Download Free The Effectiveness Of The Use Of Imagination And Creativity In The Arts Education From The Perspectives Of Teachers Supervisors And Students In Elementary Schools In Kuwait Book in PDF and EPUB Free Download. You can read online The Effectiveness Of The Use Of Imagination And Creativity In The Arts Education From The Perspectives Of Teachers Supervisors And Students In Elementary Schools In Kuwait and write the review.

The need to develop better pedagogical methods to impact learners at different levels has risen, driven by technological advancements. National governments, in response to research or critical evaluations, have instituted curriculum changes to enhance creative learning, especially among younger learners. The use of imagination in the Arts though supported by evidence of benefits has been implemented with mixed results in some contexts. The purpose of the study is to examine the effectiveness of imagination in the Arts education from the perspectives of students, teachers, and supervisors in elementary schools in the State of Kuwait. To achieve this purpose, data was collected from elementary school children, teachers, and supervisors. The research adopted mixed methods of both quantitative and qualitative approaches. Quantitative data was analysed using descriptive, and inferential statistics utilising SPSS version 24. Qualitative data was transcribed, translated, coded, and thematically analysed using NVIVO version 12. Results show that the teaching approach of the majority of teachers in the Arts ( 60% ) is based solely on the current curriculum, with little emphasis on imagination. Despite teachers and students acknowledging the importance of the Arts education majority of elementary students still do not demonstrate an interest in the use of classroom . imagination in the A large percentage of elementary students surveyed did not like attending the Arts classes 48%, and more than 76% of the pupils found difficulty creating images. Given that the current Kuwaiti curriculum does not require the implementation of imagination, supervisors found it difficult to enforce, other than recommending it as a preferable approach in teaching. The findings from this research contend that promoting imagination in the Arts education is an essential learning component for Kuwaiti elementary students and argues for its explicit inclusion and effective implementation in the newly revised state curriculum.
Abstract: Fostering creative behavior appears as an educational goal in many national education curricula. However, creativity is marginalized in schools and it is not identified, enhanced or assessed systematically. Teachers' beliefs should be examined and comprehended since educators have been identified as one of the environmental factors which determine in what degree students' creative potential will be fulfilled. The present study focused on Cypriot elementary art teachers' beliefs about creativity, as no previous research study examined art teachers' perspectives on creativity, even though research findings have suggested that specialist teachers' perceptions of creativity vary. Three conceptual areas of beliefs about creativity were examined in the present study. Cypriot elementary art teachers' beliefs about the nature of creativity, the relevant factors to creativity in the visual arts domain and the personal and environmental factors that impact the development of creativity were investigated. The sample of the study included 40 of the 46 elementary art teachers signed on the official lists of Cypriot elementary art education district supervisors with whom the researcher was able to contact by phone to obtain their home address. A questionnaire was mailed to the art teachers and 32 returned a complete questionnaire representing an 80% response rate. The self-administered questionnaire consisted four parts. The introductory section required participants' personal information. The first part included 9 items with closed-ended questions, semi-closed statements and open-ended questions. The second part had 54 statements for which art teachers were asked to indicate their importance on a 5-point Linkert scale. The final part listed 11 statements with which teachers either agreed, disagreed or were not sure about. Cypriot art teachers suggested that creativity is the aptitude, the process or the outcome of the engagement in a cognitive activity that results in the production of an original idea, work or solution. Problem finding and problem solving was the set of tasks considered by participant art teachers as the most significant for artistic creativity and personal knowledge was rated as the most conducive type of prior knowledge to creative artmaking. The quality of art instruction was suggested to determine potential growth or decline of artistic creativity. Moreover, Cypriot art teachers judged that personality attributes such as confidence and openness to experience are important for the development of creativity. Art teachers' attitudes towards the instructional approach that favors the facilitation of creativity, was the classroom factor indicated by art educators to affect most the progression of creativity. The results of this research study suggested that creative thinking must become a topic infused not only in developmental and cognitive psychology courses, in learning and instruction methodology courses and specific academic subjects' didactic courses. In either case, conceptual change should be at the core of pre-service courses and in-service workshops about creativity offered to potential and practicing teachers. Art teachers' beliefs implied that the content of undergraduate art education courses and the Cypriot National Elementary Curriculum must be redesigned around the fundamental tasks which creative professional artists engage during the process of artmaking. Finally, scholars conducting research in the domain of teachers' beliefs about creativity must be cautious on the terminology they utilize so that it is consistent with theoretical and empirical advancements in the area of creativity.
EDUCATION / Arts in Education
Imagination is the source of creativity and invention. This volume of essays has been collected expressly to bring readers new ideas about imagination and creativity in education that will both stimulate discussion and debate, and also contribute practical ideas for how to infuse daily classrooms with imaginative activities. Researchers and educators around the world have taken up the discussion about the importance of imagination and creativity in education. This global relevance is represented here by writings from authors from Brazil, Canada, China, Denmark, Italy, Israel, Japan, and Romania. In the first part of the book, these authors explore and discuss theories of development, imagination, and creativity. In the second part, they extend these theories to broader social issues, including responsible citizenship, gender, and special needs education, and to new approaches to teaching curriculum subjects such as literacy, science, and mathematics, as well as to the educational environment of the museum. Since the first edition of this book, Imaginative Education (IE) has developed increasingly accessible strategies for teachers to routinely engage imagination in everyday practice. New essays for the second edition include discussions about increasing political consciousness, improving teacher education, and using mathematical evaluation in Part I, and phenomenological approaches to media education in Part II.
