This study explored how a teacher-training course helped secondary art student teachers in Taiwan to develop their perceptions and practice of creativity and creative pedagogy [CPed]. A series of CPed workshop sessions, based on the Western theoretical framework of possibility thinking [PT] and its pedagogy [PTCPed], were designed to introduce to the twelve secondary art teacher training students in an arts university in Taiwan. Through adopting an action-based case study approach, qualitative data were collected from the participants’ interviews together with the reflective documents of the participants and the researcher, and any possible visual materials. Observations were also video-recorded. The analytical methods focused on both inductive and deductive approaches to explore how student teachers developed their perceptions of creativity and CPed and the possible influences in practice. Adopting the idea of “contextualising” one set of cultural values in another, a new landmark of PTCPed emerged. This study confirmed most features of PT, but found question-posing and question-responding to be intriguingly absent in the participants’ definitions of creativity (PT) and their practice of CPed; and it also, significantly, identified several emerging PT characteristics and attitudes: originality, confidence, no limitations, and problem-solving. These features were fostered by teacher’s creative teaching [CT] and learners’ creative learning [CL] in an enabling and effective context in which teachers offered the learners’ opportunities (including time, space and challenges) to develop ideas and confidence to play with the materials, prioritised learners’ agency (including individual and group activities), and stood back to offer freedom, and at the same time moved step forward to observe the learners’ engagement and check when to offer help. Finally, this study also highlighted the implications for the practice in the Taiwanese initial art teacher education [IATE], in which teacher educators are suggested to appreciate this complexity, and to understand and allow student teachers to interact with different perspectives or approaches when interpreting their pedagogy through reflective practice.

Background: The purpose of the master thesis was to explore connections among artistic cre- ation and some psychological aspects of the personality of artists. Apart from differences in creativity and psychopathology in theoretical part some characteristics of personality through the theories of personality are discussed. A sample of visual art university students and university of economics students (n=49) was tested on method GPOP, which in its core is based on the Jung's theory of psychological types. Conclusions: The results of incident research support the foreign studies results and indicate that artists score higher in "Intuition", "Perceiving" and "Feeling". Other high scores were measured in "Abstraction" and "Imagination" traits. In the last part of the study the obtained results are discussed. Keywords Art, Artists, Personal Traits, Creativity

Vi har genomfört en kvalitativ studie med en hermeneutisk och fenomenologisk utgångspunkt. Vi har använt oss av halvstrukturerade kvalitativa intervjuer då vi samlat in data. Grunden för studiens teoretiska ram utgår ifrån Mays och Marcuses förklaringar av kreativiteten och skapandet som en allmänmänsklig, meningsskapande och transcendent praktik. Vi har intervjuat personal på tre olika, icke behandlande, institutioner för vuxna. Institutionerna vänder sig till våldsutsatta kvinnor, bostadslösa kvinnor och vuxna människor med psykisk ohälsa. Studiens syfte var att undersöka hur personalen på institutionerna i fråga definierar kreativitet och skapande, vilka risker och möjligheter dessa aktiviteter innebär för verksamheternas brukare, och om aktiviteterna möjliggör empowerment för brukarna. Vi har även undersökt vilken socialpolitisk innebörd kreativiteten har för både brukare och personal. Studiens resultat och analys visar att kreativitet och skapande ger brukarna i verksamheterna en rad möjligheter. Kreativiteten och skapandet ger möjlighet till gemenskap, kunskap och bekräftelse, en paus från omvärlden, bearbetning och till viss mån även empowerment. De kreativa och skapande verksamheterna leder framförallt till den socialpolitiska konsekvensen som innebär att institutionerna befrias från hierarkier. Verksamheterna erbjuder brukarna värdiga och jämlika skyddande zoner, där personalen i sin tur kan lägga ifrån sig repressiv makt, regelverk och stela yrkesroller. Däremot leder inte verksamheterna till samhällelig förändring för målgrupperna i fråga utanför institutionerna. / We have written a qualitative study with a phenomenological and a hermeneutical approach. We have collected data using semi-structured interviews. The basis of the study's theoretical framework is based on May's and Marcuse's explanation of art and creativity as a general human, meaningful and transcendent practice. We interviewed staff at three non-therapeutic institutions for women suffering from domestic violence, psychiatric vulnerable people and homeless women. The study aims to investigate how staff defines art and creativity, the risk and opportunities creative activities means for users and about the activities enables empowerment for users. We also examined the social consequences of art and creativity, for both users and staff. The study results and analysis show that art and creativity gives the users a range of possibilities. Art and creativity provides opportunities for fellowship, knowledge and acknowledgment, a break from the outside world, processing and to some extent empowerment. The social policy implications of art and creativity are that they liberate the institutions from hierarchies. The institutions offer users worthy and equal protection zones, were the staff, in turn, can put down repressive power, rules and rigid roles. By contrast, the art and creativity don’t lead to social change for the target groups in question outside the institutions.

This paper seeks to further explore stages an artist moves through that can be applied to teaching art, and helping students understand how to access their creativity. This project involves observation and an auto-ethnographic approach in order to best determine stages artists naturally move through when creating art. In order to most effectively suggest a teachable creative process for secondary art students, this paper will further explore cognitive and disciplinary categories in art education by applying principles and stages to a curricular guide (or lesson plans) for secondary art educators. Topics and studies of design thinking, creative inquiry, studio habits, creative processes, the National Assessment for Educational Progress (NAEP, 2008), and National Core Art Standards will be reviewed and expanded upon in this paper. Using these inputs, a series of 4 recursive, creative stages were observed and applied to teaching art at the secondary (6th-12th grade) levels.

Karlova Univerzita Pedagogická fakulta Katedra výtvarné výchovy ved. práce: PaedDr. Hazuková Helena Vypracovala: Picmausová Daniela, 5 KS Abstrakt v Aj: Thesis should contribute to the development of teaching competence of teachers at elementary school. Specifically, it could be a guide in planning of teaching of art design education in the form of integrated learning units, since it contains methods and activities which are needed to develop a creativity and expression. This thesis uses a potential of other teaching subjects which develop creativity and expressiveness-dramatic education, musical and literary education. Through this thesis the author would like to help both teachers-beginners as well as educators with a longer teaching practice, who would like to modify their up-to-now method of teaching of Art education.