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Creativity in Schools Tensions and Dilemmas 1st Edition
Anna Craft Digital Instant Download
Author(s): Anna Craft
ISBN(s): 9780415324144, 0415324149
Edition: 1
File Details: PDF, 1.03 MB
Year: 2005
Language: english
Creativity in Schools

Creativity is experiencing a global revolution. Since the 1990s, in many

countries, it has assumed increasing importance in the school curriculum,
contrasting strongly with previous approaches to creativity in education.
But whilst the tide of opportunities rises, there are questions to ask. What is
‘creative learning’? How does it relate to ‘creative teaching’? How do we
organise the curriculum to nurture creativity? What pedagogical strategies
support it? How is creative learning different to effective learning? And,
more fundamentally, what dilemmas and tensions are raised for the
curriculum by these models of creativity? What responsibilities do teachers
and schools have for stimulating creativity with reference to the social and
ethical framework, and the wider environment?
This book looks hard at these and other questions. Part One uses a
number of lenses associated with the school to discuss creativity and
learning, the development of a creativity language, curriculum and
pedagogy. Part Two takes a broader view, which encompasses principles.
It explores creativity with reference to cultural specificity, environmental
degradation and the destructive potential of creativity. Finally, in Part
Three, the implications of tensions and dilemmas in terms of pedagogy and
principle are explored.
For teachers and schools who work with pupils who are pre-school age,
through to those in post-compulsory education, this book synthesises
practice, policy and research in order to critique some current assumptions,
to lay out an agenda for further development, and suggests practical ways of
taking forward pupils’ creative development, celebrating their unique
generativity in a more thoughtful way.
Anna Craft is Senior Lecturer in Education at The Open University,
Director of The Open Creativity Centre.
‘Anna Craft combines a thorough mastery of the literature on creativity
with a far-reaching reconceptualization of standard aspects of teaching as
seen through the lens of creativity. She does not spurn controversy. Whether
or not one agrees with particular points, everyone will learn from this book.’
Professor Howard Gardner, Hobbs Professor of Education and Cognition,
Harvard Graduate School of Education, USA.
‘Creativity is being widely recognized as ‘‘good thing’’ in education. But
good practice needs clear thinking and here, as always, Anna Craft provides
plenty of it for teachers and policy makers alike.’
Sir Ken Robinson, The Getty Foundation, Los Angeles, USA.
‘Finally, a book for teachers that recognises that creativity is complicated.
Anna Craft dares to question some of the soft platitudes in which the wheels
of liberal education have become stuck.’
Professor Guy Claxton, University of Bristol Graduate School of Education,
England.
‘In ‘Creativity in Schools’ Anna Craft has produced a coherent, deep, wise,
scholarly and yet fully practical book that will, without doubt, be of
immense value to the field of creativity studies as well as to those in
education who hope to make schools and classrooms more creative places.’
David Feldman, Professor of Developmental Psychology, Tufts University,
USA.
‘The reflective reader will find much food for thought in this refreshing,
provocative and stimulating book.’
Ng Aik Kwang, Nanyang Technological University, Singapore.

‘Anna Craft herself has taken a creative risk – exposing and questioning the
contradictions found throughout the creativity debate. It is a risk which
succeeds. Whatever your perspective on creativity and Learning, this book
will inform, challenge and inspire.’
Joe Hallgarten, Learning Director, Creative Partnerships, The Arts Council,
England.
Creativity in Schools
Tensions and Dilemmas

Anna Craft
First published 2005 by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN.

Simultaneously published in the USA and Canada

by Routledge
270 Madison Ave, New York, NY 10016

Routledge is an imprint of the Taylor & Francis Group

This edition published in the Taylor & Francis e-Library, 2005.

“To purchase your own copy of this or any of Taylor & Francis or Routledge’s
collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.”

ß 2005 Anna Craft

All rights reserved. No part of this book may be reprinted or

reproduced or utilised in any form or by any electronic, mechanical,
or other means, now known or hereafter invented, including
photocopying and recording, or in any information storage or retrieval
system, without permission in writing from the publishers.

