Paper presented at the European Conference on Educational Research, University College Dublin, 7-10 September 2005

Abstract

In September 2002 at an international conference in Soweto, South Africa, the Tibetan spiritual leader, the Dalai Lama called on South African educational institutions to take the lead in instilling values in society (2002). Supported by keynote speaker, Kobus Neethling, it was argued that the 21st century needs a new kind of creativity characterised by unselfishness, caring and compassion. Still involving monetary wealth, but resulting in a healthy planet and healthy people (2002). The Lisbon Strategy agreed in Lisbon, Portugal in March 2000 committed Europe to becoming a world leader by 2010 in terms of economy, educational systems and social welfare, demanding of course ‘rampant creativity and innovation’ (Buster, 2004).

Creativity has become a ‘buzz-word’ of our times, is often misconstrued, misunderstood and plainly misused. Following the organisation of a series of European funded, Comenius 2.1 courses (European Union, 2005a) linked to the promotion of creative approaches to teaching and learning, a small-scale research study was conducted on how to improve creativity in European schools. The findings from this work were triangulated with the 2003 Comenius 1 evaluation report published by the Commission. The Author was involved in the production of this report (European Union, 2005b).

This paper explores how creative potential can be promoted and harnessed through building relationships in schools, managing risk and building learning cultures through developing appropriate values, for example in accordance with De Lors ‘Four Pillars of Knowledge’ (1996)

1

Creative teaching and learning in Europe: promoting a new paradigm

Trevor DaviesUniversity of Reading Institute of Education; UK

t.c.davies@reading.ac.uk

Please do not quote without the author’s permission

Globalization and its impact.

For the first time in history, knowledge is becoming the primary outcome of economic production. It is a core resource for commercial and non-commercial organisations and an emblem of employability and / or democratic citizenship. The DEMOS report (Seltzer & Bentley, 1999), identifies four clear trends that are driven by the impact of information and communication technologies and economic globalisation represented by the openness and fluidity of markets and production across international boundaries, which in turn impacts directly upon the social and cultural values we absorb and construct, these are:

that the ‘weightless economy’ based on human resources, information and networks have become very influential sources of productivity and competitiveness;

that workers need to continue to develop the skills to manage themselves in increasingly unstable organisational environments;

that more ‘horizontal’ organisational structures within and between organisations are taking the place of ‘vertical’ structures;

that new patterns of exclusion are emerging amongst those who are not willing or able to develop marketable knowledge.

The global nature of our knowledge therefore, is causing immense changes to what and how we know. The change, in a memorable phrase of Giddens (1990), is conceptualised as “waves of social transformation crushing across virtually the whole of the Earth’s surface” in parallel with a dis-embedding of the social system.

A consequence of this is that some ‘included’ members of society feel growing intemationalisation, whilst others feel the need to protect their national identity in ways that reflect growing insecurity and disempowerment. Theirs upgrades a concept of identity based on ethnic or nationalistic considerations. Global systems of production and exchange have led to a re-ordering and compression of time and space. Work is carried out in a local area yet decisions are made far from the particular context. At the same time, some companies are making their organisations more responsive to local needs: thinking globally but acting locally. More reflective organisations take this further by trying to engage employees in a more participative organisation.

This decentring could be seen, as potentially leading to a dislocation of the self. If part of our identity is formed by a culture in flux then it could cause dissonance. On the other hand, it could open up greater possibilities for a re-articulation of ourselves and a possible gaining of multiple identity or multiple citizenship. This sets the scene for ‘visionary leadership’ that can build new cultures that will be inclusive, fair and just, that can enable participants to build strong reflexive identities. This cannot happen without a creative approach to furthering educational provision.

The political context for education in Europe

Changes in technology set the pace and drive the social, economic and cultural changes, which are reflected in the personal and social values, attitudes and behaviour created. The ambitious plans of the EU for education and training were linked to the 2000 Lisbon Agreement that stated that:

‘The Union must become the most competitive and dynamic knowledge-based economy in the world capable of sustainable economic growth with more and better jobs and greater social cohesion’ (reported in Buster, 2004).

