Creative Education

2010. Vol.1, No.3, 166-169

Copyright © 2010 SciRes. DOI:10.4236/ce.2010.13026

Creativity and Education

Robina Shaheen
School of Education, University of Birmingham, Birmingham, UK.
Email: [email protected]
Received July 9th, 2010; revised September 1st, 2010; accepted September 21st, 2010.

This paper starts with a brief background of the link between creativity and education, including the beginning
of the most recent interest in the two. There is a short summary of the reasons for this renewed interest. This is
followed by a discussion into the dissatisfactions over current education and its changing role in the light of in-
creasing importance being accorded to creativity. Lastly, evidence in educational policy documents from around
the world is presented to show the steps being taken for implementation of creativity in education.

Keywords: Creativity, Primary Education, Policy, Curriculum, Developing Countries

The Link between Creativity and Education Changing role of Education

Although the interest in creativity goes back to Plato’s age Formal education “represents both a right and need” (Carnoy,
(Cropley, 2004) and is found in the Greek, Judaic, Christian 2004) but it has time and time again been criticized for turning
and Muslim traditions, (Craft, 2001) renewed policy interest out “conformists” and “stereotypes” rather than “freely creative
came about with the launch of satellite, “Sputnik 1”, by the and original thinkers” (Rogers, 1970). The role of education
Soviet Union in 1957. The purported failure of the engineers institutions has been questioned (Craft, 1999) and blamed for
from Europe, USA and other Western countries was attributed “spoon feeding” (Parnes, 1970) and “killing” creativity (Kaila,
to their lack of creativity which led to the National Defense 2005). The increased pressures to gear education towards the
Education Act (USA) to accept the concept as important for “3 R’s” and meeting the requirements of national curriculum,
“prosperity…survival of society” (Esquivel, 1995). Since this inspections and monitoring has led to the feeling, for some, that
there have been several “waves of creativity in education” creativity in teaching and learning has ceased to exist and this
(Wilson, 2005). The latest interest, however, began in the late will prevent governments from achieving a “creative society”
90’s (Jeffrey, 2005) and has since been growing (Turner-Bisset, (Grainger, 2004). One of the reasons why education systems
2007) throughout the world, including countries such as the have been regarded as barriers to developing and “releasing
USA and UK (Shallcross, 1981; Feldman et al, 2006). Policy- creative potential in the economy” is that the teaching focuses
makers have shown more sustained enthusiasm than previously on “knowledge acquisition” (Davies, 2002). Knowledge, as an
(Craft, 2006), which has added to its popularity as a topic of outcome of education is said to be no longer sufficient (Scoff-
debate (Dickhut, 2003) moving it from the “fringes of educa- ham, 2003; Guilford, 1975). This is because it is difficult to
tion…to being seen as a core aspect of educating” (Craft, know what knowledge will be needed in the future (Parnes,
2005). 1970).
Fostering creativity in education is intended to address many If nations are to respond to “economic needs” (Craft, 2005)
concerns. As a summary, this includes dealing with ambiguous they need to produce an “educated workforce.” Inevitably, this
problems, coping with the fast changing world and facing an requires a rise in the level of educational achievement (Jeffrey,
uncertain future (Parkhurst, 1999). Perhaps the most dominant 2006). But what are being considered as criteria of educational
current argument for policy is the economic one. The role of achievement are said to be changing (Wilson, 2005) and being
creativity in the economy is being seen as crucial (Burnard, “reconceptualized…[to] encompass creativity” (Craft, 2001). In
2006) to assist nations for attaining higher employment, eco- the light of this, education systems are being required to un-
nomic achievement (Davies, 2002) and to cope with increased dergo “a major overhaul in resources, attitude and understand-
competition. It is for this reason that creativity cannot be “ig- ing” so that creativity can be valued (Turner-Bisset, 2007). As
nored or suppressed through schooling” (Poole, 1980) or its a response to such calls there has been a shift in educational
development be left to “chance and mythology” (NESTA, policy around the world and efforts are being made to combine
2002). It is predominantly for this reason that there is a call for creativity and knowledge (Dickhut, 2003). Creativity is being
its inclusion in education as a “fundamental life skill” (Craft, made the focus of “curriculum and pedagogy” (Wilson, 2005)
1999) which needs to be developed to prepare future genera- and an “official agenda” for improving schools (Burnard,
tions (Parkhurst, 1999) so that they can “survive as well as 2006).
thrive in the twenty-first century” (Parkhurst, 2006). Develop- Schools are being seen as places for the encouragement of
ing children’s creativity during their years in education is the creativity because they can do this in a “more efficient” manner
start of building “human capital” upon which, according to and can develop it “not merely in elites but in masses of stu-
Adam Smith and successive commentators, depends the dents” (Walberg, 1988). In fact it is being said that creativity
“wealth of nations” (Walberg, 1988). needs to be “fostered by the education system(s) from the early
 R. SHAHEEN 167