British Library Cataloguing in Publication Data

A catalogue record for this book is available from the British Library

Library of Congress Cataloging in Publication Data

A catalog record for this book has been requested

ISBN 0-203-35796-5 Master e-book ISBN

ISBN 0-203-38741-4 (Adobe eReader Format)

ISBN 0-415-32414-9 (hbk)
ISBN 0-415-32415-7 (pbk)
 For
Hugo and Ella
in hope that creativity and wisdom will guide you,
your peers
and those that come after you;
and
for Simon
with love, thanks and appreciation
for co-creating the story.
Contents

Preface ix
Acknowledgements xi
Foreword by Tim Smit, The Eden Project xiii
Introduction xix

PART I
Context: policy and practice 1
Introduction to Part I 3

1 Setting the context: policy, practice and constraints 5

2 A language for creativity 17
3 Creativity, knowledge and the curriculum 27
4 Pedagogy 41
5 Learning and creativity 51
6 Tensions between practice and policy 71

PART II
A broader view 83
Introduction to Part II 85

7 The social context to creativity 87

8 Creativity and the environment 103

PART III
Constructing creativity 111
Introduction to Part III 113

9 Dilemmas of principle in the classroom 115

10 Pedagogical challenges 123
11 What is left? Creative co-construction 133
viii Contents
Postscript Onward research and development 151
Glossary 163
References 165
Author Index 183
Subject Index 187
Preface

Creativity is an important element of the zeitgeist in the early twenty-first

century, world wide. It is described as a significant part of the education
process by politicians and other policy makers, educators and researchers.
This perhaps ineffably human characteristic is one that has long fascinated
many commentators, and it has had my attention for the past 10 years.
It has, almost universally, a positive press. Many have explored how it can
best be promoted in education.
Is it, though, as simple as that? What does the positive perspective mask?
What kinds of tensions and dilemmas face us as educators as we promote
the creativity of pupils?
This book aims to unpick some significant tensions and dilemmas that
accompany the adoption of creativity as a prominent part of learning in
schools. It takes a hard look at how possible it is to foster learner creativity
and asks some fundamentally challenging questions, including how appro-
priate it may be to do so. Although the book ultimately has an optimistic
outlook, proposing that to foster creativity is an important element of an
education that encourages critical scrutiny, different perspectives and new
ways of thinking, it treads some difficult terrain on the way, attempting
to make visible some of the bars on our worldview ‘cage’, as Tim Smit
describes it in his Foreword.
The evolution of this book has benefited enormously from conversations
with fellow academics, as well as teachers, pupils and policy makers, mainly
in England where my work at The Open University and as a freelance
consultant brings with it regular and fascinating opportunities to explore
creativity in education. The book has also benefited from conversations with
researchers and teachers in the United States, where I have been fortunate to
be a (mainly remote) visiting scholar at Harvard University for a two-year
period. It has also benefited from the inspiration and support of my partner
Simon and our two children, Hugo and Ella, aged six and four respectively.
During several spells abroad with the children in the last 2 years, I have been
particularly struck by the ways in which these two particular children
have made sense of and engaged with the generative thinking that we might
describe as facilitating creativity in many domains of knowledge in the
x Preface
worlds around them. Their experience of entering a new culture for a few
days or weeks at a time has been a reminder of the ways in which we perhaps
take for granted the cultural mores and values that provide a context to any
learning, in or beyond the classroom. For, as Tim Smit indicates in his
Foreword, everything that we do is situated and relational to values and
beliefs. Fostering deep engagement with the values contexts to creativity
forms a significant challenge for any parent or teacher.
This book raises some fundamental questions about mistaken assump-
tions we might make about stimulating creativity in education, and it
uncovers numerous tensions and dilemmas. It is my hope that the book will
both offer and stimulate some possible ways in which we might respond to
these, and that it may set out a range of ongoing questions for scholars,
educators and policy makers to continue to develop and to research.

