By Anthony Wilson

A valid knowing of the function fundamental creativity performs in studying and educating might help trainee academics develop into inventive practitioners and increase creativity of their students. the second one version of this renowned textual content keeps key fabric from the former booklet, however it has been considerably up-to-date and revised to incorporate six new chapters which discover creativity in either a topic particular context in addition to the wider problems with creativity in SMSC and the root degree. The booklet is associated all through to the factors for the award of QTS and in addition considers vital executive agendas corresponding to each baby issues.

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London: The Stationery Office Limited. Hubbard, RS (1996) A workshop of the possible: nurturing children’s creative development. York, ME: Stenhouse Publishers. Imison, T (2001) Creative leadership: innovative practices in a secondary school, in Craft, A, Jeffrey, B and Leibling, M (eds), Creativity in education. London: Continuum. Jeffrey, B (2001a) Challenging prescription in ideology and practice: the case of Sunny first school, in Collins, J, Insley, K and Soler, J (eds), Developing pedagogy: researching practice.

Journal of Education Policy, 22:5, 549–72. Wenger, E (1998) Communities of practice: learning, meaning and identity. Cambridge: Cambridge University Press. 35 3 Creative teachers and creative teaching Teresa Cremin Chapter objectives By the end of this chapter you should have: . widened your knowledge of theory and practice about creative teachers and creative teaching; . considered your own personal qualities and emerging pedagogic practice in relation to creativity; . reflected upon specific features of creative pedagogic practice and identified ways forward.

The dance is different from the dancer; yet it has no existence apart from him. You cannot take it home in a box if it pleases you. The moment the dancer stops, the dance ceases to be. (De Mello, 1984, p14) Creativity can be thought of as the ‘dance’, which does not exist separately from the people who are performing the dance. Creative processes are an expression of the individuals and groups engaging in them, not activities that are independent of them. They can be modelled, encouraged, and nurtured, rather than transmitted.

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