To achieve this ambitious goal, Heads of States and Government asked for “not only a radical transformation of the European economy, but also a challenging programme for the modernisation of social welfare and education systems.” In 2002, they went on to say that by 2010, Europe should be the world leader in terms of the quality of its education and training systems.

2

Searching the world-wide-web for evidence of creative work in education taking place in Europe (October 2004) was sobering:

Google search: ‘Creativity, Europe’ 475 hits achieved of which the top 3 were:

1. Times Forum] How to Build Cultural Communication - Korea Times, South Korea; 2. Taiwan to help train Mongolian business elites; 3. SolidWorks Software Opens New Doors to Design Creativity , Faster ... in Mongolian business

elites.

Google search: ‘Creativity, Europe, Education’59 hits achieved of which the top 3 were:

1. Infinity intends to make timeless music - Jamaica Observer, Jamaica;  2. Full text: Gordon Brown at the CBI - Guardian, UK;  3. Speech by PM Sharon the opening of the Telecom 2004 Exhibition - Israel Ministry of Foreign

Affairs, Israel 

In each case, a very small number of hits by comparison with what is normally achieved for many topics. Needless to say, the lack of progress with meeting Lisbon agreed targets is in keeping with a perceived political malaise at the heart of Europe in 2005, illustrated by the refusal of a number of European countries in 2004 / 2005 to follow the lead of their politicians and endorse a new European constitution. The UK Government has responding by setting out a ‘Science and Innovation Investment Framework’ for 2004 to 2014 (HM Treasury, 2004) by trying to engage more deeply: businesses and their associated science base; universities, and by promoting innovation directly in companies. Producing a strong supply of engineers, scientists, technologists and more educated decision-makers in policy formation requires higher quality teaching and learning in every school, college and university that is broadly based.

The challenges of change

To change the pervading culture and practices means promoting creativity and innovation through enterprise and re-generation to institutionalise ‘new values’ that are futuristically orientated. The Google searches can be taken as an indicator of the lack of real focus on European creativity in educational spheres to make the Lisbon Agenda happen. A country that has already changed remarkably is South Africa. In September 2002, The Dalai Lama, the Tibetan spiritual leader, called on South African education institutions to take the lead in instilling values in society (2002). The Dalai Lama emphasised that over and above the developments of human intellectual property, educational institutions should also take a proactive role in nurturing the positive human elements of compassion and ethics.

In a keynote address at this conference, Kobus Neethling argued that the 21st Century needed a new kind of creativity for the sake of the peoples of the world and our environment (2002). Kobus made an interesting distinction between 20th Century creativity and 21st Century creativity. He argued that 20th Century creativity had a self-centred focus, creating wealth on the one hand, and poverty, starvation and environmental damage on the other. 21st Century creativity needs to be ‘strategic creativity’ characterised by unselfishness, caring and compassion. This would still involve monetary wealth, but result in a healthy planet and healthy people. Education must lead this new revolution.

3

Creativity has become a ‘buzz-word’ of our times, is often misconstrued, misunderstood and plainly misused. This paper explores how creative potential can be promoted and harnessed through building relationships in schools, managing risk and building learning cultures through developing appropriate values, for example in accordance with the De Lors et. al. ‘Four Pillars of Knowledge’ report (1996), proposed as a future blueprint for European education:

Learning to know, by having a broad overview of things and the skills to work in depth on selected fields; learning to learn and thereby benefit from the opportunities to learn throughout life;

Learning to do, by acquiring vocational skills and the competencies to work in different situations and to work in teams;

Learning to live together, and appreciating other cultures and people, respecting pluralism, peace and managing conflict;

Learning to be, so as to better develop one’s own personality, acting with autonomy, judgement and personal responsibility.

