Doctorat en sciences psychologiques / info:eu-repo/semantics/nonPublished

This study was conducted in order to assess the effects of creative stimulation in early childhood. The quantitative quasi-experimental study was set out to test a target group of 8 children in grade R, ranging in age from five to six years, to determine the importance of stimulation and intervention of creativity from a young age. A pre-test, evaluated the initial level of each child’s creative skills in fluency, flexibility and originality. This was followed by selecting one class as the experimental group and another class, from the same demographical location, as the control group. The experimental group underwent a six-week intervention programme which focused on the primary concepts in each area of fluency, flexibility and originality. Both groups continued with their normal school learning programmes. The results indicate that the impact of stimulation on young children was significant and that there was a great difference in the abilities and understanding of concepts in those children whohad been stimulated. / Teacher Education / M. Ed. (Psychology of Education)

This study explored Visual Art creation by Grade 11 learners in the art classroom and the relationship with attaining creativity acumen. Creativity acumen in this instance is looked upon as the ability to visually conceptualize imaginative ideas and then translate that into an individual rendition of a concept presented. The learners first perceive an idea and then conceive a concept. Visual perception is a function of how the eyes and brain see whole images, but these images are broken down into their visual elements, such as lines and shading during Visual Art creation. The visual elements are then created in forming an art-work, which in turn lends itself to understanding complex concepts and themes. Creativity acumen involves two processes: having ideas (creativity-relevant processes) and then producing a visual exposé of such ideas. A literature review was conducted which provided useful insight into the components of the creative process and the contextual factors influencing creativity acumen within the school environment. An empirical study was conducted with six art learners in Grade 11, selected through purposive sampling. Creativity questionnaires were completed pre- and post-art creation as a self-assessment tool of how effectively individual implementation of the creative process occurred during idea development and artistic expression in attaining creativity acumen during Visual Art production, if at all. The art creations were observed from task presentation through to completion deadline. Photographic records of the art creations were captured as they were produced and completed. Interviews were conducted at the end of the art creative process. The data was descriptively tabulated into photo-sheets and tabulated for qualitative interpretation and description of findings and results. From the empirical study it can be concluded that there is a dialectic relationship between the creativity-relevant processes and art-relevant skills, as set out theoretically by Amabile (1996) when creating Visual Art. The relationship is intertwined and compounded by overlapping factors in acumen to be creative and creating an art-work. Both require openness to new ideas and perspectives and both need perseverance and effort to learn new skills and craftsmanship. The conclusion of this study is that creativity acumen and art creation have variation of outcome and expansion of ideas in common. Creativity acumen is a means of extending one’s outlook and ability to question, look for new information, develop ideas independently while art creation is a means of visual expression in learning to elaborate on a concept through externalised representation which guides further possibilities and understanding of new concepts and perspectives. There is a dialectic relationship between art creation and creativity acumen or ability as one possibly informs and develops the other. / Psychology of Education / M. Ed. (Guidance and Counselling)

Social learning has given us insight into how children learn actions from others across different domains (e.g., actions on objects, pretend play, and tool use). However, little research exists to confirm whether young children can generate their own novel actions. Three different settings were chosen to offer a varied investigation of children’s ability to generate novel actions: generating multiple actions with novel objects; generating iconic gestures in order to communicate; and generating pretend actions using object substitution. Generating multiple actions with novel objects: The Unusual Box test was developed to investigate children’s ability to generate multiple actions with novel objects (Chapter 2). The Unusual Box test involves children playing with a wooden box that contains many different features (e.g., rings, stairs, strings), and five novel objects. The number of different actions performed on the box and with the objects (i.e., fluency) was used as a measure of their individual learning. Positive correlations between the fluency scores of 24 3- and 4-year-olds on the Unusual Box test and two existing measures of divergent thinking were found. Divergent thinking relates to the ability to think of multiple answers based on one premise. Furthermore, a large range of fluency scores indicated individual differences in children’s ability to generate multiple actions with novel objects. In addition, 16 2-year-olds were assessed on the Unusual Box test, twice two weeks apart, to investigate test-retest reliability and the possibility that the Unusual Box test could be used with children younger than 3 years. A strong positive correlation between the scores on the two assessments showed high test-retest reliability, while individual differences in fluency scores and the absence of a floor effect indicated that the Unusual Box test was usable in children from 2 years of age. Generating iconic gestures in order to communicate: Children’s ability to generate iconic gestures in order to communicate was assessed using a game to request stickers from an experimenter (N = 20, Chapter 3). In order to get a sticker children had to communicate to the experimenter which out of two objects they wanted (only one object had a sticker attached to it). Children’s use of speech or pointing was ineffective; therefore only generating an iconic gesture was sufficient to retrieve the sticker. Children generated a correct iconic gesture on 71% of the trials. These findings indicate that children generate their own iconic gestures in order to communicate; and that they understand the representational nature of iconic gestures, and use this in their own generation of iconic gestures. Generating pretend actions using object substitution: In order to determine whether children are able to generate their own object substitution actions and understand the representational nature of these actions, 45 3- and 4-year-olds were familiarized with the goal of a task through modelling actions. Children distinguished between the intentions of an experimenter to pretend, or try and perform a correct action. Children mainly imitated the pretend actions, while correcting the trying actions. Next, children were presented with objects for which they had to generate their own object substitution actions without being shown a model. When children had previously been shown pretend actions, children generated their own object substitution actions. This indicates that children generate their own object substitution actions, and that they understand the representational nature of these actions. An additional study with 34 3-year-olds, revealed no significant correlations between divergent thinking, inhibitory control, or children’s object substitution in a free play setting, and children’s ability to generate object substitution actions in the experimental setting.

