Exploring strategies for teaching creative thinking Part 4

In my previous post I wrote about how I applied the research of  Anderson and Yates (1999), who taught artistic clay work to six-year-old students using social modelling and cognitive learning principles, to my clay lessons with Y3 and 4 students (age 7-9).

In this post I write about how I scaled it up to Year 5-6 students (aged 10-11), and what I observed.

With older students (Y5/6), I no longer modelled physically. Instead I loaded a you tube video for them to watch and follow independently before they cycled through the clay centre. This was in an effort to further develop both independence and collaboration among the small groups, as well as their decision making/problem solving skills. This video can be found here. 

While this was sufficient for approximately half the students, others still needed my hands on support to work through the process of constructing a figurine. Reasons ranged from lack of experince with the medium, to limited short to term memory retention, to students on learning support for processing disorders.
Independent students personalised their directed work, with much less encouragement, some applying the concepts in the video tutorial to a completely different subject (the video is a guided lesson that produces a bear).
This showed that some students were ready to move beyond the exemplar once it had done the job of visually reinforcing clay work skills learnt previously. These students did not need the practical step-by-step learning, while others still benefited from that.
 

Y5-6 students have choice of media for their Wall / Wow Work (for displays/artshows etc), so not all chose to create with clay following the tutorial centre, but those that did, produced impressive work.

Year 5 - based on inquiry unit Sharing the Planet (IB PYP), animals under threat

Year 6 - Independent and self directed work

 

 

What does the research say:
Groenendijk, Janssen, Rijlaarsdam, and van den Bergh (2013) examined ninth-grade students who were taught the same design strategy steps (based on Sapp (1995), involving various divergent (producing ideas and sketches) and convergent (evaluating ideas and making choices) stages. One group also had  observational learning added, where students watched videos of other students completing design tasks which showed work in progress along with 'thinking aloud' through the design steps. Results show that observational learning had a positive impact on creativity, but only for high-aptitude students. For low-aptitude students, creativity improved
equally in both the observational-learning and direct-strategy instruction conditions. (see my noted observations above with the introduction video to clay)

In their study, Yi, Plucker, and Guo (2015) considered how modelling influenced divergent thinking in a sample of Grade 8 students. All groups were asked to complete verbal and figural divergent-thinking tasks, but one group were shown creative models prior to completing theirs. These students produced work product with higher scores on creativity, technical quality, imagination, artistic level, elaboration, and overall impression. Regarding divergent thinking, viewing models positively impacted all three facets of divergent thinking on the verbal tasks (fluency, flexibility, and originality) but not on the figural tasks.

With all this in mind, I started work on a digital resource where I could load videos that can support students in learning centres. These can be videos I make as time permits or ones I link from Youtube. This works mainly for students from Y4 up as they all have personal iPads at school and can easily access on-line resources. For younger students, I would continue to model in small groups, print out exemplar images, show video on the classroom TV monitor and rotate through familiar centres. I include exemplars of work from my own students where possible. As many of the videos have my students in them, I cannot share the link to the site, but I have started linking the public ones to this blog under the Flipped-Learning link at the top.

Once I have used these a bit more, I'll share my observations with you here in a future post :)

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Exploring strategies for teaching creative thinking Part 3

In my previous post I wrote about how I applied the research of  Anderson and Yates (1999), who taught artistic clay work to six-year-old students using social modelling and cognitive learning principles, to my own clay lessons with Y1 and 2 students (age 5-6).

In this post I write about how I scaled it up to Year 3-4 students (aged 7-9), and what I observed.

Year 3 were given teacher workshops to develop their understanding of slab work, with applied relief and imprinted textures.

We worked on boat-scapes to compliment their unit on explorers and offered some directed choice options for students to personalise their tiles (e.g. orientate your slab portrait or landscape, this is how you can turn this circle into a sun or a moon then place it anywhere in the sky, or add a second boat/wave if you wish, of your own design, or choose from these 4 texture rollers to imprint your water, etc).