Creativity: its personal, social and cultural ramifications

The nature of creativity and the conditions required for its nurture continue to be viewed as problematic. Feldman (1995) recognised that, to be creative, individuals have to believe that they can change the world and add to its knowledge themselves. Similarly, McKeller, (1957) believes that the essence of creativity consists of an individual striving to do better than did his / her predecessors. However, this individual element must be set within supportive social frameworks if there is at least to be an opportunity for people to realise their creative potential. For Csikzentmihayli (1997):

Socialization not only shapes behaviour, it also moulds consciousness to the expectations and aspirations of the culture, so that we feel shame when others observe our failings, and guilt when we feel that we have let others down (p. 77).

It comes as no surprise, then, to learn that Csikzentmihalyi (in Feldman, 1995) believes that:

‘…focusing on the individual alone when studying creativity is like studying how an apple tree produces its fruit by only looking at the tree and ignoring the sun and the soil.’ (p. 147) .

It is through culture that we judge the qualities associated with creativity. Evidence for creative qualities in individuals can be sought by:

identifying their distinctive characteristics (abilities, patterns of conduct, declared needs, motivations observed, etc), together with the frequency and nature of the creative acts for which they are responsible;

collecting the opinions of those that make decisions, choices and judgments about the merits of the work of individuals, groups and institutions working within a domain.

Craft (2005) suggests that are different perspectives on creativity reflecting differences in socio-cultural circumstances. For example, western culture values more heavily the role and achievements of the individual contrasting with the east, where the social group stands predominantly. She suggests that often values about creativity are muddled and that as educators we need to consider how to promote creativity wisely, that is to be mindful of the range of positive and negative possibilities of creative action and to make links to the moral and ethical domains. But what is wise action? Claxton (2005) suggests it occurs when:

‘people lose self-referenced motivations …and that wise intuitions may emerge from a rich, experiential database of complex, value-ridden situations, and of both personal and vicarious observations of more or less successful ways of resolving them’(pg. 9).

4

Creative acts in educational settings

The values developed in school-based learning will continue to be vitally important as part of a participative democracy to generate the readiness in young people to cope with a world where learning and knowledge is at the heart of the matter. Creativity belies simple definition and measurement but if we wish to promote creative work, there are many agencies that act as stakeholders in its identification. Creative acts can involve:

using imagination, often to make unusual connections or see unusual relationships between objects, ideas or situations;

having targets and reasons for working which are capable of resulting in new purposes being discovered;

being comparatively original in relation to the work of a small closed community, such as peers or family, or uniquely original in comparison with those working historically or currently in a field or discipline;

judging value, which demands critical evaluation and reflection, standing back and gaining an overview position (Department for Education & Employment, 1999).

Creativity in teaching and learning is elusive and rarely prioritised. When it is prioritised, its nature is not defined or closely considered and often conflated with problem solving. Bloom (1956, p. 33), postulates that, in fields of knowledge that are changing, knowledge should be presented as a transitory medium that enables users to solve relevant problems. It should not be presented as absolute truth. We continually need to be mindful of some traditional but fundamental questions about our approaches to teaching and learning whilst thinking about the role of creativity:

Nature of knowledge Do we know what a well-educated person should know? There is confusion between the nature of knowledge and the nature of information. What is

their relationship and how does this affect the way we view and build educational curricula?

Nature of learning The human brain works best in a highly stimulating, low threat environment. How do we

maximise its potential? Learning is a social activity. To what extent is the potential being realised in schools? Learning is a cultural activity. To what extent is the potential of the individualised being

realised in schools?

Curriculum philosophies Are the current curriculum models in use able to satisfy the needs of a knowledge-based

society at the local and global levels? We know that organizations such as DEMOS and the Royal Society of Arts (RSA) suggest not and other proposals have been made (Seltzer & Bentley; 1999; Royal Society of Arts, 2000);

How should we incorporate moral and ethical dimensions into the educational provision.

Developing creative climates and cultures in European schools

Between 2001 and 2003, four, one-week long in-service development courses were run by the University of Reading, funded through the European Union, Comenius 2.1 scheme (European Union, 2005a). They offered in-service training opportunities to teachers, school managers and teacher trainers in the locations of Krakow, Poland; Norberg, Sweden; Drammen, Norway and Ancona, Italy.