Imagination is the Source of Creativity and Invention This series of essays has been collected expressly to bring readers new ideas about imagination and creativity in education that will both stimulate discussion and debate and also contribute practical ideas for how to infuse our daily classrooms with imaginative activities. In a world that values creative innovation, it is distressing that our schools are dominated by an educational paradigm that pays too little attention to engaging the imagination and emotions of students in the curriculum and the worlds challenges that the curriculum is designed to prepare students to meet. The ability of children to think creatively, to be innovative, enterprising, and capable, depends greatly on providing a rich imagination-based educational environment. It is only when we consider the imagination a vital component of our lives and one of the great workhorses of learning that we recognize the importance of adding the imaginative to the study of the affective, cognitive, and physical modes of our development. Doing so fills a gap that has led to incomplete accounts of childrens development, their subsequent learning needs, and indeed, how to fulfill these needs in educational environments. This discussion, about the importance of imagination and creativity in education, has been taken up by researchers and educators around the world. It is represented here by writings from authors from Brazil, Canada, China, Denmark, Italy, Israel, Japan, and Romania. In the first part of this book these authors explore and discuss theories of development, imagination, and creativity. In the second part they extend these theories to broader social issues such as responsible citizenship, gender, and special needs education, to new approaches to curriculum subjects such as literacy, science, and mathematics, and to the educational environment of the museum.
This qualitative case study examined the impact of an arts integrated international collaboration on elementary school students' creativity when the students were communicating and creating exclusively through a technological third space. Two organizations, one in the U.S. and one in Mexico, served as the sites for the case study. Five findings emerged from the study relating to the nature of creativity and two findings related to the impact on students' creativity when engaged in arts-integrated international collaboration. The findings for the first question were: 1. Students and teaching artists view creativity as a process that is reflexive and engaging, 2. When reflecting on their work, students and teaching artists see creativity as an interplay of ideas and are open to and capable of modifying their ideas to achieve creative results, 3. Creative work is relative to the individual and is directly correlated to both originality and effort, 4. Students and teaching artists value creativity as a means for both self-expression and communication, 5. A collaborative environment sets the stage for creative behavior in terms of inviting feedback, providing constructive criticism, and sharing ideas. For the second question relating to impact, the two findings were: 1. Teaching and learning in the third space becomes a recursive process, and 2. Students work in new modes of communication in order to bridge cultures. The findings suggested that as the students' creativity evolved throughout the collaboration, evidence of impact was noted in terms of the students' process of teaching and learning with their peers in a neighboring country and their process of developing new ways of working in a digital third space when writing or making art that would be shared with those peers. Implications for future research include a need to examine the educational policies around teaching for global competence and creativity, as well as for examining policy on the use of arts integration as both an instructional strategy and as a means to connect students to the world around them.
This collection of essays from scholars in eleven countries, centres upon the theory and practice of the use of imagination in education. By bringing together studies covering a wide range of subject matter we trust that the reader will have the opportunity to appreciate both the diversity within the field and the significance of the topics discussed. We hope too that readers will find connections to their own areas of study. The 13 essays present distinct yet converging points of view, whether it be a discussion of the imagination as a virtue, the use of imagination as a means to improve aboriginal education in Northern Canada, or the description of a museum in Brazil in which the imagination of the child is central to the project. Separately, each of the papers identifies and explores a distinct aspect of Imaginative Education; together, they begin to define the breadth and richness of the field. These essays have been selected from papers presented over a period of several years to research symposiums in imagination and education held every summer in Vancouver, Canada under the auspices of the Imaginative Education Research Group in the Faculty of Education at Simon Fraser University.
Collectively, the sixteen chapters in this book investigate the power of creativity in the classroom, many through the specific lens of limited resources as an opportunity. The chapters are divided into two sections, eight chapters comprising Section I: Theory and Research and then the eight chapters comprising Section II: Additional Perspectives and Future Directions. Within these two sections, the more than two-dozen authors that contributed to this book tackle a wide range of the possibilities for designing creative classroom-based instruction wherein limited resources are highlighted and valued, rather than avoided or lamented. The two main sections of this book are each preceded by a brief introductory summary highlighting those sections attributes and objectives, with the intention of providing helpful structure to the readerbut the book has also been designed such that each chapter stands independently and can be jumped to directly like a handbook. In its totality, this book exploring perspectives on creativity theory and research in education is designed to serve as a valuable resource for teachers, teacher educators, school administrators, parents, and education researchers, along with anyone else that is interested in optimizing our opportunities for nurturing creativity within classrooms. .
Inspired by papers developed for the 6th International Conference on Imagination and Education: Imaginative Practice, Imaginative Inquiry (Canberra, Australia, 2008), this book connects a cross-section of educators, researchers and administrators in a dialogue and exploration of imaginative and creative ways of teaching, learning and conducting educational inquiry. Imagination is a concept that spans traditional disciplinary and professional boundaries. The authors in this book acknowledge diverse theoretical and practical allegiances, but they concur that imagination will play an essential role in the building of new foundations for education in the 21st century. From our conception of human development through our ways of educating teachers to the teaching of mathematics, they argue for the centrality of imagination in the realization of human potential, and for its relevance to the most urgent problems confronting our world. Introduced by a wide-ranging literature review and extensively referenced, this volume makes an important contribution to a rapidly expanding field.
Providing a distillation of knowledge in the various disciplines of arts education (dance, drama, music, literature and poetry and visual arts), this essential handbook synthesizes existing research literature, reflects on the past, and contributes to shaping the future of the respective and integrated disciplines of arts education. While research can at times seem distant from practice, the Handbook aims to maintain connection with the live practice of art and of education, capturing the vibrancy and best thinking in the field of theory and practice. The Handbook is organized into 13 sections, each focusing on a major area or issue in arts education research.