Anna Craft
The Open University, January 2005
Acknowledgements

This book has benefited from many conversations with colleagues in

schools, universities and policy bodies, in England and also in the United
States. In particular, I would like to thank Bob Jeffrey and my many
colleagues at The Open University, and also Howard Gardner and
colleagues at Harvard University’s Project Zero. The inspiration to write
the book at all came in part from the direction into human creativity that
Howard’s work in particular took in the late 1990s. Thanks are due also to
Penelope Best, Pam Burnard, Dawn Burns, Kerry Chappell, Pat Cochrane,
Bernadette Duffy, Joe Hallgarten, Genie Gabel-Dunk and the Pupil
Researchers at Monson Primary School, Teresa Grainger, Lois Hetland,
Margaret Leese, Jean Keane, Lindsey Haynes and the Reception Class at
Cunningham Hill Infants, Mara Krechevsky, Debbie Lee-Keenan, Ben
Mardell, David Martin, Steve Seidel, Margaret Talboys, Katy Adje, Becky
Swain, Bel Reid, and also Graham Jeffery and his colleagues at Newham
Sixth-Form College in East London, Professor Christopher Bannerman and
his colleagues at ResCen, Middlesex University, and Professor Peter Woods,
formerly of The Open University. The inspirational work of Tim Smit and
his collaborators at the Eden Project has given me hope that our imagi-
nations can, collectively, be put to sound ecological and spiritual use in a
world moving fast in other directions. I regard it as a real honour that Tim
agreed to write the Foreword to the book. In addition, many other creative
practitioners from within and beyond education have inspired and engaged
me in thinking about the issues in this book; I hope they will forgive my not
naming every one.
Thanks are also due to the National Endowment for Science, Technology
and the Arts, Creative Partnerships Black Country, Creative Partnerships
Hub, The Open University, the Qualifications and Curriculum Authority,
the Economic and Social Research Council, the Calouste Gulbenkian
Foundation, the Fulbright Commission and Arts Council England, for
awarding funding grants which, whilst focused on specific areas of study,
also afforded opportunities to explore many of the issues explored in
the book.
xii Acknowledgements
I owe a special debt of gratitude to my family: my two patient children,
Hugo and Ella, and my partner Simon, who encouraged my efforts despite
the many family times forfeited in the final months and weeks of this book’s
gestation. Six-year-old Hugo’s advice: ‘think hard and be careful, but try
your best’ was invaluable; four-year-old Ella’s drawings and notes to help
me with my writing were a real tonic, as were the special times when the
children joined me in my study with their own writing projects, complete
with pencils, paper, toy laptop and their overflowing imaginations. My
partner Simon’s depth of thinking and commitment to a simplifying
lifestyle, his own creative writing and some of his library, informed thinking
in the later parts of the book.
Meanwhile, Angela Killick-Harris, Carole Munro and Keeley Elliott
helped keep the household sane and functioning. Gill Bathurst provided
inspirational respites through much-loved piano lessons next door, and
Tora Wilkinson reminded me that walking through beautiful landcapes,
dancing and making space for our children’s ‘best-friend’ times are also
important in a crowded life. David and Janette Stanley offered a place of
refuge for us all when we needed it, and Naomi Craft and Saul Hyman, with
their children Natasha and Isaac, helped put it all in perspective. My thanks
are due finally to Maurice and Alma Craft, who in their different ways
offered invaluable advice on the manuscript. It was through discussions with
Maurice Craft in particular that I first became aware of the possibility of
analysing the limitations, tensions and dilemmas inherent in promoting
creativity in education. His gentle but regular prompting persuaded me to
finish the manuscript.
Certainly, without all of these people’s generosity of time and thought this
book would not have been written. I hope each may be able to find aspects
of themselves in it.