These workshops were followed by an independent session where students were required to create a bird sculpture, continuing the theme of exploration and the applied concept of freedom. The initial intention was to base their birds on the slab technique learnt in the workshop. I supplied students with a number of reference photographs of slab bird sculptures to use for inspiration. However, I also included a few 3D bird sculptures just to see who might be ready / enticed to give that a go.

Bone dry and ready for the kiln

I was impressed by how many did. But still just as many weren't ready to go that next step so it was good to have a range for students to refer to. A range of paint options were also available for finishing after the bisque fire. Students could choose from liquid water colour (dye), tempera, metallic acrylics or left uncoloured and dipped in clear glaze for re-firing.

With Year 4 students (aged 8-9), the teacher directed lessons modelled a cat figurine (tying in with the school production of Aristocats).

As with the Y3 students, Y4 were also given directed choice options to personalise their figurine. These included selecting preferred cutters for the base, the shape of the body and tail position.
I noticed during these teacher directed 'workshops', students were keen to personalize their work at every opportunity and my message was to embrace the uniqueness of their shapes and creations. The steps were a learning guide rather that a requirement and students were left to independently add further personal details for the last 5-10 minutes of their workshops. One student completely personalised his cat into a dog :)

This year group painted their cats with underglaze once bone dry, then they were bisque fired before I glazed and refired them.

I did not model how to apply the glaze so originality and creativity was even more evident in this step as students ranged from realistic designs based on pets they knew, to artistic pattern and colour interpretations. There were no rules but some reference images were provided on the board to indicate a range. None of these were copied, but some students did use the reference images as a starting point.




These workshops were then followed by an independent session where students used the skills they had learnt in the workshops to create a self portrait figurine, to show personal traits, interests or talents.



       


Students were given very limited time (only a single period) to create these figurines. Despite this constraint, they produced some remarkable and original work. There was a lot of conversation among the students as they supported each other through the making challenge.
This consolidation time was incredibly valuable for learning as students figured out what they remembered (or had forgotten) from their workshops and how they could apply those learnings to new elements that they wanted to create. For e.g. rolling a coil for a cat's tail worked for rolling thinner coils to make locks of hair. Again, the figurines were left to air-dry before under-glazing so there were mishaps with bits falling off. This learning will stay with them for future lessons about the importance of solid joins.
I created a teaching video for making a figurine, following these sessions, and included the elements that were challenging for the students. This video will be available to them next year to review before they start on their next clay artwork, which will be an independently conceived and created piece.  

My next post will detail the lessons and outcomes observed with Y5-6 students .


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Exploring strategies for teaching creative thinking Part 2

Observational Learning and Modelling:
Of particular interest to me in my teaching area, was whether observational learning or exposure to creative models can enhance creativity, or limit it. For the past year, I have been struggling with this concept because my observations have shown that when a teacher models a completed product for students, they view that as the 'right answer' and may stop pushing the boundaries of their own original thinking. The quality and technical skills of students are however, much improved when they follow a teacher model / recipe lesson. So I was interested to read what the research says about this?

Bandura’s (1986) social learning theory suggests that individuals acquire new skills by watching the work of others. These modelling studies examine creativity through art and design learning.

Anderson and Yates (1999) taught artistic clay work to six-year-old students using social modelling and cognitive learning principles across a six-week period (ninety minutes of instruction per week - for me that would be 2 x 45 min periods). During the class, the teacher modelled techniques for working with clay, verbalizing her actions to give students a vocabulary for discussing clay-modelling processes. The class also involved frequent skill practice. The creative-work products (i.e. clay-work designs) of students receiving the modelling intervention were compared to those of students taught using traditional, non-directive curriculum practices. Results indicate that the modelling intervention had a positive impact on

• technical competence, 
• decorative competence, 
• aesthetic appeal, and 
• three-dimension approximation. 

