By Jonathan Savage, Martin Fautley
Creativity is more and more visible as crucial to sturdy studying and instructing in the course of the curriculum. This booklet examines the political and academic context at the back of such advancements and appears at dilemmas confronted by means of trainee lecturers as they start their instructing perform. Demonstrating what creativity is, the way it evolves and the way it may be nurtured in numerous educating contexts, it allows trainees to advance creativity of their instructing function and of their scholars’ studying. all through, the ebook hyperlinks basically to the recent expert criteria for QTS and provides routines, subject-based case reviews and educating examples to interact and aid all secondary trainees
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Extra resources for Creativity in Secondary Education
We looked earlier at the difference between declarative and procedural knowledge. Creative thinking operates tangentially to these. Creative moments are likely to occur once pupils have assimilated enough information to allow them to think in such a way as to make new connections, or develop new insights. As Runco (2003, p320) notes: In Piagetian terms, assimilation is the key to creative thinking. It is there that the individual takes liberties with information. Assimilation involves a level of mastery of the domain, and so knowledge, once assimilated, has the potential to be used in novel ways.
Group constitution Having given some thought as to theoretical positions on group creativity, we now turn to more practical matters and consider how you can establish groups in your lessons and what the make-up of such groups might be. Useful guidance for this is given in the Literacy across the curriculum strand of the KS3/ Secondary Strategy (DfES, 2001). Here groupings are classified according to size and type. Size groupings are as listed below: . . . individual; pair; small group 3–4; large group 6–7; whole class.
Of particular interest was her account of how you can learn to fly without actually being airborne: I used to walk around, rehearsing the checks, the switch positions, the radio calls – running circuits in my bedroom, plotting air defence tactics across a field, circling dogfights on bikes, even flying formation in my sleep. Rehearsal builds muscles in the brain and the brain remembers this much more effectively when flying and operating an aircraft. It is the beginning of an automated sequence where pilots react without thinking – essential for rapid decision-making at life-threatening moments.