5

Pre-course information encouraged potential participants who were interested in facilitating and leading change in their schools in line with a set of values that put the generation and release of creative social and cultural capital uppermost. The courses were concerned with ‘Learning to Learn: building structures for developing educational autonomy and creativity’. Participants worked at schools and colleges ranging from pre-school, to tertiary and higher education including special schools. They attended from eleven different European countries and represented a diverse range of subject backgrounds.

Post-course developments in creativity at course members’ home institutions were followed-up one year after completion of the course, through the delivery of a three-part, small-scale research study. This involved 1) a questionnaire to all attendees (78 issued, 24 completed); 2) a second questionnaire or telephone interview (8 respondents were selected; each completed); 3) the collection of case study material describing activities and approaches in the respondents home institutions as indicators of creative endeavour.

Research context:Figure 1 illustrates the balance of respondents between different phases and types of educational provision.

Figure 1

6

Figure 2 shows the comparative response rate across the 11 countries surveyed.

Figure 2Figure 3 shows the broad distribution of respondents’ subject backgrounds. It was refreshing that teachers with so many different subject interests were sufficiently interested to attend the courses and contribute to the research phase.

Figure 3Learning Context:

7

Indications of the constraints under which the different schools operate are included in the next two figures. In Figure 4, perceptions of the comparative degrees of control exercised by different educational stakeholders are shown. In Figure 5, respondents’ perceptions of the main purposes of assessment are shown, although in many instances, the results of students’ achievements are used to measure the success of teachers’ performance.

Figure 4

From Figure 4, variations can clearly be seen across the European countries in the amount of perceived control the different stakeholders have. In the main however, with the exception of Luxembourg, control is shared between educators, administrators and politicians acting through particularly national and local agencies. The headteacher and teachers between them exert between 22% and 45% of the control over the curriculum whilst Government exerts between 20% and 100% control in the case of Luxembourg. With the exceptions of Malta, Cyprus and Greece, universities have lost their influence more or less completely

Figure 5

8

Figure 5 summarises the purposes of assessment and shows clearly that students’ needs are ranked first whilst Government and indeed Employers rank much lower. Some hypotheses are raised by these responses:

The respondents clearly put students’ learning at the heart of their concern and recognise the importance of assessment results to maintain continuity of learning;

Despite trends in Government to exercise control over the assessment processes, they are perceived as minor players as indeed are employers. Indeed there was evidence from this study that political interference is viewed as uninformed, inhibiting and crude, hence adding to cynicism about the role of politics in education

The role of creativity in classrooms

In Figures 6, the role of creativity in teaching and learning is examined. In particular, the comparative emphases placed on teaching students to be creative; rewarding student creativity; teacher risk-taking with students and encouraging their risk-taking.

Figure 6

All aspects of creativity in teaching and learning are viewed as important but rewarding students’ creativity and encouraging risk-taking are perceived as more important than the aspects of ‘teacher performance’. This could be attributed to recognition by the teachers of the need to build student confidence and empowerment through their own activity.

Teaching: a balancing act

Figure 7

9

In Figure 7, the emphasis placed by teachers on different educational foci are examined. These include: skills; knowledge; creativity; intelligence; values and attitudes. Emphasis is overall well-balanced. Some hesitation is evident in dealing with creativity and attitudes compared with other educational components. The creativity of the teachers can surely be tested in generating learning contexts that will both motivate learners and generate opportunities to develop all of these components in a balanced progressive way.

Questionning styles in teaching

Figure 8Figure 8 gives interesting comparisons on how learning processes, skills and attitudes that are linked to creative determination and action are engaged. These include: clarification; probing reason; exploring alternatives; testing consequences; developing new questions; producing unusual connections; students’ own decision-making; respecting students’ opinions. Note the high rate of respect given to students’ opinions that in turn builds confidence and self-esteem. The desire to engage students creatively but also encourage rigour is clearly identified through the responses.

