There were five purposes in this study as follows: 1.to develop the Taiwan Creative Education Indicators.(TCEI). 2.to develop the Taiwan Creative Education Indicators Index.(TCEII). 3.to develop the Taiwan Creative Education Implementation Questionnaire. (TCEIQ). 4.to evaluate the practice of creative education in elementary and secondary schools in Taiwan. 5.to bring up some suggestions for elementary and secondary schools in Taiwan. According to Taiwan¡¦s ¡§White paper on Creative Education¡¨(2002), creative educational medium range development program, and documents which concerned about implementing of creative education, this study developed the Taiwan creative education indicators through expert interview, in-field interview, and communicating with the propellants of creative education policy .In order to evaluate the practice of creative education, this study used the survey research method.(surveyed 356 schools and 615 members that actually implemented the Taiwan creative education policy.) This study also constructed AIPO Model to evaluate the practice of creative education, ¡§A¡¨ means the awareness of the teachers and members who actually implemented the creative education policy that established by Bureau of Education. ¡§I¡¨ means the educational input, ¡§P¡¨ means the educational process, ¡¨O¡¨ means the educational output. The educational input (I) includes governmental bounty, human resources, environmental resources. The educational process (P) includes the establishment of the creative communities, the use of creative ideas in academic subjects, the evaluation of creative projects, the evaluation of the use of governmental bounty. The educational output (O) includes creative activities, creative competitions and awards , the development of creative subject matters, students¡¦ creative performances. On the other hand, based on the whole awareness of the creative education, and five action programs as follows: ¡§Professional development for creative teachers¡¨, ¡§Nurturing trips for creative learners¡¨, ¡§Comprehensive management for creative schools¡¨ , ¡§Online learning via a creative intelligence bank¡¨, ¡§Ongoing consolidation of creativity cultivation¡¨ , this study brought up 95 creative education reference indicators. It also developed two evaluation tools- ¡§Taiwan Creative Education Indicators Index.(TCEII)¡¨, and ¡§Taiwan Creative Education Implementation Questionnaire.(TCEIQ)¡¨. The study found the practicing of creative education has great efforts in educational input, educational process and educational output. The average awareness scores of the propellants is 3.76 (1 means helpless, 5 means very helpful). In conclusion, boosting creative education is helpful, and we also know that awareness of teachers, practicing of creative education could enhance creativity of children, problem solving and basic academic ability. For teachers, it can enhance the ability of creativity and transferring courses and professional education knowledge. For school, it can improve participation of community, administrators, teachers and student. In the end, researcher brought up some suggestions for the implementation of creative education, the research targets, the research tools, and the research methods in the further study.

abstract: In this multi-media dissertation, water is used metaphorically to equate the process of learning with embracing change. Paradigm shifts needed for sustainability require transformative learning where one is open to being shaped by new knowledge and experience. Properties of water – such as molecular bonding and phase changes – uncover lessons for humans’ adaptability. Given that human bodies are comprised mostly of water – what implications exist for human capacity to similarly undergo continuous change? An arts- based research methodology is practiced to produce a four-chapter project. Artistic methods of data collection and communication retain subjective complexity of lived experiences central to learning processes. Each chapter is prepared for a target audience and addresses widening scales of creative learning for sustainability. Chapter one is a narrative ethnography that focuses on a personal creative process for sustainability learning. Chapter two is a co- authored journal that covers creative learning tools and design principles for sustainable classrooms. Chapter three is an open-access and adaptive, online toolkit that shares creative methods to cultivate curiosity and critical contemplation. Chapter four is an interactive showcase event that explores how water can inform and inspire individual and collective learning for sustainability. This four-chapter project addresses the power of creative learning for sustainability at the personal, familial, formal classroom, informal online learning community, and public scales. Arts-based methods harness aesthetic power, welcome subjective complexity, and allow multiple meanings to be interpreted from research results. This multi- media project stretches the conventional structure of sustainability dissertations. The bridge between the arts and sciences is strengthened as this project shows synergies between these two ways of knowing. This research invites what can be learned from the wisdom of water – to both change and be changed by circumstances. / Dissertation/Thesis / Doctoral Dissertation Sustainability 2020

The diploma thesis "Creativity of teachers in an educational process in primary school" focuses on creativity of teachers, which is a prerequisite of every teacher in current education. The thesis is divided into two parts; theoretical and practical. The theoretical part focuses on general knowledge, which appertains to the questions of creativity in the work of the pedagogues. In this part, the important factors are also described, which help to lead to the creative approach in the teaching. One of these factors is using activating methods. These represent the main approaches of the pedagogues to teach creatively. The theoretical part is also focused on the position of the teachers in the process of school inclusion and on the appropriate teaching methods and strategies for inclusive education. The practical part focuses on activating methods in teaching. The investigative survey was carried out via questionnaire, and its main objective was to explore the extent of using activating methods by teachers at basic schools. It also looks at whether these methods are considered to be an appropriate instrument to the creative and effective mediation of the curriculum for all pupils, including pupils with special education needs. KEYWORDS Creativity, pedagogue, teacher, creative education, teaching...

