Musings on Creativity in Teaching (Part 1: Knowing Your Knowledge)

If you read most blog posts or books about creativity and becoming creative, they will tell you to read more stuff – step outside your comfort zone and try something new (for example, see Don the Idea Guy on Idea Lightning Rods and the brilliant book A Whole New Mind by Dan Pink).

There is nothing wrong with this advice, just that it is a step in a process that needs to start way before this. Reading lots will only make you more creative in the classroom if you know what to do with new ideas that have amazed you.

Finding inspiration from non-educational sources is a crucial step to being creative. New ideas are essential because they create a spark, a spark that ignites a link to a lesson or scheme you need to create. We have been urging people to read Wired UK for months now because it thrives on new ideas and people talking about ideas. We have harvested several from here and turned them into lessons (see our wallwisher on creativity for more ideas).

It is precisely at this point that you can come unstuck if you aren’t prepared. Knowing which ideas might work and where needs good professional judgement and a great deal of subject knowledge. Increasing what you know about the topic you teach has to be the starting point for any teacher wanting to be more creative in the classroom. From extended subject knowledge comes the advantage of selecting from a sources and strands, rather than just having one option – especially if this is a textbook that the students also have access to. If you can draw on web research or other texts, then lessons should become more interesting for the students. We recenrtly observed a fantastic GCSE lesson where a teacher started by saying, “You know we talked about ‘motivation’ last week? Well, look what I found on the BBC News website yesterday…” The students were intrigued enough to want to know more and we watched as a group of 15 year old boys sat and read an article about the news and then talked about it, offering opinions which theories in matched up to and why the techniques mentioned might work.

The teacher had done little more than type in a keyword to a search box, but the key thing was that they wanted to know more about the topic. Securing your own subject knowledge and being able to draw on a range of sources is the first step to creativity.

Here a couple of famous examples. The hip-hop star Jay-Z truns up to the recording studio without a single sheet of paper and then spits out an entire album of songs just from head. It might seem that the man is just incredibly gifted, and he is, but the recording is the last part of a long process for him. He speaks the songs in his head thousands of times before he commits to tape and refines them over and over, calling new influences and words along the way. When the producer hits the record button, Jay-Z has knowledge – both of how to construct a song and what each new track will be filled with. If Jay-Z had just read Mark Kermode’s Film Blog during his ride to the studio then the results would have been disastrous for his music (although he would have gained some insight into the workings of film censorship).

Eddie Izzard used to do something similar. He never created a script for his shows and gigs. He would make a board that contained ideas and topics, things that were in his head and talk around them. This was not simply improvisation, it was a aide to remember the main gags that were already in his head. What followed was a highly original and organic show that mesmerised the audience, but the craft and understanding of comedy and material was behind it all the time.

There is hard research to back this up too. K. Ecclestone has identified three levels of autonomy for learning. She suggests that before a someone can play around with ideas and interact with others, using them as sparks of inspiration, they must first possess ‘procedural autonomy’ – the nuts and bolts of the the subject; the language and the necessary techniques that create an understanding of how the subject works. Once this is achieved, creativity can be achieved because space has been created for autonomy of thought (Ecclestone, 2002).

This applies to creativity as well. In order to be creative, you need to understand your subject so that you know where the creative bits can fit without destroying the core of the learning within the lesson or scheme you are creating.

Reading new and weird things is great, but reading about your subject and finding a range of sources and stories is essential.

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Ideas for Encouraging Collaboration and Creativity Part II: how to brainstorm properly

If you are looking to start an innovations group either in your school or across county and you want to focus on a particular issue then you probably need to thrash out some ideas before you decide. A good old-fashioned brain-storming session will be great starting point for your collaboration. We also mentioned a few ideas about brainstorming and collaborating online in this post: How to collaborate virtually. Here follows a set of ideas which we use to work and plan together on projects, books or workshops and we feel they work very well.

Alien Worlds

The key to a successful brainstorming session is what you and other people bring to the table. So, let’s see what you have! Take out a piece of paper, a comfortable pen and list or map out your thoughts about this question for 3-5 minutes (be as specific as possible – you may need to break down ‘my experience’ to smaller chunks for example) :

What will I bring that will benefit the brainstorming session/planning meeting?

Now think about this question:

What will other people bring?

The aim is of course to have a varied group of people with different experiences but that is not possible all the time so what do you do then?  If you want to ensure that there is a constant flow of creativity within the group try to:

  • Read different literature e.g. books that indirectly have little to do with your area of expertise (see the end of the post for suggestions that will encourage creativity and innovation).
  • Subscribe to an inspirational magazine e.g. WIRED UK
  • Investigate new music and art e.g. try iTunes Essentials, Live365 or Spotify for new music, visit Banksy’s website to get inspired with street art, learn something new at LifeHacks or discover how almost anything works at How Stuff Works.
  • Give each member of the group a new persona, or role to play based on Tom Kelley’s Ten Faces of Innovation to really push yourselves to become more innovative (read this post about using Ten Faces of innovation with students).