This study was conducted in order to assess the effects of creative stimulation in early childhood. The quantitative quasi-experimental study was set out to test a target group of 8 children in grade R, ranging in age from five to six years, to determine the importance of stimulation and intervention of creativity from a young age. A pre-test, evaluated the initial level of each child’s creative skills in fluency, flexibility and originality. This was followed by selecting one class as the experimental group and another class, from the same demographical location, as the control group. The experimental group underwent a six-week intervention programme which focused on the primary concepts in each area of fluency, flexibility and originality. Both groups continued with their normal school learning programmes. The results indicate that the impact of stimulation on young children was significant and that there was a great difference in the abilities and understanding of concepts in those children whohad been stimulated. / Teacher Education / M. Ed. (Psychology of Education)

This study explored Visual Art creation by Grade 11 learners in the art classroom and the relationship with attaining creativity acumen. Creativity acumen in this instance is looked upon as the ability to visually conceptualize imaginative ideas and then translate that into an individual rendition of a concept presented. The learners first perceive an idea and then conceive a concept. Visual perception is a function of how the eyes and brain see whole images, but these images are broken down into their visual elements, such as lines and shading during Visual Art creation. The visual elements are then created in forming an art-work, which in turn lends itself to understanding complex concepts and themes. Creativity acumen involves two processes: having ideas (creativity-relevant processes) and then producing a visual exposé of such ideas. A literature review was conducted which provided useful insight into the components of the creative process and the contextual factors influencing creativity acumen within the school environment. An empirical study was conducted with six art learners in Grade 11, selected through purposive sampling. Creativity questionnaires were completed pre- and post-art creation as a self-assessment tool of how effectively individual implementation of the creative process occurred during idea development and artistic expression in attaining creativity acumen during Visual Art production, if at all. The art creations were observed from task presentation through to completion deadline. Photographic records of the art creations were captured as they were produced and completed. Interviews were conducted at the end of the art creative process. The data was descriptively tabulated into photo-sheets and tabulated for qualitative interpretation and description of findings and results. From the empirical study it can be concluded that there is a dialectic relationship between the creativity-relevant processes and art-relevant skills, as set out theoretically by Amabile (1996) when creating Visual Art. The relationship is intertwined and compounded by overlapping factors in acumen to be creative and creating an art-work. Both require openness to new ideas and perspectives and both need perseverance and effort to learn new skills and craftsmanship. The conclusion of this study is that creativity acumen and art creation have variation of outcome and expansion of ideas in common. Creativity acumen is a means of extending one’s outlook and ability to question, look for new information, develop ideas independently while art creation is a means of visual expression in learning to elaborate on a concept through externalised representation which guides further possibilities and understanding of new concepts and perspectives. There is a dialectic relationship between art creation and creativity acumen or ability as one possibly informs and develops the other. / Psychology of Education / M. Ed. (Guidance and Counselling)

This study on technology in the South African school curriculum investigates the nature and value of this subject as a catalyst in developing Foundation Phase learners’ creative thinking skills Technology as school subject is defined as the use of knowledge, skills and available resources to develop solutions to meet human needs and wants, taking social and environmental factors into account. Central to this subject, is the design process of investigating, designing, making, evaluating and communicating solutions to problems identified in the environment. The notion and nature of creativity as researched by respected psychologists and researchers over the last few decades, with particular reference to Matlin’s theory of problem-solving and creativity, provides a theoretical underpinning with the aim of linking the problem-solving nature of technology with creative thinking. A qualitative case study research project, comprising a sample of six Foundation Phase learners at an independent school, has been conducted. Key characteristics of qualitative educational research such as sensitivity, precision, verification, empiricism, natural setting, inductive data analysis, validity and reliability and triangulation, have been taken into consideration. This study highlights the potential of technology as a school subject that provides learners with the opportunity to solve problems in creative ways and use authentic contexts rooted in real life situations. In addition, learners are afforded the opportunity to work collaboratively with others and engage in meaningful activities in the indoor and outdoor environment. Technology as a school subject in the Foundation Phase catalyzes learners’ creative thinking and problem-solving skills and provides a solid foundation for preparing young citizens for the demands and challenges of the 21st century. / Curriculum and Instructional Studies / D. Ed. (Didactics)

University of Macau / Faculty of Social Sciences and Humanities / Department of Government and Public Administration

This study on technology in the South African school curriculum investigates the nature and value of this subject as a catalyst in developing Foundation Phase learners’ creative thinking skills Technology as school subject is defined as the use of knowledge, skills and available resources to develop solutions to meet human needs and wants, taking social and environmental factors into account. Central to this subject, is the design process of investigating, designing, making, evaluating and communicating solutions to problems identified in the environment. The notion and nature of creativity as researched by respected psychologists and researchers over the last few decades, with particular reference to Matlin’s theory of problem-solving and creativity, provides a theoretical underpinning with the aim of linking the problem-solving nature of technology with creative thinking. A qualitative case study research project, comprising a sample of six Foundation Phase learners at an independent school, has been conducted. Key characteristics of qualitative educational research such as sensitivity, precision, verification, empiricism, natural setting, inductive data analysis, validity and reliability and triangulation, have been taken into consideration. This study highlights the potential of technology as a school subject that provides learners with the opportunity to solve problems in creative ways and use authentic contexts rooted in real life situations. In addition, learners are afforded the opportunity to work collaboratively with others and engage in meaningful activities in the indoor and outdoor environment. Technology as a school subject in the Foundation Phase catalyzes learners’ creative thinking and problem-solving skills and provides a solid foundation for preparing young citizens for the demands and challenges of the 21st century. / Curriculum and Instructional Studies / D. Ed. (Didactics)