The belief and implementation of creative teaching in curriculum reform: Perspective of Hong Kong teachers
Author(s):
XianHan Huang (presenting / submitting) Chi-Kin Lee HongLi Wang
Conference:
ECER 2013
Format:
Paper

Session Information

ERG SES C 05, Art and Creativity in Education

Paper Session

Time:
2013-09-09
11:00-12:30
Room:
A-105
Chair:
Dennis Beach

Contribution

In tandem with the changes that are taking place in society, the learning needs of our students are changing as well. The ability to think from different perspectives, solve problems in new ways, and produce innovative original works is of great importance. Creativity, therefore, serves as one of the major educational goals of this worldwide curriculum reform. Based on empirical data, Forrester and Hui (2006) pointed out that teachers may be significant gatekeepers of student creativity which means the students’ creative abilities are most likely to be cultivated in an environment in which their teachers’ creative abilities and strategies are actively engaged. Consequently, the study will focus on teachers’ beliefs about creative teaching. And the results may further help researchers understand the implementation of creative teaching.

 

Teacher beliefs and their behaviors

 

Teacher beliefs are closely connected with their classroom behaviors (Clark & Peterson, 1986 ). To some degree, teacher beliefs are also aligned with their decision making in instruction and the teaching strategies they adopt. Many studies have focused on the interpretation of teacher beliefs about their teaching and learning (Cheung & Wong, 2002). However, only a few have been conducted to explore and interpret teacher beliefs about creative teaching.

 

The conception of creativity

Creativity is a multi-facet concept that is open to different views and interpretations (Brown, 1989; Ripple, 1999). Several studies of creativity have focused on the cognitive and personality attributes of a person, whereas others have focused on creative behaviors, processes, products, and environment. Definitions of creativity, therefore, vary according to the different perspectives and domains of creativity being focused on. Mooney (1975) advanced the 4Ps model to interpret the concept of creativity, which includes four components: person, place, process, and product. His classification is widely accepted by other scholars.

 

With regard to the person dimension, the following five attributes of creative personality seem to co-occur across the western studies (Sternberg & Lubart, 1995):1) Willingness to take risks (Davis, 1995); 2) Tolerance of ambiguity (Dacey, 1989); 3) Perseverance (Csikszentmihalyi, 1988); 4) Openness to new experiences; and 5) Conviction and courage to believe in oneself (Ochse, 1990). It is noted that the results of a similar study in Hong Kong are different from the western research (see Rudowicz & Yue, 2000).

 

Over the last twenty years, a great number of studies have explored aspects of pedagogical approaches which foster pupil creativity. However, the relationship between teachers’ perception of creativity and their behavior has not attracted many researchers’ attention yet (Jeffrey & Craft, 2004).

 

Based on the previous review, this research mainly focuses on Hong Kong teachers’ belief about creative teaching and their corresponding classroom behaviors. This research will also focus on the environmental impact factors, such as subject, teacher professional development, and school culture, distinguished by teachers.

Method

An embedded case study approach will be adopted. In this approach, both schools and teachers are considered units of analysis (Scholz & Tietje, 2002). In Hong Kong, four primary schools of different districts will be selected based on their diverse performance in cultivating students’ creativity. In each school, different subject teachers, including Chinese language, English language, and general studies teachers, with different genders and teaching experiences will be selected and investigated. Semi-structured interviews with teachers and document collection will be employed to collect information on teachers’ belief about creative teaching. The main interview questions are as follows: * What does the concept of creative teaching actually mean? * What are the main features of creative teaching in Hong Kong? * Have you tried to implement creative teaching in the classroom? (If yes, how?) * Are there any factors that stimulate you to conduct creative teaching? To the best of the applicant’s knowledge, teacher beliefs about creative teaching have not been deeply investigated yet. Thus, the grounded theory approaches will be adopted to analyze the empirical data. Each round of interviews will be based on the problems and key research issues arising from the previous round of interviews.

Expected Outcomes

As for teachers’ belief about creative teaching, some interesting phenomena are revealed by a quantitative research conducted by Forrester and Hui (2006) in Hong Kong. First, there is no significant difference when comparing teachers of different genders, teaching experiences and qualifications. Second, creative classroom behaviors thrive more in Chinese language class than in any other class. These results are not consistent with the research finding in the West, and they need further consideration and exploration. As the consequence of that, the findings of this research are firstly expected to contribute to the deep understanding of teachers’ belief and their implementation of creative teaching. Secondly, this research will also discuss the influence of environment factors (including subject, teacher professional development, and school culture) on creative teaching, thus shedding light on the further improvement of creative teaching in Hong Kong as well as western countries or districts.

References

Brown, A.T. (1989). Creativity. What are we to measure? In J. A. Glover, R.R. Ronning, & C. R. Reynolds (Eds.), Handbook of creativity (pp. 3-32). New York: Pleum. Cheung, D., & Wong H. W. (2002). Measuring teacher beliefs about alternative curriculum designs. The Curriculum Journal, 13(2), 225-248. Clark, C. M., & Peterson, P. L. (1986). Teachers’ thought process. In M. Wittrock (Ed.), Handbook of research on teaching (3rd ed.) (pp. 255-296). New York: Macmillan. Csikszentmihalyi, M. (1988). Society, culture, and person: A systems view of Creativity. In R. J. Sternberg (Ed.), The nature of creativity: Contemporary psychological perspectives (pp.325-339). New York: Cambridge University Press. Dacey, J. S. (1989). Fundamentals of creative thinking. Newbury Park: Sage. Davis, G. A. (1995). Portrait of the creative person. The Education Forum, 59, 423-429. Forrester, V., & Hui, A. (2007). Creativity in the Hong Kong classroom: What is the contextual practice? Thinking Skills and Creativity, 2, 30-38. Jeffrey, B., & Craft, A. (2004). Teaching creatively and teaching for creativity: Distinctions and relationships. Educational Studies, 30 (1), 77-87. Mooney, R. L. (1975). A conceptual model for integrating four approaches to the identification of creative talent. In C. W. Taylor, F. Barron (Eds.), Scientific creativity: Its recognition and development (pp.331-340). New York: Robert K. Vrieges Publisher Company. Ochse, R. (1990). Before the gates of excellence: The determinants of creative genius. New York: Cambridge University Press. Ripple, R. E. (1999). Enhancing creativity: Encyclopedia of Creativity. Academic Press. Rudowicz, E., & Yue, X. D. (2000). Concepts of creativity: similarities a differences among Mainland, Hong Kong, and Taiwanese. The Journal of Creative Behavior, 34(3), 175-192. Scholz, R. W., & Tietje, O. (2002). Embedded case study methods: Integrating quantitative and qualitative knowledge. Thousand Oaks. CA: Sage.

Author Information

XianHan Huang (presenting / submitting)
The Chinese University of Hong Kong
Department of Curriculum and Instruction
Hong Kong
The Hong Kong Institute of Education, Hong Kong S.A.R. (China)
Beijing Academy of Social Sciences, Bei Jing (China)

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