get the more I start to appreciate how allowing students time to create can lead to interesting results/interpretations. I’m currently toying with the idea of letting the class create their own micronation in Politics A-level: they could create their own constitution and political system, but also more “silly stuff” like design a flag and national anthem. However, having said that, I need to really build more time into my own SOW for this to happen.