References

Beetlestone, F. (1998). Creative Children, Imaginative Teaching. Buckingham: Open University Press.

Bennett, N., & Rogers, S. (1996). Teaching Through Play. Philadelphia: McGraw-Hill Companies.

Bilton, H. (1998). Outdoor Play in the Early Years. London: David Fulton Publishers.

Bilton, H. (2010). Outdoor Learning in the Foundation Phase. New York: Taylor & Francis.

Broadhead, P., Howard, J., & Wood, E. (2010). Play and Learning in the Early Years: From Reasearch to Practice. United Kingdom: Sage.

Colin Beard, J. P. (2012). Experiential Learning. London: Kogan Page.

Craft, A. (2002). Creativity and Early Years Education. United Kingdom: Continuum Inetrnational Publishing Group.

Craft, A. (2005). Creativity in Schools. United Kingdom: Taylor & Frances, Inc.

Cropley, A. (2001). Creativity in Education and Learning. United Kingdom: Routledge.

Curtis, J. (2001). Play today in the Primary school playground. Buckingham: Open University.

Edgington, M. (2002). The Great Outdoors. London: The British Association for Early Childhood Education.

Fisher, R. (2009). Unlocking Creativity. Abingdon: Routledge.

Fisher, R., & Williams, M. (2005). Unlocking Creativity: A Teachers Guide to Creativity Across the Curriculum. United Kingdom: David Fulton Publishers Ltd.

Francis Prendiville, N. T. (2000). Drama and Traditional Story for the Early Years. Abingdon: Routledge.

G. Hickey, D. R. (2013). The Leonardo Effect. New York: Taylor & Francis.

Nutbrown, C. (2005). Key Concepts in Early Childhood Education and Care. London: SAGE.

O'Neill, C. (2015). Dorothy Heathcote on Education and Drama: Essential Writings. Abingdon: Routledge.

Parker, D. (2013). Creative Partnerships in Practice: Developing Creative Learners. Londom: Bloomsbury Education.

Partnerships, S. C. (2004). Young People TOTALWorking Paper. unpublished.

S, K. (2011). Forest School For All. London: Sage.

Tovey, H. (2007). Playing Outdoors. Berkshire: Open University Press.

Welsh Assembly Government. (2008). Framework for Children's Learning for 3 to 7-year-olds in Wales. Cardiff: Crown copyright.

Wilks, S. (1995). Critical and Creative Thinking. Armadale: Eleanor Curtain Publishing.

Williams, M. (2005). Creative Literacy: learning in the early years. In R. F. Williams, Unlocking Creativity (pp. 21 - 37). United Kingdom: David Fulton Publishers Ltd.

Wood, J., & Attfield, L. (1996). Play, Learning and the early childhood curriculum. United Kingdom: Paul Chapman Publishing.

Introduction

Creativity skills are essential for success in learning and a success in life and creative thinking skills is something that should be promoted in all subjects across the curriculum. In being able to think creatively, children’s motivation and self-esteem can be developed (Fisher, 2009). It is also believed that teaching creativity can improve the quality of education and approach the curriculum in a more exciting way, making learning more meaningful. Creativity can be used in learning as way of explaining abstract concepts through skills such as; curiosity, inventiveness, exploration, wonder and enthusiasm (Beetlestone, 1998). It’s about expressing feelings and ideas through a range of different ways which may be; drawing, acting, photography, description, etc.

In this blog I have researched various creative approaches to learning. I have looked at creative play and the foundation phase, creativity in the outdoor learning environment, the Leonardo approach and the Mantle of the Expert. Each approach has a different method to learning and all have ways in which they help children’s development. I have also included a list at the top of this blog to websites i found interesting whilst researching each approach.

Creative Opportunities in the Outdoor Learning Environment

The outdoor learning environment holds an enormous amount of creative opportunity for children, however, nowadays children rarely explore the outdoors. With the outdoor environment there comes an increased amount of freedom and an ability to explore the natural world that is restricted from indoor learning (Edgington, 2002).