To be creative or innovative is a highly praised trait within the labor market of today. Though it has often been seen as a talent only granted to a chosen few, most evidence imply that it is something that we all possess and can develop. Creativity within education also appears to have positive impacts on school-results, attendance and confidence among students. Yet creativity has a low status within the current education system, making the opportunities to develop our creative ability insufficient.  Architectural projects and development strategies focused around creativity have occurred frequently on the agenda since the release of Richard Floridas book “The Rise of the Creative Class” in 2002. An increase of creative activity has been linked to growth but lately also to gentrification, as if this was an inevitable result. The focus has been on economic growth and increased tourism, instead of what creativity can bring to the individual and the community.  This thesis aims to answer two main questions: First, how can creative places benefit the schools and communities in socio-economically challenged areas? Second, how can these creative places best be designed to achieve these benefits? Creative places refer in this thesis to public spaces that encourages creativity, which can be places for creative production but also places for experiencing creative works of others. The aim is also to implement the learnings into a design proposal, where the area Vivalla in Örebro is chosen as the site for implementation. In order to answer the first question, the paper examines the existing conditions of vulnerable areas in Sweden and some of the available research on creativity in relation to education. To gain knowledge about design aspects four existing projects that aims to be places for creativity are analyzed. The local conditions of Vivalla are mainly researched through qualitative methods of observation, interviews and a workshop with students from the local school. Finally, the ideas and findings are implemented into a design-proposal, which is a vision for a new creative platform. Rather than a finished project, the proposal should be seen as a vision showing the potentials of the site that can be used as a basis for discussion with the local actors, This paper provides some useful arguments to why creative places in socio-economically challenged areas are worth investing in and highlights the importance of an inclusive development process. Finally, it also provides a diverse view of one of Sweden’s most segregated areas.

Fostering students’ creativity in school subjects has recently become a central focus of educational researchers, educators, and educational policymakers around the world. In Kuwait, educational researchers and teacher educators have supported the need to foster students’ creativity via a national curriculum. Yet, the Ministry of Education has conducted few studies to explore practitioners’ perspectives on how to foster creativity through the current curriculum. The overall aims of this study were to explore science teachers’ pedagogical beliefs and practices in fostering creativity in science classrooms as well as to investigate the influences of sociocultural factors on teachers’ beliefs and practices in fostering creativity. The study also examined the consistency and inconsistency levels between teachers’ beliefs and practices. The study has a qualitative nature that stands on an interpretive worldview. The methodology uses eight case studies, each of which consisted of a male science teacher and one of his classes. Multiple methods were used, including semi-structured interviews (pre- and post-observational interviews), student focus groups, unstructured observations, participants’ drawings, and field notes. The analysis was based on thematic analysis model proposed by Braun and Clarke (2006). Thematic findings and case studies findings were drawn from the analysis of the data collected. In general, the thematic findings indicated that science teachers are able to define the meaning of creativity and its main aspects. Professed pedagogical beliefs enforce four teaching approaches to foster creativity in the science classroom: the teaching of thinking skills, inquiry-based learning, cooperative learning, and practical investigation (experimentation). The teachers believe that these approaches could promote students’ creativity in science classroom when specific sociocultural factors facilitate the effectiveness of such approaches in terms of fostering creativity. Three interdependent categories represent these facilitating factors: (1) educational setting-related factors, (2) teacher-related factors, and (3) student-related factors. Differences and similarities appeared when these professed beliefs were compared to the applied classroom practices. The thematic analysis revealed several themes underlying the main categories. Extensive teacher-centred practices and modest student-centred practices were evident; more specifically, the observations revealed primarily teacher-centred approach inside the science classes. Meanwhile, student-centred approaches were modestly applied in comparison to teacher-centred activities. The teachers justified their practices in accordance with the sociocultural factors that mediate their beliefs and practices as well as the role of their goal orientation. The science teachers perceived the mediating factors as constraints that prevent them from applying their beliefs about fostering creativity in classroom practices. Multiple constraining factors emerged, and they were categorised into personal, external, and interpersonal constraints. Concerning the case study findings, consistencies and inconsistencies were identified using a cut-off point as an analytic technique to classify teachers’ beliefs and practices into traditional (non-creativity fostering), mixed, or progressive (creativity fostering). The case study findings identified four consistency and inconsistency levels characterizing teachers’ beliefs and practices: traditional (consistent level), mainly traditional (inconsistent level), mixed (consistent level), and mainly progressive (inconsistent level). Each level was represented by an exemplary case study. The exemplary case studies revealed that sociocultural contexts influence teacher’s belief-practice relationship with respect to fostering students’ creativity in science classroom. Further, the thematic and case study findings were discussed in relation to the existing body of knowledge, followed by an illustration of significant conclusions, including some implications, contributions, limitations, and future suggestions.

Tato diplomová práce se zabývá rozvojem hudební tvořivosti žáků pěveckého kroužku prvního stupně ZŠ. Věnuje se nejprve problematice obecné tvořivosti a jejímu významu a důležitosti pro život člověka. Dále podrobněji specifikuje téma tvořivého myšlení, od něhož odvozuje termín hudebně tvořivého myšlení. Neopomíjí nepostradatelnou roli učitele hudební výchovy, navrhuje systematický metodický postup a nabízí rovněž několik konkrétních typů cvičení vhodných k rozvoji hudební tvořivosti žáků. V rámci výzkumné části pak zkoumá a porovnává úroveň rozvoje tvořivých schopností žáků pěveckého kroužku prvního stupně ZŠ v Čerčanech (ve školním roce 2017/2018 a 2018/2019) v souvislosti s osvojovanými písněmi (jejich obsahy a hudebně výrazovými prostředky). Cílem práce bylo především potvrzení skutečnosti, že výuka s využitím hudebně tvořivých prvků má zásadní vliv na rozvoj hudebních schopností žáků - včetně schopností tvořivých.