years onward” (Craft, 1999) and that elementary and secondary (MOE, 2009). According to Singapore’s primary curriculum
education may be more important than university education for creativity is amongst the eight core skills and values (INCA,
“national prosperity and welfare” (Walberg, 1988). Primary 2009).
education is being seen as: In China creativity has become an important component of
...a critical stage in children’s development – it shapes them education since 2001 and its development has become a “prior-
for life. As well as giving them the essential tools for learning, ity” (Vong, 2008). In Hong Kong the education policy proposal
primary education is about children experiencing the joy of includes creativity as “higher order thinking skills”. There are
discovery, solving problems, being creative in writing, art, educational reforms being carried in preschool, primary and
music, developing their self-confidence as learners and matur- secondary education in which development of creativity is be-
ing socially and emotionally (DCSF, 2003). ing given a “top priority” (Fryer, 2003). In Turkish education
the concept of creativity is being discussed more and more,
The Inclusion of Creativity Within Education however attempts to enhance it through education are limited
(Oral, 2008). In Ireland a strategy paper was developed called
The inclusion of creativity into educational policy documents “Unlocking Creativity” for developing creativity and education
is evidence of the fact that the focus on creativity is not merely (Robinson, 2001). In the Cultural Policy Statement by the Scot-
a matter of paying “lip service” to the concept (Csikszentmi- tish Executive the Minister for Tourism, Culture and Sport
halyi, 1996; Hussain, 2004) but rather action is being taken. spelt out his “vision” regarding creativity, in that:
O’Donnell and Micklethwaite (O’Donnell, 1999) reviewed the Our devolved government should have the courage and the
curriculum documents of 16 (developed) countries, (American, faith to back human imagination, our innate creativity, as the
European and East Asian), identifying the place of arts and most potent force for individual change and social vision. I
creativity in education. They found that creativity was included believe we should make the development of our creative drive
at various educational levels, at least from early years through the next major enterprise for our society...I believe this has the
primary education for most countries and beyond, up to higher potential to be a new civic exercise on a par with health, hous-
education, for some. ing and education – the commitment to providing and valuing
In Canada “creative thinking” is outlined as one of the creative expression for all.
common essential learning(s) (p.8). In Kentucky, USA, one of The Policy Statement goes on to say that:
the learning goals is to enable students to “use creative thinking The creativity of Scots – from the classroom to the board-
skills to develop or invent novel, constructive ideas or prod- room – is the edge we need in a competitive world. Our duty as
ucts” (p.57). In Korea the National Curriculum defines an edu- an Executive is to create the conditions that allow that creativ-
cated person as “healthy, independent, creative and moral” ity to flourish – whether in arts, sciences, commerce or industry.
(p.33). In Sweden the Government’s National Development Creativity is as valuable in retail, education, health, government