Findings from the ‘in-depth’ questionnaire

Respondents invited to complete the 2nd questionnaire, gave evidence in their first questionnaire that they had ‘achieved most’ in their institutions since attending the course. The eight respondents answered more in-depth questions that were ‘qualitatively based’. This gave deeper insights into the reasons that lay behind their approaches. Findings from this questionnaire included:

Curriculum balance is often poor where students are learning inappropriate material for current society, often lacking relevance or perceived relevance;

Programme requirements can be restrictive and prevent teachers using their talents to interest students;

Programme requirements can be restrictive and not allow teachers sufficient time to be and promote creativity;

Assessing creativity is challenging and is not encouraged or supported by the climates / cultures in schools;

There is little encouragement to take students’ feelings into account in curriculum planning and teaching – learning is rarely planned on a participative basis.

10

Evaluation of Comenius 1 – European school-based projects

The findings from the research project were triangulated with those from a recent European Commission evaluation survey of a very successful project series- Comenius 1 (European Union, 2005b). Comenius 1 projects consist of groups of schools from across Europe coming together into partnerships to undertake exchanges and innovative curriculum and extra-curricular work. 10,000 schools across Member and Associated States were involved at the time of the survey, and responses from 1398 schools across all phases of schooling were received and analysed. The results illustrate how powerful innovative opportunities, and freedoms for teachers and schools can be and details the benefits of schools working in cross-cultural settings. Strong features of this major evaluation programme includes:

The important role of international projects as catalysts for innovation; Recognition that involvement in projects helps teachers to develop their teaching methods in

more creative ways and that active support from senior managers in schools is essential to successful creative activity. This inevitably entails changes to the structure, culture and values of schools, ones that are needed to provide the conditions for a better curriculum for learning and pedagogy for learning;

ICT has a powerful role in offering opportunities for creative work and action; Comenius 1 is it seems, used as a vehicle for implementing major educational change in many

Countries. The experience of a Romanian Lycée, for instance, demonstrated that a school involved in a series of dynamic and highly motivating transnational projects is best placed to achieve effective change.

Participants saw the European dimension in education as critical to engendering a school-wide culture of imaginative and creative learning, namely, ‘thinking outside the box’. The opportunities presented by this re-enforces the role of the teacher as a learner that is critical to managing change in their own classrooms. In a climate where schools have become much more subject to following directives from politicians and receiving resources directly for ‘politically approved activities’ there is greater reluctance on behalf of many teachers to ‘go beyond their brief’. Hence stimulating interest and involvement demands much more persuasive leadership as distinct from a managerial approach where decisions are dispensed efficiently. If we are to create common European identities that are based on trust, common value systems must be built where common interests are developed but divergent interests are tolerated and even celebrated.

Illustrative case studies of creative work in European schools

Teachers from a number of Swedish schools attended courses on the production of movies. They learned how to create drama, soap opera and other genres of filmmaking using simple techniques. They then work with their children generating storyboards, characters and backgrounds for the development of animated film based on students’ lives, folklore and culture. They then create films and include those children with learning difficulties. These are often used in international projects involving schools from France, England, Poland, Italy and Denmark. One primary school in Vastmanland has developed a close relationship with a school in Zimbabwe. Children and teachers exchange letters and visits and a booklet has been produced for the children in each country to learn each others’ languages through discussing common themes and topics. The mission is to achieve common understanding and values and defeat ignorance that in so many ways blights relationships across nationalities and cultures.

Two ICT teachers in a Danish 6th Form College put on a play – Arthur Millar’s “All my Sons” before developing a Digital Theatre Production to put onto the School’s intranet. The project challenged students at a range of levels, enabling them to work both independently and collaboratively and helped

11

to develop their language capabilities as they worked in both Danish and English. The Authors discussed in detail the challenge, rigour and fun achieved through working on a project such as this.