Albert Bandura - Social Learning Theory

I only have my students for 8-10 weeks a year so while I tried out this approach for the clay centre with students aged 4-6, I didn't have the extended time that is discussed in the research. But I do get students back each year so I view it as a longitudinal study where we can build on skills each year.
I rotated small groups through a clay workshop each period while the others created independently in drawing and modelling clay centres. We all made the identical object (a teacup and saucer) that covered technical skills of pounding, imprinting, stencil shape cutting, rolling spheres and snakes (coils), forming a pinch pot and attaching with the score, slip (magic water) and wiggle method. Children also solved for incidental problems around the ideal clay thickness for each element and the cracking of clay as it dries out.
The assessment this yielded for me included the students' listening and observation skills, technical application and following sequential instructions. It also gave me insight into how students approached this type of learning as I kept the groups small (7-8 students). These few photos show the work product of 5 and 6yr olds.
Teacups made with direct modelling, bisque fired and painted with tempera:



I followed up this round of clay lessons with an independent one where students were given a similar sized ball of clay and free reign to invent their own creation.
This lesson revealed deeper conceptual understandings, like generating original ideas, converging on one strong idea, technical skill retention, problem solving, independence, innovation and self-evaluation. It needs to be restated that students had been exploring with modelling clay as one of their independent centres.

Own choice:

Stencil hearts layered into a cake and finger painted

Variety - easy to tell work apart

Duck in the reeds

Kiwi with fern leaf and grubs

 Seal and Lion

 

Tiger

Here is a video I made of the lesson for students to review skills before going into the individual clay centre. I played it on our large TV screen for the class as the 5min warm up at the start of the independent clay lesson. Muting the voice-over, I asked students to recall the learnings as the video played. The voice-over is there to help when they return next year and wish to review their learnings.

Willemse T. (2018). Basic techniques for clay. Clay Teacup. Youtube.

Stay tuned for posts about how I applied and adapted this process to my older year levels and what I observed.

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Exploring strategies for teaching creative thinking Part 1

When I first starting to expand my understanding about the value-add that a focus on creative thinking could bring to my students' development, I didn't believe that turning my whole programme on its head would be the best way to go about applying my learnings. Instead, I ran trials based on research from literature to infuse creative thinking into our lessons and noted how the students responded?

Continuing with my summary of
Lai, E. R., Yarbro, J., DiCerbo, K., & de Geest, E. (2018). Skills for Today: What We Know about Teaching and Assessing Creativity. London: Pearson.

I pulled ideas from this research on ways to teach Creative Thinking in the classroom, and will share ways I have put this into practice over the next few posts. I hope you find something useful to apply in your lessons too.

Problem-Solving Training:

There is some compelling evidence for the positive impact of problem-solving training on creativity. Alfonso-Benlliure, Meléndez, and García-Ballesteros (2013) examined an intervention of six weekly, one-hour training sessions with PK-K. These sessions taught cognitive problem-solving processes including problem-finding, problem formulation, idea generation, and idea evaluation through games and exercises, including pretend and imaginative play.
Students who received the intervention experienced gains in creativity which could be seen during drawing tasks when compared to the control group.

Kurtzberg and Reale (1999) developed a problem-solving intervention based on Torrance’s Future Problem-Solving (FPS) process (Torrance, 1978), for 8th Graders.
Individuals are presented with a “fuzzy situation” (i.e. an ill-defined, real-world problem that might be faced by future generations). This intervention focused on the problem-identification step, which involves brainstorming as many problem statements as possible that can be used to understand the fuzzy situation. Within the context of a physical science lesson on solar energy, students were taught strategies for brainstorming and were given lists of potential problem categories to help expand their list of problem statements.

Problem-identification skills were measured based on the students’ responses to other fuzzy situations. Students received scores based on
a) the number of problems identified,
b) number of problems identified that were relevant to the situation (fluency), and
c) number of different problem categories identified (flexibility).

Results indicated that the intervention positively impacted all four facets of problem-identification skills (process of identifying differences), when compared to the control.

John Bransford - ideal problem solving model (2104)

John Bransford (2014) developed the IDEAL problem solving model.

Identify the problems and opportunities

Define the problem and alternative goals

Explore possible solutions and strategies

Apply solutions by acting on strategies

Look at effects, evaluate and learn

So how did I implement this strategy?

The first step is to change your own mindset. As teachers we are so used to problem-solving - all day long we are faced with resolving hundreds of problems and this naturally flows over into solving the problems (and potential problems) our students face. 