Plan for Pre-School, School and Adult Education (1997) stated and business as in culture. The cultural sector should become
that education should provide “the conditions for developing the national dynamo of the creative impulse that can serve all
creative skills” (p.52). In France schools in lower secondary are these areas (Scottish Executive, 2004).
expected to develop in children the “taste for creation.” (p.14). Scotland is one of four home countries in the UK. In the
In Germany, the emphasis of primary education is placed on 1990’s a number of policy documents and statements emerged
developing “children’s creative abilities” (p.20). In Netherlands for UK home countries which included creativity (Craft, 2001).
one of the principles on which primary education is based is In 1997 the White Paper, Excellence in Schools, referred to
“creative development” (O’Donnell & Micklethwaite 1999, preparing people for the 21st century by recognizing their “dif-
p.38). In Florida (USA) one of the goals of restructuring the ferent talents”. This was built upon by another report by the
schools was to provide students opportunities “to learn and National Advisory Committee on Creative and Cultural Educa-
apply strategies for creative…thinking” (Treffinger, 1996). The tion (NACCCE, 1999) which spoke of equipping young child-
second educational goal for young people in Australia is to: ren with skills required by employees (Craft, 2005). The
…become successful learners, confident and creative indi- NACCCE report acknowledged the UK government’s views
viduals, and active and informed citizens (ACARA, 2009). that creativity “was relevant to schools” (Jeffrey, 2005). This
In Japan the school curriculum has included development of increased interest in the topic, bringing it back “on the agenda
creativity since the Second World War. The Japanese National in a big way” (Brundrett, 2007). These mentioned documents
Council on Educational Reform (NCER) has outlined the de- provided the “foundation” for the recent policy discussions
velopment of creativity as the most important objective of edu- (Craft, 2005) in which the British Government responded to
cation for 21st century (O’Donnell, 1999). In Singapore the aim “debates about creative...education to meet the economic,
of new initiatives, launched by the Ministry if Education, was technological and social challenges of the 21st century” (Love-
to foster, “enquiring minds, the ability to think critically and less, 2002).
creatively” (O’Donnell, 19990). These initiatives included the Another document which called for creativity in primary
“Thinking Schools, Learning Nation” (TSLN) program (Tan, education was the National Primary Strategy for primary
2006) designed to develop thinking skills and creativity in stu- schools, Excellence and Enjoyment, (Hayes, 2004). The Office
dents. This was in response to leading industrialists and entre- for Standards in Education (Ofsted) published this report in
preneurs indicating that staff in Singapore was more “con- 2003 and in this they identified creativity as “a significant fac-
forming” than ‘independent” and “not curious enough” (Tan, tor in educational experience” (Jeffrey, 2005). This document,
2006). The Singapore Ministry of Education website states that it is said, added a “conviction” that it is time for “a new, more
they expect of their young to “be creative and imaginative” creative approach to curriculum planning and a greater empha-
168 R. SHAHEEN

