Create and Dance – unlocking literacy and the wider curriculum, The place of dance in a broad and balanced curriculum, Professional learning to embed learning in and through the arts in the primary curriculum, Death of the CPD twilight: Improvement in children’s writing through impactful arts-based CPDL. Cropley A (1997) Fostering creativity in the classroom: General principles. London: Continuum. Youth social action: What are the benefits for careers education? And, while the world is inspired by extraordinary creative genius, schools necessarily focus on what Craft calls ‘little c’ creativity (Craft, 2001, p. 46), the everyday ways in which all young people can harness their creative selves to good effect. Drawing on its research, the Commission has therefore developed a vision for promoting creativity in education. For the first time, PLTS introduced the idea that there was a set of learnable skills associated with creativity. There are places for all teachers to add creative elements to their school days. In praise of children as composers, Alternative models of Key Stage 3 music provision, Safeguarding musical progression in a cross-curricular planning approach in primary schools, Cognitive Load Theory explored through modelling in the practical classroom, All The School’s A Stage: Embedding drama into the primary curriculum, Using Drama for Learning – how and why it works. Support student’s intrinsic motivation 4. Although educators claim to value creativity, they don’t always prioritize it. It also assumes that creativity exists in every discipline of a school’s curriculum and, as such, takes many forms depending on the subject context in which it is located. Across the world there is growing evidence that creativity can be assessed and that such assessments help students and teachers to be more precise about how it is being cultivated and what they are doing that works (Lucas, 2016). Craft A (2001) Little c Creativity. QCA (2009) Personal, learning and thinking skills. Sternberg R (1996) Successful Intelligence: How Practical and Creative Intelligence Determine Success in Life. In an even-handed review of this debate (Baer, 2010), there are arguments on both sides. In the UK, we're going backwards. As Dylan Wiliam has argued (Wiliam, 2006), this kind of approach helps by clarifying and understanding learning intentions and criteria for success, provoking good discussions, providing feedback and engaging students in their learning. The Commission has called on a range of organisations to help deliver this vision and I’m very pleased to say that in meetings with organisations from NESTA and the BBC to the Department for Education and Ofsted it’s clear that there is an appetite to embrace these recommendations. In a study of broader skills across the world, the Brookings Institution has shown that the term ‘creativity’ is mentioned in government education documents (alongside communication, critical thinking, problem-solving and communication) from more than 50 countries (Horton et al., 2017). Wiliam D (2006) Assessment for learning – why, what and how. Carmarthen: Crown House Publishing Ltd. National Advisory Committee on Creative and Cultural Education (NACCCE) (1999) All Our Futures: Creativity, Culture & Education. This year the Durham Commission on Creativity and Education calls for a 4–19 strategy for embedding creativity in all schools in England (Durham Commission, in press). Lucas B (2001) Creative teaching, teaching creativity and creative learning. Try new methods of teaching in classroom 3. I watched this video clip of Dylan Wiliam talking about how important creativity in schools is. Teachers will be familiar with some of these approaches. Over the last 18 months I’ve seen the weight of evidence growing for the way that creativity drives change, gives people agency and helps us navigate our way in the world. Talking about cultivating as well as teaching creativity and using the phrase tracking the progression of their creative thinking rather than assessing seems to invest these activities with both the art and the science that they require. OECD Directorate for Education and Skills (2018) Framework for the Assessment of Creative Thinking in PISA 2021 (second draft). They do not necessarily see why it would be helpful. “There may be adaptive value to the seemingly mixed messages that teachers send about creativity. Many researchers have helped us to understand the climate necessary for creativity to flourish (Torrance, 1970; Cropley, 1997, Lucas, 2001; QCA, 2005), and their thinking can broadly be subsumed within this list (Craft, 2010): Step 3 involves considering those pedagogigcal methods most closely associated with what we want to learn. Step 2 recognises that embedding creativity in schools is at least in part a cultural matter. Of particular interest and perhaps less well-known are creativity portfolios, capstone projects (complex, real-world assignments), exhibitions (often inviting critique from experts) and digital badges marking progress in an aspect of creativity. Figure 2 offers an overview. Some teachers worry that assessing creativity is a bit too close to assessing personality. Rethink the formula for success from ‘school success = doing what is expected x how it is expected’ to ‘creative expression in education = meet predetermined criteria x using an unexpected approach’, Share favourite ‘failures’, preparing and supporting students for and through setbacks that come with creative expression, by teachers sharing their own favourite ‘flops’. They will require a great deal of collaboration and leadership to make them happen. In England, Thomas Tallis School (2017) is an excellent example. Guilford J (1950) Creativity. Schools and the wider community: Approaches and outcomes, Knowledge, skills, character and values within the curriculum, Skilful questioning: The beating heart of good pedagogy, Cognitive Load Theory and its application in the classroom, Creativity and arts: Purpose and pedagogy, Interim Issue: Evidence-informed Practice, Issue 7: Arts, creativity and cultural education, Issue 9: Learning, leadership and teacher expertise, Issue 10: Developing evidence-informed teaching techniques to support effective learning, Special issue: Youth social action and character education, Special Issue January 2019: Education Technology, focusing on pupils’ motivation to be creative, encouraging purposeful outcomes across the curriculum, fostering in-depth knowledge of disciplines, offering clear curriculum structures but also involving pupils in creating new routines where appropriate, encouraging pupils to go beyond what is expected, helping pupils to find personal relevance in their learning, modelling the existence of alternatives in the way information is imparted, while also helping pupils to learn about and understand existing conventions, encouraging pupils to explore alternative ways of being and doing, celebrating where appropriate their courage to be different, giving pupils enough time to incubate ideas, encouraging the adoption of different perspectives.

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