A headteacher of a special school in Surrey, UK described in passionate terms why he believed that creativity was the foundation stone of any person’s individual identity in a paper he presented in Ancona, Italy. The Special School’s environment, through its concentrated focus on individual needs should offer a meaningful enrichment of each student’s individual horizons. The restrictions of special needs can cripple the spirit as well as impede the fulfilment of goals. Fear of ridicule, failure and plummeting self-esteem are all factors that the skilful teacher will circumnavigate, dissipate and sometime just ignore. A key factor in creativity is the relationship between understanding and emotional support of the inadequacies that make up the individual as a unique member of the human race. This headteacher achieves these goals and purposes through for example involvment in a project with the Globe Theatre, London- a Mecca of Shakespearean culture. His students are coached to perform Shakespearean plays and appear on their stage with the dignity of any great actor.

Conclusions from the Study

The attitudes held by teachers about the place of creativity in schools are mixed (Fryer, 1996; Beetlestone, 1998). It is recognised sometimes as being a powerful motivating force for teachers and learners and can be a vehicle for high levels of individualised achievement. It can offer clues to learner’s individualised development patterns. Conversely, there are so many other priorities in classrooms which tend to dominate attention, for example: basic knowledge and skills; codes of response and behaviour; the conduct of relationships. It makes for disruptive classrooms in that it can challenge ‘norms’ and ‘order’. It requires ‘high risk’ teaching strategies, with a concern for a ‘long term view’ of learner’s potential, a willingness to wait for results and the confidence to act intuitively at times. Writers concerned with learning development, highlight the importance of verbal and non-verbal communication in the promotion of learner’s progress (Piaget, 1962; Vygotsky, 1978). Increasingly, we are in need of ‘wiser teachers’ capable of ‘intelligent interpretation of circumstances’ when political pressures appear to favour de-skilling and regulating their professional practice and judgement.

On the surface, this would appear to take time, reflection and empowerment to work with teachers so that they are confidently able to observe and predict the links between cause and effect in the teaching and learning situations they experience over time. It is obvious that to achieve such a status, teachers need to feel in control of the curriculum they teach and feel able to instigate change and innovation. When teachers are thinking about this they are possibly learning in the most sophisticated way and to be the best teacher, it is well-recognized wisdom that it is important to be the best learner. Ways forward need to address the following:

More emphasis needs to be placed on effective, creative leadership and vision-building; Balancing and modernising curricula that satisfy ‘global and local’ needs; A more participative approach to curricula and programme construction to ensure relevance,

balance and rigour; Fear of schools, especially examinations is throttling the ability of students to think freely and

feel free; Use and value assessment of creativity in formative ways; Shift the degree of emphasis from the performance of the school to the performance of the

learners; Ensure that the assessment of learners is such that it helps each and every one to find a useful

path to their futures and a useful role in society; Curriculum enrichment is often minimal and teachers are too pressurised to follow-up

worthwhile lines of investigation and enquiry and the depth of learning experience is minimised;

12

More ‘creative collaborative work’ between teachers and learners is needed; Thinking time for teachers and learners is not respected – neither have ‘space’ for creative

activity; Creative work needs to be consistently rewarded.

A Creative School

These findings can be compared with developments outside Europe. The Author met in 2003 a recently a newly appointed headteacher to a new ‘Academy’ school in Georgia, USA that had not yet begun to be designed. 2006 was the target time for opening. He was leading a team to develop a new school concept that was research-led, not simply implementing traditional rules and formulae. Trust was to be the central platform for this new school. Amongst the founding principles, many are recognisable and even universal concerning the development of high standards and achievement, even education of the ‘whole person’:

Teachers focus on higher levels of thinking, learning and supporting students to apply skills and knowledge;

Students are excited about classes arriving promptly and seldom missing sessions; Academies and courses are structured around student interests and potential career pathways Teachers help students to learn “what to do when they don’t know what to do”; Teachers establish relationships with students getting to know their interests, learning

preferences and unique qualities so these can be used to better promote higher levels of understanding and achievement;

Teachers motivate and ignite student curiosity by framing curriculum around relevant and meaningful real-world projects and assignments;

Teachers work together to format instruction/curriculum to help students make “connections” between science, mathematics, social sciences etc.;

School is changed from a place where kids come to watch old people work to a place where they are the “workers” who are challenged and move to the centre of their own learning;;