Building up a portfolio of ideas takes time and a lot of hard work so it is important get into a sort of routine of collecting and recording as you go along. List books you want to buy, rip out magazine articles, save online using tools like EverNote or Awesome Note, note down quotes and words of wisdow or interesting websites. These might be invaluable one day.

The Idea Board

The idea board is a place where you add not only your ‘light bulb’ moments but also what may seem like minor ideas at the time. One such way could be to keep stickies nearby, adding notes to a Moleskin sketch-book, use your mobile phone to save thoughts or keep a washable mini-whiteboard in your office. Most of our ideas have come from some of these fleeting thoughts, and this plays a crucial part in the creative process.

Dumping Ground?

There are different ways of brainstorming, some structure their chaos by adding, ‘dumping’, all their ideas and suggestions on a long list – the more words the better. ‘Dumpers’ then organise their additions on a mind-map and can therefore categorise and group ideas more easily (this method is explained in more detail in the book Thinking Skills and Eye-Q).

Another way is to assign a scribe and everyone throws suggestions at them to write down on a flip-chart or similar. The key thing here is that there is no order except from the fact that the scribe ensures that all voices are heard – quantity is important here, not quality (well at least not yet!). Don’t be put off if all your ideas seem impossible or even stupid, because they are not. Think of each suggestion as a stepping stone to the team’s final idea and without these initial thoughts none of you would have got anywhere, so keep thrashing out ideas but leave the devil’s advocate outside (at least for a while).

Distance and Fuel

If you prepared well by stimulating your mind and recorded your thoughts of inspiration on the Idea Board as well as filled your dumping ground, or not, with lots of interesting (and let’s face it, not so interesting ideas), now is the time to take a well deserved break. Distancing yourself from all the suggestions, ideas, solutions and problems as well as refueling on coffee, water, biscuits and food is crucial if you are to come up with a truly innovative idea. This may only involve going for a brief walk, ordering a decent espresso or ‘sleeping on it’, you know what works best for you. But don’t skip this bit, you might regret it.

North or South?

This is the time to decide which way to go or what idea to run with and it might take some time. We have found that running with one seemingly obvious idea sometimes leads to the actual idea, perhaps one that was mentioned at the start of the process. Yet, this is not wasting time as without this creative activity we wouldn’t have thought of the end product and it’s always different to what we thought – but very exciting!

Creative Books

Here follows a list of books we have read and used often when we meet up to work. Some are just for inspiration whilst others have become great guides for us both.

The Ten Faces of Innovation: Strategies for Heightening Creativity

Dan Pink: Drive The Surprising Truth About What Motivates Us

Harris, Caviglioli, Thompson: Thinking Skills and Eye Q: Visual Tools for Raising Intelligence

Banksy: Wall or Piece

Steve Jobs: The Presentation Secrets of Steve Jobs: How to Be Insanely Great in Front of Any Audience

Alain de Botton: The Pleasures and Sorrows of Work

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Ideas for Encouraging Collaboration and Creativity Part I: how to collaborate virtually

How to collaborate virtually

If you are working in different geographical areas and struggle to meet regularly then you need to find easy yet effective solutions to ensure that your collaboration does not suffer. Also, these ideas work well if you simply wish to kick-start the collaboration before meeting. Here follows a series if ideas that could help maintain a continuous creative working relationship:

Wallwisher: the creative wall

tips on being creative
Wallwisher.com: great for sharing ideas – click to view example

Wallwisher.com is an online notice board where you create the content by adding interactive stickies to the board. This online tool is superb to use get the creative flare sparked up amongst colleagues. Sign up and start your own wall, then your co-workers can upload images, share ideas and links. Wallwisher is ideal to use a couple of days before the big planning meeting as it gets everyone thinking, then you start the meeting by going through the team’s examples.

The Creative Blog:

Blogs are commonplace nowadays and the list of blogging software is growing steadily and it’s fairly straightforward to set one up having little or no coding experience. The idea behind the creative blog is to keep a running discussion on a key issue, and change the issue regularly. For example, one school comes up with the topic for discussion and the teachers share ideas by adding comments. One particularly good way of keeping the creative flow going is to have regular times when staff or departments add their thoughts e.g. at Department Meetings. At the end of the set time frame, e.g. every half term, the post is printed to PDF or Issuu /ZinePal for easy sharing and to put the creative thoughts onto paper.

Simple Video-Conferencing:

Meeting detailsYou might have tried to do video-conferencing but you found it slow with poor audio and video quality? Although some methods are still annoyingly poor, some tools are in fact very good e.g. MikoGo.com . This service is not only free but also very straight forward and all you have to do is to register and download the MikoGo widget which you use to meet online.