We become adept at removing obstacles before they are encountered with the good intentions of smoothing the pathway to success. The flip side of this is that we grow students who lack opportunity to develop GRIT.

Grit: the power of passion and perseverance by Angela Lee Duckworth

(TED Published on May 9, 2013)

Rather than providing solutions, seek to provide (even better - co-construct with the students) strategies that they can turn to when faced with problems. We are great at doing this for maths problem solving, or decoding in reading, but we truly need it for all aspects of life.  

The art room is a fantastic place to develop this character trait in students. By building the opportunity to see what fails, into your lessons,  and taking those learnings into the next stages of design, students become comfortable with ambiguity and trialling ideas. They should seek to discover before converging on a singular plan. In my classroom we overtly identify this in 2 of our Design Thinking stages, ideation and  prototyping.

My Design Thinking Process wall with posters for Y4-6 students (9-11yrs)

 My Design Thinking Process wall with posters for Y1-3 students (5-8yrs)

During the Visualisation or Many Choices stage, students are given opportunity to (roughly) plan out multiple ideas on their chosen perspective. They get time to discuss all these ideas with other students, answer questions about their proposals, then receive and evaluate feedback. On the flip-side they get to observe and listen to the ideation of others and to develop their critical thinking skills when analysing and providing feedback on a variety of proposals. 

This also helps them become more open-minded to divergent thinking. I encourage students to seek feedback from someone other than their close friends, as the chances of it being more challenging and divergent to their way of thinking are higher and they could have a better chance of having their ideas challenged, pushed further or improved on. But I don't tell them who to go with. They self select at the level of divergence that they are comfortable with.

This short video shows Y2 students (5-6yrs) giving and receiving feedback. At times I modify slightly by asking the buddy to interpret the drawing before the artist explains it. This is based purely on the visual clues that the artist has included in their work. The purpose of this is to teach young artists about the power of non-verbal communication that art embodies. They learn how important it is to include detail and to aim for accuracy.

With older students it morphs into leaving more subtle clues so that the viewer can interpret the message without it being obvious. This links beautifully with the reading comprehension skill and sophisticated writing skill of inference.

 

** This video has been augmented with the CLIPS app to protect student identity.

Prototyping, the Test and Improve stage, can follow on, or run parallel with convergence - the narrowing down to a singular idea or plan for execution. I give students time to 'play' with media. to experiment with techniques and effects that they are envisioning for their plan. 

There is never going to be enough time in a curriculum to teach all the possible skills and techniques, for all the range of media available, at all the levels of development in a single class. By letting children play and experiment with what they are drawn to, they learn the things they personally want to find out. 

Because they have a vision that they developed and are strongly connected with, they will persevere, seek advice, trial and evaluate, experience what I call 'happy accidents' and may even return to their plan and modify it again. 

** This video has been augmented with the CLIPS app to protect student identity.

The amount of observational assessment that this 'play' segment yields is astounding, especially when combined with insights through student voice in the form of reflections.

Examples of student voice recorded on Seesaw, shared with parents.

In my next post, I will be exploring the learning/teaching technique of modelling and the impact it has on students' creativity levels.


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Risk to Blossom (part 4)

The words in this poem by writer Anais Nin sum up my current position: https://allpoetry.com/poem/


Risk
And then the day came,
when the risk
to remain tight
in a bud
was more painful
than the risk
it took
to blossom.


Over the next few posts I will be reviewing the following White paper on Creativity:
Lai, E. R., Yarbro, J., DiCerbo, K., & de Geest, E. (2018). Skills for Today: What We Know about Teaching and Assessing Creativity. London: Pearson.

Today I looked at the Definitions and Models of Creativity:

image from: https://wegrowteachers.com/

One of the most enduring theories associated with creativity is the model of divergent thinking, which Guilford (1950) popularized. Adapted for the framework of the Torrance Tests of Creative Thinking (TTCT).
Divergent thinking is generally understood as a composite idea-generation skill. The original model of divergent thinking captured in the Torrance tests comprised four subskills:

1. fluency—the ability to generate many ideas;
2. flexibility—the ability to move fluidly between different representations;
3. originality—the ability to produce novel and unusual ideas;
4. elaboration—the ability to fully develop ideas.