Assignments must always be legitimately designed around meaningful and relevant ends; Teachers will no longer be just “covering” material but asked to go into depth thereby

promoting deeper understanding and mastery; Students will be encouraged to constantly challenge their teachers and the system to answer

the question, “When will I ever use what you are teaching me today?” If there is not a satisfactory answer to the question it is time to reconsider that particular content or assignment;

Core academic teachers will be teaching the same students throughout their high school experience;

Hands-on, action-based projects will become common throughout the program; Students will see an integration of subjects and disciplines; Teachers will be required to work together with colleagues in a “teamwork” approach to

teaching and learning; Higher education and business leaders will help serve as advisors, supporters and liaisons for

academies and teachers;

Another central element of the Academy model is the inclusion of a senior project. Twelfth-grade students will be required to complete a capstone project during their final semester. It is to be research-based and could be a paper, a multi-media presentation or a performance. The project would have to be both original and valuable in extending knowledge in a particular area. Presentations of projects would be made during the final weeks of the school year and adjudicated by teachers and higher education officials, along with business and community representatives.

Values, technology and globalization

13

Schools and teachers, as a result of intense political accountabilities in many countries, particularly in Europe are currently over-constrained in some respects so that the qualitative aspects of learning often receive limited attention. The realities of schools are that there are many pressures: fixed curriculum requirements and constraints, assessment and examination led approaches that are more concerned with assessment of schools and teachers than assessment for learning. In educational settings, Seltzer & Bentley (1999), believe that:

‘…creative learners need a wider array of contexts within which to apply their skills and knowledge. They also need ‘teachers’ or guides who can expose them to the strategies for thinking about the connections between their experiences.’ (p. 29)

Gardner, (2001) argues the case for drawing up covenants between professional educators and society concerning ‘ethical standards’. He feels that there are at least five responsibilities: to yourself; to those about you; to your calling (professional code); to your institution where you work; to the wider world (pp. 427-428).

Currently, at one level we have voices articulating the capacities of schools to re-organise and re-categorise their curriculum to exploit the inter-connectedness of knowledge. New forms of ICT are often construed as the vehicles for change and much creativity is associated with their use. These are predicated by cultural beliefs, which eschew the neutrality of technology. A pernicious form of abdication of the responsibility by actors in society or educators who cannot recognise the falsity of such a view. Controversial issues, relevant and meaningful to present day students centre around human needs and the quality of life. Ecological topics, health care, nuclear testing all might be studied and be better understood in an inter-disciplinary way rather than not surfacing in the traditional discipline centred or subject centred curriculum. Society must hold onto an understanding of what it means to be human and to have needs. Any possibility of participation, of an educative democracy is strangled at birth by emasculated notions of intellectual maturity and understanding which should not necessarily be based upon traditional two-track liberal and vocational forms of education or narrow notions of academic or operational competence (White R, Pring R, Brockington D, 1995; Barnett R, 1994). We need to see beyond these binary ways of conceptualising the world and try and reach for a richer, more meaningful education, which recognises the social, personal and moral requirements of self and citizenship. At a conference in Nuremberg on the theme: Project for a Global Ethos – Education, Hans Kung put forward the notion of the reconstitution of a global ethic as a central educational task (Hans Kung, 1995). He saw this in the light of fulfilling the goal of tolerance between religions and peoples throughout the world. Indeed, the co-operation of all people of good intention. In particular he saw this as centring and targeted at adolescence and the overcoming of scepticism in certain areas:

violence in the media; peacefulness and the ethos of young people; aggression and peace education; the potential for violence and peace in religions; global ethos as part of children’s learning.

He would see this as particularly consisting of: solving of particular conflicts; the way in which we treat others and see each other, put ourselves in other peoples shoes; the way we act and the way institutions in society reflect or not certain values.

To recognise and pay serious attention to these issues, we need to look at what it means to be moral and the gaining of moral identity, character, reason by people and also the sources of moral meaning that the students find in home, school and society. We need to research how far new converging technologies and the access that people have to them can enhance morality as a lived, felt way of life.

