This book examines the gaps in creativity education across the education lifespan and the resulting implications for creative education and economic policy. Building on cutting-edge international research, the editors and contributors explore innovations in interdisciplinary creativities, including STEM agendas and definitions, science and creativity and organisational creativity amongst other subjects. Central to the volume is the idea that good creative educational practice and policy advancement needs to reimagine individual contribution and possibilities, whilst resisting standardization: it is inherently risky, not risk-averse. Prioritising creative partnerships, zones of contact, practice encounters and creative ecologies signal new modes of participatory engagement. Unfortunately, while primary schools continue to construct environments conducive to this kind of ‘slow education’, secondary schools and education policy persistently do not. This book argues, from diverse viewpoints and methodological perspectives, that 21st-century creativity education must find a way to advance in a more integrated and less siloed manner in order to respond to pedagogical innovation, economic imperatives and creative possibilities, and adequately prepare students for creative practice, workplaces and publics. This innovative volume will appeal to students and scholars of creative practice as well as policy makers and practitioners.
This is a guide for researchers and district leaders to help them form and sustain long-terms partnerships to study and solve practical problems in education together.--
Strengthen programs of family and community engagement to promote equity and increase student success! When schools, families, and communities collaborate and share responsibility for students′ education, more students succeed in school. Based on 30 years of research and fieldwork, the fourth edition of the bestseller School, Family, and Community Partnerships: Your Handbook for Action, presents tools and guidelines to help develop more effective and more equitable programs of family and community engagement. Written by a team of well-known experts, it provides a theory and framework of six types of involvement for action; up-to-date research on school, family, and community collaboration; and new materials for professional development and on-going technical assistance. Readers also will find: Examples of best practices on the six types of involvement from preschools, and elementary, middle, and high schools Checklists, templates, and evaluations to plan goal-linked partnership programs and assess progress CD-ROM with slides and notes for two presentations: A new awareness session to orient colleagues on the major components of a research-based partnership program, and a full One-Day Team Training Workshop to prepare school teams to develop their partnership programs. As a foundational text, this handbook demonstrates a proven approach to implement and sustain inclusive, goal-linked programs of partnership. It shows how a good partnership program is an essential component of good school organization and school improvement for student success. This book will help every district and all schools strengthen and continually improve their programs of family and community engagement.
This book is an engaging and accessible collection that celebrates the nuance and depth of student-faculty partnerships in higher education. It aims to break the mold of traditional and power-laden academic writing by showcasing creative genres such as reflection, poetry, dialogue, interview, vignette, and essay. The collection has invited chapters from renowned scholars in the field alongside new student and staff voices, and it reflects and embodies a wide range of student-staff partnership perspectives from different roles, identities, cultures, countries, and institutions.
The notion of the individual creator, a product in part of the Western romantic ideal, is now troubled by accounts and explanations of creativity as a social construct. While in collectivist cultures the assimilation (but not the denial) of individual authorship into the complexities of group production and benefit has been a feature, the notion of the lone individual creator has been persistent. Systems theories acknowledge the role of others, yet at heart these are still individual views of creativity - focusing on the creative individual drawing upon the work of others rather than recognizing the mutually constitutive elements of social interactions across time and space. Focusing on the domain of music, the approach taken in this book falls into three sections: investigations of the people, processes, products, and places of collaborative creativity in compositional thought and practice; explorations of the ways in which creative collaboration provides a means of crossing boundaries between disciplines such as music performance and musicology; and studies of the emergence of creative thought and practice in educational contexts including that of the composer and the classroom. The volume concludes with an extended chapter that reflects on the ways in which the studies reported advance understandings of creative thought and practice. The book provides new perspectives to our understandings of the role of collaborative thought and processes in creative work across the domain of music including: composition, musicology, performance, music education and music psychology.
