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Playing, Creativity, Possibility

Playing, Creativity, Possibility Outside of Consciousness. c reativity curriculum creates places for free investigation. By Bridget r einhard in o utsider: Alternative Media group, Spiral Workshop 2009. Trust in the inexhaustible character of the murmur. —André Breton, Manifeste du Surréalisme, 1926 Playing, hy is it sometimes so difficult for teachers to create conditions that support the emergence of creative Wbehavior and surprising images? Although virtu- ally all contemporary art teachers list “enhancing creativity” Creativity, as a key desired outcome of their programs, analysis of lesson plans used in schools suggests that in practice very little curric- ulum is specifically geared to developing creative abilities. We must question the assumption that any art project will cultivate Possibility creative behaviors and then develop projects whose methods support core objectives for quality creativity curriculum such as stimulating free ideation, encouraging experimental approaches to making, and supporting students in identifying B y Ol I v IA Gude and manifesting deeply felt idiosyncratic experiences. March 2010 / Ar t Educ Ation 31 Act 1: Anxiety “I don’t know what to do,” Jane responds when told to get down to work. “It’s easy,” finished works that lack visual excitement or psychological depth. It suddenly occurs the teacher says http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Art Education Taylor & Francis

Playing, Creativity, Possibility

Art Education , Volume 63 (2): 7 – Mar 1, 2010
7 pages

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References (5)

Publisher
Taylor & Francis
Copyright
© National Art Education Association 2010
ISSN
2325-5161
eISSN
0004-3125
DOI
10.1080/00043125.2010.11519059
Publisher site
See Article on Publisher Site

Abstract

Outside of Consciousness. c reativity curriculum creates places for free investigation. By Bridget r einhard in o utsider: Alternative Media group, Spiral Workshop 2009. Trust in the inexhaustible character of the murmur. —André Breton, Manifeste du Surréalisme, 1926 Playing, hy is it sometimes so difficult for teachers to create conditions that support the emergence of creative Wbehavior and surprising images? Although virtu- ally all contemporary art teachers list “enhancing creativity” Creativity, as a key desired outcome of their programs, analysis of lesson plans used in schools suggests that in practice very little curric- ulum is specifically geared to developing creative abilities. We must question the assumption that any art project will cultivate Possibility creative behaviors and then develop projects whose methods support core objectives for quality creativity curriculum such as stimulating free ideation, encouraging experimental approaches to making, and supporting students in identifying B y Ol I v IA Gude and manifesting deeply felt idiosyncratic experiences. March 2010 / Ar t Educ Ation 31 Act 1: Anxiety “I don’t know what to do,” Jane responds when told to get down to work. “It’s easy,” finished works that lack visual excitement or psychological depth. It suddenly occurs the teacher says

Journal

Art EducationTaylor & Francis

Published: Mar 1, 2010

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