Each time you want to start a session simply launch MikoGo and copy the session ID and then email/phone whoever you are meeting with and they enter the session ID – done! If you are doing vid-conf individually then inbuilt or basic webcams are fine. However, if you want to capture more than one person you’d benefit from a Point Tilt and Zoom video camera. They can be pricey but there are cheaper alternatives. The PTZs are great as they enable you to involve people around the room by ‘Pointing’ the camera and then zooming in on the person.

Collaborative Mapping:

This process is simple and only requires the people involved to sign up to a mind-mapping website that allows for sharing and collaborating on the same mind-map. There are many such tools available like for example:

CoMapping.com $25/year (approx £15): This is a superb tool as it gives users the possibility of collaborating on the same map at the same time.

Bubbl.us Free: Another solid application where people can work together on the same maps although not at the same time.

The strength of these types of online tools lay in the opportunity to sketch out rough ideas whilst at the same time build on each others’ thoughts. Many of such mind-mapping websites also give users to possibility of uploading images, adding links and even documents of various kinds. These more powerful features tend to involve a nominal charge, like with CoMapping (or MindMeister.com), but it is worth the money spent as you can lead, develop and collaborate on very large projects quickly and easily without much delay or complications. We have worked with both teachers and students on different projects and everyone agrees that it made collaborating more engaging and efficient – students benefited greatly during group work particularly when it involved a longer independent learning project spanning across a half-term as they could continue to work from home or simply just uploading documents, images and audio files to use when they returned to school.

If you haven’t tried any if these ideas yet then why not use one or two of the examples with a current collaboration, you will not regret it.

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Making Learning Relevant: using street art in lessons

I came across a Tweet by DLFresources which showed four new pieces produced by the interesting street artist Banksy. Using graffiti in the classroom does not go without controversy but it does give us the opportunity to examine why artists and ordinary people, ever since the Roman times, have turned to producing messages of various kinds on walls and buildings in their own surroundings. Banksy is a prime example of how graffiti artists mirror their view of a particular aspect of society in their work. There’s a brilliant opportunity for students to learn from studying street art. Take a look at the examples below:

Banksy piece 1
Banksy piece 2

We could begin by asking why a specific piece has been created in a particular way and what the artist is trying to convey. Perhaps an even better idea is to allow students to create their own pieces which reflect e.g. the most significant time period in history (piece 1), a critical eye on environmental politics (piece 2), or the dark side of tourism. This requires them to really think about the core of the message they are trying to put across. Alternatively get students to think of headings to existing artwork, for example what could they name these Banksy images:

Caption/Title?
Caption/Title?

Using street art in the classroom is an excellent opportunity to involve students in something many of them are already familiar with whilst at the same time introduce them to new ideas and concepts that could otherwise be difficult – in true ‘sticky’ style : ) . As a side issue, it’s also worth exploring the history behind graffiti and why we, ‘humankind’, has always expressed ourselves through drawings on everything from cave walls, in catacombs, on ceilings, city walls and buildings.

You can explore more of Banksy’s work in his book: Wall or Peace

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Master of Puppets

I had the pleasure of meeting the educational officer of a local puppet theater the other day and it got me thinking about the power of active and ‘hands-on’ learning as well as the opportunity for pupils to consider both the finer details and the bigger picture no matter the subject or topic. There are a number of different ways to using puppets in your teaching and a great possibility to involve pupils of all ages in creative projects in and out of school.

Produce your own puppet:

Puppets can either be supplied or, even better, the class create their own either one per pupil or one puppet per group ( three-four pupils in each group). There are online guides to creating puppets and local charities can also provide expertise for a nominal fee. By producing their own versions they are immediately exposed to a series of challenges:

– they need to consider the finer details like what their character will wear and the reasons for this e.g. think about space/time and purpose; facial features e.g. what’s happened in their lives to make them look calm, grouchy and so forth.
– consider the context and the bigger picture and how their character will ‘slot into’ the story as well as the evolution of the character.
– by creating their own puppets they will also internalize their own stories about the characters, what they like, how they would react to different situations and so on. This means that pupils take the process more seriously than if they were asked to produce a piece of extended writing – it’s their little person!

Moving Stories:

Another possibility for using puppets in the classroom would be for schools to document the Puppet Play either by frame-by-frame animation, recorded video footage or, using tools like MikoGo.com to stream the play live to invited participants e.g. another class in another school.

I particularly like the latter option as it requires pupils to plan their stories carefully and rehearse well before streaming the play to the other schools and pupils tend to take their projects and roles more seriously if it involves an external party – they want to impress them! This could also involve the audience in a different way if they were given the opportunity to stop the play in motion and ask questions about the story, actions and particular characters. The puppeteers and the director then must think on their feet and adapt the play accordingly or simply answer the questions posed by their audience.

Adopt a Puppet:

I think this has immense scope particularly if a class decides to produce their own puppets. Essentially classes swap puppets and build new and exciting ways of using them. One way which pupils really enjoy is to use the characters as ‘talking heads’ to introduce new topics, as revision aids and to summarise key issues of a topic.

Looking forward to exploring this further.

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