The outdoors is a unique environment which offers greater space which is not available indoors. Creative opportunities for children can arise from any activity when they have the space and freedom to develop their abilities. There are constraints that come with being inside a classroom to learn, outdoors makes them more able to explore and experiment their surroundings. Also, materials used inside the classroom can provide a substantially different experience when taken outside to a wide open space. When considering painting as a task, for example, the activities is restricted indoors as it’s messy and must be done in a certain way. When taken outdoors however painting becomes an activity that can take place on many different surfaces, using a variety of materials and techniques. With regards to painting the outdoor environment encourages greater movement and develops a child’s physical literacy (Tovey, 2007).

The forest school approach is a creative learning style which is centred on the outdoor environment. Forest schools are used all over the UK and aim to develop children’s knowledge of their natural surroundings. Depending on the age group of the pupils taking part, there is an increased amount of freedom which they do not get in the classroom. Children are able to explore around the woodland independently or build dens out of natural resources. The class teacher might lead a walk through the forest whilst the children point out certain aspects which they find interesting. It is also an opportunity for the pupils to take what they have been learning in the classroom and make connections to what they see in the woodlands. For example, they might be learning about seasonal change, they will then search for signs in the woodland as to what season it might be. There are many benefits to forest schools; research has shown that children who spend more time outdoors have better social skills, are more attentive, obtain fewer infections, have fewer conflicts and better brain function, they also have better language development, and learn more vital life skills (S, 2011).

Children can experience creativity in the outdoor environment through learning through imaginative play, messy play with natural materials, construction play, physical play, etc. These outdoor experiences are important to children’s development as learners. By spending a lot of time in the outdoor environment children will develop as a person and as a learner. They are able to develop positive relationships and their self-confidence, become independent, have the ability to assess risk and take responsibility, and enhance physical strength and wellbeing. The outdoor environment can also encourage creativity, improve mathematical, communication, language and literacy skills and it of course enriches their knowledge of the natural world (Edgington, 2002).

In their book ‘Experiential Learning’ C. Beard and Wilson wrote: ‘Merely being in nature can be a powerful experiential intervention in itself’ (Colin Beard, 2012, p. 85). They believe that nature can impact learning by simply being outside amongst it. I agree with this statement as people are influenced by nature and all natural elements whether they know it or not.

Creative Play and the Foundation Phase

Creativity and play are interlinked as both are concerned with expressing inner ideas, feelings and emotions. Play is a central component of children’s experiences and a key means by which they learn (Nutbrown, 2005, p. 106). Play connects fantasy with children’s reality as play encourages children to think creatively while trying to solve problems that may be real to them in life. Play could be the best method of learning in the early years as it means that the children are learning through fun and enjoyment (Williams, 2005). Play is about exploration, for example exploring various materials such as sand, paint, water. This is why early years classrooms have these materials available for pupils (Beetlestone, 1998, pp. 77-80).

Creativity and play are both key concepts in the Foundation Phase. The Foundation Phase was introduced in 2008 and is a framework for children’s learning for 3 to 7-year-olds in Wales. The curriculum is based on experiential learning and believes that children learn better through first-hand experiences, all areas of learning within the Foundation phase are built around the concept of play. There are seven areas of learning, these are:

•           Personal and social development, well-being and cultural diversity
•          Language, literacy and communication skills
•          Mathematical development
•          Welsh language development
•           Knowledge and understanding of the world
•          Physical development
•          Creative development

All areas of learning in the foundation phase must complement each other in order to achieve a cross-curricular approach. Play activities within the foundation phase acknowledge this approach and therefore each activity will have relevance to a number of skills which the children learn and improve upon throughout their school experience. There are three types of creative play within the foundation phase. First, sensory play, this is learning through their senses. For example, the use of shaving foam, sand or play dough helps the children to form letter and number shapes. Second, imaginative play. In the classroom imaginative play is role play activities such as dress-up or home corner. The third and final type of creative play is exploratory. This is about the child becoming more independent and finding things for themselves. They use various environments and tools, make choices, and ask questions. (Welsh Assembly Government, 2008).

