The following paper presents a first theoretical baseline for current creativity oriented approaches in sports pedagogy. In the first time in recent research founding history there are at least some signs of retreat from the total dominance of settled research methodologies (BMBF 2015, https://braindancefreiburg.wordpress.com etc.), what could possibly be used among EU application within sport science as well. Not to mention: refugees bring their body cultures with them and we habe to deel with that in PE.

As the title already suggests the Creativity Approach does not aim against sports as there are lots of sports activities even in traditional concepts with high stakes of creativity, e.g. dance, gymnastics, figure skating among others. The increase of the number of trendy sports and the rising appreciation from youth’s perspective around the globe result in opened curricula: Constantly shifting informal sport scenes launch new movement activities to the pop cultural market and to schools as well. There is creativity in the creation of activities but more important is the creativity in the qualities of the movement activities themselves that should be examined closer.

Firstly, we needn’t talk about genial creation ex nihilo. In arts pedagogy, creativity is intimately connected to a state of divergent attention in opposition to a ‘one point’ concentration.  E. G., in Javelin throwing you have to be highly focused, excluding emotions and lots of things in the arena out of conscious perception; in Vogueing successfulness is contrarily bound to fierce and spontaneous reactions to your competitor, music, comments of the judge etc. So what is the center of creativity within modern sports that counts for its important role in the future of PE?

In Germany all disciplines with creativity features like arts education, music, sports etc. are not put under the duty of defining stages of competences despite the overall accepted competence orientation in order to maintain a sufficient amount of freedom – and because the researchers simply failed in doing so. The fulfillment of creativity is indeed dependent on rather rigid criteria like high quality of realization, originality, and saddling on a solid base of knowledge and experience (Aspin, 1983). So, creativity can be taught only topic specific (eg. in creating pedagogic situations for PETE).

Creativity can be explained as the bit of inspiration that changes imitation to mimesis (Gebauer/Wulf 1996), i.e. it adds something new, makes a difference. Its main feature therefore is the incalculable appearance that seems to make it totally unattractive within an educational framework bound to new governorate controlling. Funny enough, the interest comes up again in a period of constant testing. Somewhat paradoxical this ambivalence may follow a perfidious logic: “if deviation becomes a regular demand, non-conformism comes out as peak of conformation” (Bröckling 2004, p.144; transl. M.H.).

Within the range of creativity lie structural aspects like art, innovative production, problem solving, radical social invention, emergence, game character (see Joas 1992) that cover a range too broad for a consistent concept. Nevertheless, at the conceptual heart of creativity lies the idea of enabling, and no other idea on pedagogy is as ambitious and compatible with a serious way of competence orientation.

The presentation will concentrate on some further conceptual remarks in its first part, and go on to examples of creativity oriented approaches within PETE (Parkour, Mermaiding, Vogueing, game invention etc.) that have to be articulated in a reflexive manner to reach its goals. The discussion will be oriented to a completion of a transnational European perspective on creative approaches and approaches of creativity within in future PE and PETE.

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