sis on creativity for learning” (NCSL, 2004). There were also evidenced by the fact that some have stated that creativity has
literature reviews on creativity supported by the Qualification come to be seen as “key to economic competitiveness in ad-
and Curriculum Authority (QCA) and reports on the national vanced economies” (highlighted by researcher) (NESTA, 2002)
Curriculum as well as a “criteria” for ensuring creativity was implying that this is not so the case in less advanced economies.
included in every subject (Jeffrey, 2005; Turner-Bisset, 2007). In referring to Tony Blair, (the former British Prime Minister),
A website was established under the name of “Creativity: Find who it is reported “couples creativity in education to the future
it! Promote it!” to enable teachers to find and promote creativi- needs of the national economy” Gibson says that in this “the
ty in the classroom (Burnard, 2006). assumption…is that the production of a new, adaptive work
Creativity has become a focus in the curriculum as evident in force...is the sole way forward if Western economies, (hig-
its inclusion in the Foundation Stage Curriculum and National hlighted by researcher), are to remain buoyant in future global
Curriculum for schools in England (Talboys, 2004; Craft, contexts” (Gibson, 2005). Does this then mean that developing
2003). On the website for the National Curriculum, Key Stage or non-western countries do not want to economically compete,
1 and 2, there is a section on creativity which includes informa- do not need a new type of labor force, do not face any of the
tion on: problems indicated, all of which, as it has already been argued,
• What is creativity? require creativity. In this Oral is of the view that:
• Why is creativity important? For many developing countries, creativity remains neglected,
• How you can spot creativity? whereas in developed countries, educational philosophy and
• How can teachers promote creativity? goals rely on student’s enhancement of creativity and self-ac-
• How can heads and managers promote creativity? tualization…For developing countries, integration of creative
(QCDA, 2009) thinking skills in…education is a crucial need for shaping their
In the National Curriculum itself Aim One is that the school future orientations and actualizing reforms in political, eco-
should: nomic and cultural areas (Oral, 2006).
Sinlarat, speaking of Asian countries, is of the view that the
Enable pupils to think creatively and critically, to solve
Asians are “consumers” of Western products. This has resulted
problems and to make a difference for the better. It should give
in loss of “self-identity” “self-independence” and “prosperity”.
them the opportunity to become creative, innovative, and en-
He goes onto say that in order to overcome the dependency
terprising (QCDA, 2009).
there is a need for Asians to become “creative and productive
The National Curriculum outlines six “key skills” and persons” and in this “education that yields creativity and prod-
amongst these is “thinking skills”. Included in this is “creative uctivity is essential for Asia”. It is suggested that rather than
thinking” which it is said “enable pupils to generate and extend taking what UNESCO states should be taught:
ideas, to suggest hypotheses, to apply imagination, and to look Learning how to learn
for alternative innovative outcomes” (QCDA, 1999). This is Learning how to do
regarded as one of the skills which are “universal” and “em- Learning how to work together
bedded in the subjects of the National Curriculum and are es- Learning how to be
sential to effective learning.” As an example of inclusion of The following characteristics must be produced in people:
creativity in the subjects it is stated in the science curriculum Learning how to learn critically
that: Learning how to do creatively
Science stimulates and excites pupils’ curiosity about phe- Learning how to work constructively
nomenon and events around in the world around them. It satis- Learning how to be wise
fies this curiosity with knowledge. Because science links direct It is said that:
practical experience with ideas, it can engage learners at many Educational process primarily needs to set a target on new
levels. Scientific method is about developing and evaluating thinking and creativity for it to make education have the real
explanations, through experimental evidence and modeling. effect on the society...Asia must adapt itself to be free, must
This is a spur to critical and creative thought (QCDA, 1999). have the advanced and creative way of life and must be able to
There has also been investment in staff development and give a push in the direction of globalization. These will happen
creating teaching resources. The UK government has moved when Asian education and society develop into truly creative
beyond policy level work to initiate projects to provide and and productive society and when Asia resists adopting ideas
enhance “creative experiences” (Loveless, 2002) to learners by and copying knowledge from other countries as is the present
establishing projects under the “Creative Partnerships” schemes case (Sinlarat, 2002).
(Hayes, 2004). In this the schools are provided with opportuni- To say for certain what Asian countries are doing regarding
ties to work with organizations such as dance studios and film creativity and education and what they may need to do there is
makers through partnerships (Jeffrey, 2005). These efforts and need for further research. Only by taking this approach will it
“massive investments” have brought creativity to the forefront be possible to say for sure that creativity is actually a “world-
(Feldman, 2006). wide phenomenon” (Boyd, 2009) and the need for it in educa-
tion is being recognized globally to solve the current problems
facing societies.
Conclusion This paper has outlined the various arguments given in lite-
rature for the need to couple creativity and education. Also
It appears from what has been documented in the literature included has been the evidence from policy documents from
that the recent upsurge in creativity and education has taken various countries to indicate that practical steps are being taken
place in European, American, Australian and East Asian coun- to make creativity part of the educational agenda.
tries, as reflected in their policy documents. This is further
 R. SHAHEEN 169

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