Divergent thinking could be viewed as an indicator of creative potential.

image from:www.slideshare.net/

Amabile’s (1988, 2012) componential model of creativity identifies four main components of creativity:

1. domain-relevant skills, which include factual knowledge and technical skills: This highlights the value I bring as the teaching expert, to include subject specific knowledge and model skills relevant to developing my students. I aim to deliver this through media or technique introductions with small and large groups as well as on a need to know basis with individual students. Besides these teacher sessions, I also record the skill/media introductions and load the videos onto our class blog for future reference. For example, this is a clay introduction lesson taught by me to Y2 students in small groups and the video has now been loaded to our class blog for future reference.  http://timeawillemse.blogspot.com/p/3-clay-skills-flipped.html    


Furthermore, these teacher directed lessons are NOT for assessment. They are only the teaching component. Students are given time to develop their own creations using the skills learnt during teacher intro to create their own items considered for assessment.
Below is an example of 6yr old student work. His teacup from the learning session and his Kiwi with fern leaf and grub from his independent session.

These teddy bears were a learning session for 9-10yr olds but by this stage, more confident students are already expanding on the basic teacher instructions as can be seen by the varied details.

Independent work that followed included a range of original ideas, from frogs to foxes.

2. creativity-relevant processes, which Amabile defines as cognitive styles related to taking new perspectives, as well as aspects of personality such as a tolerance for ambiguity and risk-acceptance, plus heuristics* for ideation and divergent thinking: I want my students to become more open-minded so include regular buddy feedback sessions and group conferencing at the start of term. (video augmented with CLIPS to protect student identity)

As student realise the value of (divergent) feedback and one-to-one conferencing, I have noticed that they soon seek this out independently. Another way is when they work on collaborative projects or in collaborative ways. I found play, both structured and unstructured, to be a fantastic avenue to advance heuristic development. Media gets put out in exploratory centres for students to discover. One example of this was when I put out only primary colours and a range of texture making tools - no paintbrushes for a Y2 (6yr old) exploratory session.
The brief was to create with the paint on your card. Their explorations yielded a range of textures and effects plus a range of original colours that they created through mixing. The spontaneous learnings and teachings occurring between students was tremendous. Later they were asked to use this card as both the inspiration as well as the backdrop of their collage design, see examples below.

 By progressing beyond teacher directed projects and developing a Design Thinking Process (DTP) for my classes that supports them to design and create original work, I am also building their tolerance for ambiguity and a true understanding about learning through mistakes that we make along the way. I will elaborate more about the DTP that I am trialling with my students in a later post.


3. intrinsic task motivation: I see this internal, self-motivation coming from the connection that a student feels with the piece that they are working on. This has been true in the past for some students following teacher directed projects, possibly because they are enjoying the making process or prefer being guided as they are low level risk-takers. When students devised and created their own designs for the first time, I noted a sense of apprehension mixed with excitement. As the term proceeded, exceedingly greater engagement was clearly evident. That first trial showed me that time must be built in for students to prototype, especially with media that they are considering using for their display work. They get really nervous about spoiling this and like to have a 'play' first. So I built this session into the programme as a purposeful exploratory time to explore any number of 2D media and then to reflect on the outcomes. I provided different types of paper, for wet and dry media, all cut down to A6 (trading card size). This intervention reduced anxiety about spoiling work as students had the opportunity to learn how the media would perform for them. 
(video augmented with CLIPS to protect student identity)
 