In this idea of play-based learning, the practitioner has a vital role. The teacher should put the child at the heart of the learning and should be involved in the children’s play in order to stimulate learning and interactions through open questioning and shared and sustained thinking. The Foundation phase has many areas of learning within its education programme and play is encompassed in all areas. Also, creative development is its own individual area of learning, with individual skills and various achievement outcomes. With regards to the teaching of creative development in the foundation phase, it can be taught in classroom lessons of art, craft and design, music and creative movement (Welsh Assembly Government, 2008).

Since 2008, play has become a central theme in the early year’s classroom. There is said to be many benefits to child’s play, for example, creative play has proved to support children’s well-being, development and learning. Also, learning through play has been said to encourage a child’s cognitive development (Nutbrown, 2005, pp. 107-108).

The Mantle of the Expert

The Mantle of the Expert is an alternative teaching approach which lets pupils learn through being involved in real-world issues and problems. This approach aims to provide a learning experience where the children are not working as students but instead take on various roles of society and become ‘experts’ which reflect these real life situations. Children adopt various roles from factory workers to members of a Victorian village. Learning becomes possible through the mantle of the expert approach as a variety of areas and problems may occur during the exercise and the child is able to tackle the task (Francis Prendiville, 2000).

The Mantle of the expert approach to learning was developed by Dorothy Heathcote as an alternative means of teaching the whole curriculum to pupils. The idea is that the enterprise, which the lesson is based upon, is of interest to the children and also it must be on a subject area which the children have had past experience in. This experience may be from books, television, school, etc. By having this knowledge it means that the pupils can contribute evenly to the task and confidently involve themselves. Some tasks will require the children to undertake further research in order to expand on their knowledge of subjects.

The teacher is this context also takes on the role of the ‘expert’ and joins in as part of the group. As an alternative, the teacher may become the co-ordinator of the task. In both roles, the teacher is able to model the behaviour expected of the children, encourage and inspire commitment to the task and ask questions or provide answers in order to develop the learning. As the mantle of the expert is an approach to experiential learning, it is the teachers’ job to allow children to develop their own learning and skills without controlling it (O'Neill, 2015).

I found that being able to experience the mantle of the expert approach first hand helped me to appreciate its benefit to learning. I was able to experience the scheme in my seminar class. We were asked to work as a team in order to construct a bridge made out of wooden sticks and masking tape. The bridge was expected to be 50cm long, we had a restriction of 100 sticks and 1 roll of masking tape. However, every stick and every 2 inches of masking tape used cost money. The aim of the task was to create the cheapest bridge that was also strong enough to withstand the weight test. As a construction company, each team had to appoint different roles to its team members. These roles were; project manager, designer, constructor and a financial director. While undergoing this task each team member was able to work independently on their assigned roles but also collaboratively. This is the result of our bridge:

Whilst taking part in the mantle of the expert task a number of curriculum subjects were at work. Through becoming a construction company we were using subjects such as; maths, design and technology, art and science. I found the task very compelling and was able to see how it would appeal to school children and the positive impact it has on learners.

Through the mantle of the expert approach children are able to develop skills in; independence, co-operation, perseverance, responsibility and curiosity. Children also have to use language and communication skills in order to work well with other members of the class. The skills developed are basic life skills that children will require all through their lives and in employment. Therefore, having an approach to learning that is similar to the ‘real-world’ is a great advantage to the children.

The Leonardo Approach

Leonardo Da Vinci came up with a theory for learning which aimed to influence the education of future pupils. His theory involved a more independent classroom which could provide children with the ability to lead their own learning, and also integrate all subjects. The One of the main features of the Leonardo effect is that creativity is core to learning. The Leonardo approach is said to enhance knowledge, imagination, curiosity and the ability to inspire and encourage further investigation.

One lesson taught using the Leonardo approach is able to integrate subjects such as; numeracy and literacy, history, science and art, etc. and also improve everyday life skills. This approach makes the connections between subjects clear, rather than establishing the differences.