14

This is not something that is purely articulated but is acted upon and felt. Will moral obligations and prudential matters of self-fulfilment find a resolution in this context? It has been suggested by some moral psychologists such as Blasi that psychological constructs of self-consistency and personal responsibility are twin motivational springs of moral action (Blasi, 1984).

References

Burnett R. (1994), The limits of competence. The Society for Research into Higher Education: Buckingham, Open University Press.

Beetlestone, F. (1998). Creative children, imaginative teaching. Buckingham: Open University Press..

Blasi. A. (1984), Moral Identity: Its role in moral functioning, in Kurtines, W. & Gerwitz, J.: Eds, Morality, moral behaviour and moral development: New York, Wiley.

Bloom, B.S. (Ed.) (1956). Taxonomy of educational objectives: Book 1 cognitive domain. New York (17th Printing, 1972): David McKay Company Inc.

Buster, G. (2004). European Union: The Lisbon Strategy. International Viewpoint: IV Online magazine, IV359; May / June 2004.http://www.internationalviewpoint.org/article.php3?id_article=64. Accessed on 15th March 2005

Claxton, G. (2005). Wising up: can we accelerate the growth of wisdom? Paper presented at University of Cambridge, organised by British Educational Research Association Special Interest group: Creativity in Education. 22nd April 2005.

Craft, A. (2005). Creativity in schools: tensions and dilemmas. Keynote paper presented at University of Cambridge, organised by British Educational Research Association Special Interest group: Creativity in Education. 22nd April 2005.

Csikzentmihalyi, M. (1997). Living well. London: Phoenix. The Dalai Lama, (2002). Conference Talk: The Role of Culture, Heritage and the Arts in the Development of Free Societies. International Conference: 15 - 19 September, 2002 Vista University, Soweto, Johannesburg, S. Africa.

De Lors, J. et. al. (1996) Learning: The Treasure Within - Report to UNESCO of the International Commission on Education for the Twenty-first Century: European Union.

DfEE (Department for Education and Employment). (1999). All our futures: creativity culture and education, Suffolk: DfEE Publications.

European Union. (2005a). Comenius 2: Training of School Education Staff: http://europa.eu.int/comm/education/programmes/socrates/comenius/activities/comenius2_en.htmlAccessed on 15th August 2005

European Union. (2005b). Comenius Evaluation. http://europa.eu.int/comm/education/programmes/socrates/comenius/evaluation_en.htmlAccessed on 10th March 2005.

Feldman, D. Csikzenmihayli, M. and Gardner, H. (1995). Changing the world: A framework for the study of creativity. USA: Praeger.

15

Fryer, M. (1996). Creative teaching and learning. London: Paul Chapman Publishing.

Gardner, H. (2001). The Ethical Responsibilities of Professionals. Good Work Project report series, Number 2. Solomon, J. Series Editor. Harvard University, USA.

Giddens A. (1990), The consequences of modernity. Cambridge: Polity Press.

Her Majesty’s Treasury, (2004). Science & innovation investment framework 2004-2014 http://www.hmtreasury.gov.uk/spending_review/spend_sr04/associated_documents/spending_sr04_science.cfm. Accessed on 18th June 2005.

Kung H. (1995), A global ethic and education. British Journal of Religious Education, Vol. 18 No. 1. UK: Routledge.

McKellar, P. (1957). Imagination and thinking: a psychological analysis. London: Cohen and West.

Neethling, K. (2002). Conference keynote talk: Creativity & Cultural DiversityInternational Conference: 15 - 19 September, 2002, Vista University, Soweto, Johannesburg, S. Africa.

Piaget, J. (1962). Play, dreams and imitation. New York: Norton.

Royal Society of Arts (RSA) (2000). What should out children learn? Issues around a new curriculum. London: RSA

Seltzer, K. & Bentley, T. (1999). The creative age: knowledge and skills for the new economy. London: DEMOS.

Vygotsky, L.S. (1978). Mind in society. Cambridge: Harvard University Press.

White R, Pring R, Brockington D. (1995), 14-19 Education and training: implementing a unified system of learning. Royal Society of Arts: London.

16