4. the social environment in which the creative process is taking place, including any extrinsic motivators, organizational norms, or constraints that may operate against the individual. I am lucky enough to have a classroom that students come to. It is known as The Art Space and students make that mental shift as they move between classes. They leave their classrooms where lessons and testing around Literacy, Numeracy and units of Inquiry occur... and arrive in a room filled with artwork on display from other students that is regularly changing as different pieces are progressed. Filled with a wide range of media all visible and promising any number of possibilities. Organisation is quite rigid and students follow this well. On arrival all students must stow away personal devices for safety and until needed, clean hands as all equipment is shared, collect on the mat for a roll call and daily briefing. This may be followed by centre choice, teacher guided lesson, sketchbook explorations or independent action on own work. Most lessons conclude with a reflection which is posted onto students' individual Seesaw accounts, followed by clean up. A music track is played and the room must be re-stored for the next class by the time the track finished (+- 3 min). If not achieved, that class packs up 3min earlier in their next session. Further constraints are imposed in the form of the 'creative box'. Students and given a brief based on the unit of Inquiry they are currently working on. They work through our DTP structure and create original work. Students can break out of this 'creative box' with justification.

For e.g. when a 9yr old made the clay horse above, she broke out of the 'endangered species' box by claiming that if we don't look after our planet and its wildlife, soon its our domestic animals that will be threatened. This was her way of hitting home with her message of concervation.

 

Csikszentmihalyi (2014), although not offering a definition of creativity per se, locates it at the intersection of three systems because no creative achievement can be interpreted or judged in a vacuum.

Image from: www.researchgate.net

1. the field in which the creative accomplishment must be judged, whose members act as gatekeepers for the domain - for example Visual Art, Drama or Vocal Music subject areas

2. the cultural domain, which will be responsible for taking up and preserving creative ideas for future generations - the programme, curriculum, principles and attributes valued by the school and its teachers

3. the person responsible for generating the creative ideas (including motivational, affective, and cognitive factors) - the student 

The investment theory of creativity (Sternberg & Lubart, 1992; Sternberg, 2006) begins with creators taking on unknown or unpopular ideas that show growth potential and pushing these forward until they become accepted. Creativity occurs within the interactions of a number of factors:

Image from: www.mindforlife.org

1. intellectual abilities or “creative intelligence,” including the ability to synthesize (break the bonds of conventional thinking), and analyse the values of one’s ideas to decide which are worth pursuing, and persuade others (practical-conceptual skills),
2. knowledge about the domain or discipline, Goldilocks principle applies - some knowledge of the domain is necessary to generate insights, but too much knowledge can make thinking rigid rather than flexible,
3. thinking styles, or “preferred ways of using one’s skills,” including “a preference for thinking and a decision to think in new ways”, 
4. personality attributes, such as a tolerance for risks and ambiguity, self-efficacy and perseverance,
5. intrinsic motivation to engage in the creative tasks,
6. an environment that supports the creative individual 

In Runco’s view (1996, p. 4), personal creativity ultimately involves some kind of transformation that takes place when a person interprets their experiences. It is inherently subjective and reliant on the perception of the individual. Encompasses problem-solving, problem-finding and articulation. The expression of personal creativity depends on:

Image from: www.researchgate.net

1. motivation;
2. certain cognitive styles (interest in novelty, information-seeking, and tolerance for ambiguity);
3. metaphoric logic, or an aptitude for unconventional ways of thinking; 
4. discretion or “mindful choice,” about what and how to transform, in an effort to ensure the transformation has utility and value; 
5. the intention to create, and the use of processes, strategies, and heuristics to support that intention;
6. relevant domain knowledge and experience.

To conclude: Elements held in common across these various theories and models include:

• intrinsic motivation to engage in creative tasks, 
• domain knowledge and experience, 
• certain cognitive styles related to unconventional thinking, 
• a particular set of personality characteristics, 
• and a supportive social environment (which can include a person’s home and family life, the classroom environment, and the broader social context). 

image from: https://cdn-images-1.medium.com/

Each of these elements can be seen as a supporting factor for creative expression or potential.

Creative construct still requires the elements of novelty or uniqueness, and  relevance, utility, or appropriateness for some purpose.






*Definition of heuristic: discovery or problem-solving by experimental and especially trial-and-error methods, heuristic techniques, of or relating to exploratory problem-solving techniques that utilize self-educating techniques (such as the evaluation of feedback) to improve performance (https://www.merriam-webster.com/dictionary/heuristic)

With Love

Timea

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