The Leonardo approach has different stages throughout the process. The first step is the planning; the pupils create a mind map of their own ideas and the teacher observes to determine what motivates them. The class then participate in discussion where the teacher will link areas of study to the interests of the pupils in the planning process. Each theme suggested creates a line of work which the pupils can take in developing their ideas.

Through the Leonardo approach to learning the pupils are able to; lead their own learning, discover their own skills, and develop their artistic and scientific abilities, problem solving and ability to take risks. As well as an alternative approach to teaching the learning environment is also challenged and the teachers role is altered to more a guide, than having full control of the learning.

The impact the Leonardo approach has on child’s learning is assessed by; recording progress throughout the experience, observation, listening and how successful the outcome. Evidence includes; photographs and teachers’ comments (G. Hickey, 2013, pp. 100-106).

In order to get full understanding of the Leonardo approach we took part in an exercise within out seminar classes. The exercise included the same process as explained above and aimed to encourage further research and extended learning.

First - we created a mind map based on teacher guidance.

Then we used our mind map to decide what topic we would like to research, which topic would interest us the most. From this we decided to research 'The Uses and Effects of Water'. From this we created a presentation:

Whilst creating our presentation, it inspired other inquiry into the subject of water. We were able to take what we learnt in the classroom and extend it further.

Creative Partnerships

Creative Partnerships is a programme which began in 2001. It was set up by the Arts Council England and ran on Government funding for a decade, before funding stopped in 2011. Creative Partnerships were popular in all nine regions of England and has been called the ‘largest creative education programme of its kind in the world’ (Parker, 2013, p. 1).

Creativity requires certain partnerships in order to be enhanced within a school environment. These partnerships may be pupils and teachers, teachers and colleagues, whole schools and the community. Creative Partnerships can extend further than just in the school, it is a programme which involves the invitation of creative professionals into the classroom environment in order to encourage young people’s creativity. These creative professionals come from various agencies, for example; artists, poets, actors, scientists, designers and engineers (Fisher & Williams, 2005, pp. 14-16). The creative professionals and teachers work in partnership with the pupils to complete set projects which are designed to develop creativity. Due to the various skills each school possesses, there would be different projects which would meet the individual requirements and contexts of that specific school.

Creative learning is considered as ‘learning that stimulates learner creativity’ within the creative partnerships scheme. According to Craft, 2005, the work of Creative Partnerships looks to measure the success of young people in creative learning through achievement, engagement with school, motivation, behaviour and reduction of unauthorised absences (Craft, 2005, pp. 54-56).

In Wales, Swansea specifically, there is an organisation called LOCWS which works in partnership with numerous schools in the Swansea area in order to develop creativity in the classroom. Having visited the 'Education and Outreach Exhibition' which LOCWS had set up in the Grand Theatre in Swansea city centre, it was clear to see that they open up a range of opportunities for schools and young people. The exhibits on display were projects which the organisation have achieved with local schools. For example, Townhill Primary school created a model of an elephant:

The project included the use of a collage of different poetry to create the face of the elephant. The purpose of this project was clearly to make use of various areas of creativity. By using art and poetry to create the elephant it has built upon a range of skills which the children possess.

Evidence has shown Creative Partnerships have proved to be successful tool for creative learning. For example, in the region of Slough, 400 young people, who had been involved in Creative Partnerships, were interviewed about the programme. Results showed that the pupils felt that the programme had benefitted them in terms of improving their; motivation, self-confidence, achievement and performance working with teachers and peers (Partnerships, 2004).

Ofsted reviewed the Creative Partnerships programme in 2006. They concluded that it helped develop pupils social and personal skills, the creative practitioners were well trained which resulted in good staff and pupil learning. However, OFSTED criticised the creative partnerships, stating that creativity was not always encouraged, occasionally pupils would simply copy the teachers work and not work for themselves. Also, the tracking of individual pupils' progress was not recorded therefore results were difficult to obtain (Parker, 2013).