The Creative Reflective Practitioner explores research and practice through the eyes of people with a wholehearted commitment to creative work. It reveals what it means to be a reflective creative practitioner, whether working alone, in collaboration with others, with digital technology or doing research, and what we can learn from listening and observing closely. It gives the reader new insights into the fascinating challenge that having a reflective creative mindset can bring. Creative reflective practice is seen through practitioner ideas and works which have informed the writing at every level, supported by research studies and historical accounts. The practitioners featured in this book represent a broad spectrum of interdisciplinary creative activities producing works in film, music, drama, dance and interactive installations. Their work is innovative, full of new ideas and exciting to experience, offering engagement and challenge for audiences and participants alike. Practitioner interviews give a direct sense of how they see creative practice from the inside. The ways in which these different situations of practice stimulate and facilitate reflection in practice and how we can learn from this are described. Variations of reflective practice are discussed that extend the original concepts proposed by Donald Schön, and a contemporary dimension is added through the role of the digital in creative reflective practice as a tool, mediator, medium and partner. This book is relevant to people who wish to understand creativity and reflection in practice and how to learn from the practitioners themselves. This includes researchers in any discipline as well as students, arts professionals and practitioners such as artists, curators, designers, musicians, performers, producers and technologists.
This book discusses key aspects of life in schools and classrooms, and surveys the changes that have occurred over the years in educational research, policy making and practice in these school and classroom settings. It not only examines cutting-edge research in these areas, but also showcases good practices in the field. Among the topics reviewed are recent developments in assessment, methods for collecting and analysing data on classroom practice, school leadership and the pros and cons of class size and small-class teaching; topics which are currently hotly debated in education systems around the globe. As such, the book objectively examines the various debates, and surveys the full range of evidence available. Education researchers, policy makers and practitioners often hold differing views about the reasons for teacher and student behaviour in classrooms and, for example, its relevance to class size. Many of these views are based on ‘gut feelings’ rather than hard evidence. Unfortunately, these three groups, with differing perspectives, often ‘talk past each other’ rather than engage in a productive, mutually beneficial dialogue. The book builds an effective bridge between researchers, policy makers and practitioners regarding the impact of these various aspects of classroom life, so that the viewpoints of each can be carefully considered and evaluated.
Since the establishment of the National Curriculum and the National Literacy and Numeracy strategies in 1998 and 1999, concerns have been expressed that creativity and innovative approaches to teaching may have been unintentionally constrained. Creative Partnerships was introduced as a two-year pilot scheme in 2002 in 16 local areas, and then more widely from 2004. The scheme funds creative professionals to go into schools and work in partnership with teachers and students, offers continuing professional development to school staff, and also provides guidance on creativity in relation to wider school improvement. This report focuses predominantly on Creative Partnerships as a scheme. Policy-makers now appear agreed on a definition of creativity which goes beyond the expressive and aesthetic arts, and agree that in educational terms creativity should extend right across the curriculum. Evidence suggests a very high level of support for more creative approaches to teaching among school staff and creative practitioners. Continuing professional development is of fundamental importance to embedding more creative approaches to teaching and learning, and should be seen as the core of the operation. Extending creative approaches beyond a particular activity and firmly embedding them in the wider curriculum remains a key challenge for schools and also for Creative Partnerships as an organisation. A priority now for Creative Partnerships and its two sponsoring Government departments in planning for the future should be to produce replicable models or templates, which can then be used and adapted to initiate work in other schools.
Brand collaborations are widely considered the art of the perfect match. This book is a guide to understanding the process of brand collaborations and explains the key factors of success to build specific forms of collaborations between diverse partners. The Art of Successful Brand Collaborations gives tangible examples of partnerships between various kinds of internationally renowned artists, celebrities, brands and companies such as Coca-Cola, Louis Vuitton, Puma, David Beckham and Pharrell Williams. In this vivid study, the academic and practitioner author team outline deep knowledge about the advantages and economic benefits of this marketing strategy. This includes additional meaning, improvement of the brand image, attracting new customers within different target groups and the development of the brand in new markets. Filled with interviews from practitioners and vital academic and professional insights, this book is an essential guide for brand managers, professors and students to better understand and successfully implement the process of brand collaborations.