Anna Craft
The Open University, January 2005
Foreword

Don’t come strutting in here Johnny Confident

Name a moment that has changed your perception of life. Romantically,
one can name lots of them; but epiphanies, ‘road to Damascus’ moments,
are very rare. When I was in the music industry I spent a short while making
records with supermodels – their celebrity being thought (wrongly) a good
guide to pop music success. I learned two things. First, supermodels are
normally lonely, because most men are too frightened to ask them out.
Second, when you gaze upon such physical perfection you soon get bored:
there is such symmetry in the face that there is nothing to grab your interest.
Picture-postcard topography of something ideal is bland.
Flaws create mystery, mystery creates fascination and fascination, in turn,
leads to a desire to understand. Therein lies an important secret that all
great musicians, artists and writers instinctively explore or exploit.
Name another moment. A friend asked me to give him 1 hour. He marked
out 1 square metre of a field at the Lost Gardens of Heligan. Sit and look at
this patch of grass for 1 hour, he said. I did. Life would never be the same
again. As your eyes adjust to the micro-weave of the grass, you first notice
the stems are all individual, scarred in different places and dead fibres
randomly askew. A spider, ants, more spiders, different ants, beetles, insects
of all shapes and sizes that I’d never knowingly encountered before. The
noise of the birds – why didn’t I hear them like that before? But . . . behind
the birdsong, like a rumour of something distant, the murmur of the grass.
What was once a field that I walked across on the way to something else was
now a complete world of which I had been totally unaware. I could see
literally hundreds of living things: some working in concert, like the ants;
some doing their own thing. They were inextricably linked. This is ecology,
I thought. Then, as I watched, I wondered whether I just wanted it to be
linked, for each creature to relate to the next. Was this Celtic romance,
‘a butterfly sneezes and it has an impact on the other side of the world’ sort
of thing?
xiv Foreword
At The Eden Project1 we regularly have a beer in the local pub after work.
What is Eden? I ask some of the new kids working with us for the summer
holidays. Close your eyes, I say, and we play a strange version of Kim’s
Game (pelmanism). That beer in front of you. Where do the bubbles form?
What colour is it? What jewellery is the person next to you wearing? What is
on the table? Aghast, most realise they don’t know, or they think they
know but are wrong. All, that is, except the quiet girl who shyly nods in
conversation, never volunteering anything save in answer to a direct question.
She saw everything. She told me the colour of everyone’s eyes and clothes,
and even the perfume they were wearing. ‘Life’s so fast today,’ they say. ‘Oh,
is it?’ I reply. Maybe that’s because they’re skating over it, seeing nothing,
understanding nothing. A series of undigested images and appetites. Maybe
that’s why most works of art choose as their focus the pain of isolation or,
indeed, love. It is the pain that puts the brakes on this skating and makes
you look at your emotional square metre of grass.
Emotional intelligence has its own creativity, its complex coping mech-
anisms and its surge for growth. It has been observed that, in many cases of
autism, one finds abilities of extreme photographic memory and informa-
tion assimilation married to emotional dysfunction. Does the search for the
creative impulse lie here somewhere in the link between emotional deve-
lopment and the power of observation? Every good teacher is a catalyst to
creativity, a liberator. Every bad teacher creates cages. Humans are superb
escapologists when they can see and understand from what they are trying
to escape. The impossible jail to escape from is the one where you cannot see
the bars. That is why it is a great pleasure to have been asked to write the
Foreword to Anna Craft’s hugely important book. It is about creativity, but
also about the chains that bind us all, and it does something hugely valu-
able. It describes what the bars might look like and the sloppy ideas to which
we have signed up to too readily, and proposes some possible escape routes.
Creativity is a word that comes with baggage. In some circles it hints at
genius, in others to dodgy accounting practices. Being creative is either
praise or an inference of a character flaw. However it is used, the implication
is that some kind of cleverness is involved, evidenced by some talent for
conjuring out of nothing or problem solving. Most of us are suspicious of
it being the Devil’s work unless it is done in the name of a greater good,
in which case divine intervention bestows a cod sanctity to the practitioner.
Latterly, as it has become part of the educator’s armoury, it has taken on a
whole new meaning. It is something we all have, if only we could draw it out
of ourselves. It is the defining element of the Ego, the essence of us, the self.
We’re all creative now, and this robs it of its exclusive sting. It is part of a

1
The Mission Statement of The Eden Project, based in Cornwall, in the far south-west of
England, is: ‘To promote the understanding and responsible management of the vital
relationship between plants, people and resources leading to a sustainable future for all.’ It is
the vision of Tim Smit and the project’s co-founders.
 Foreword xv
universal quest for selfness, or so some would have us believe, but lurking in
the undergrowth the snake of avarice is hissing, is sleething through the
new world of intellectual property, ideas made real, consumer products
that either are an end result of creativity, or will help you on the creative
journey. Its close friend is Innovation, that other semantic impostor. New
is good, but new that turns into something you can replicate for money is
even better! I’m not a cynic, so I don’t actually believe what I have just
said – totally – but, in the Western World, creativity as an idea is horribly
muddled with consumption, either in the thrill of the stimulation of the
new for its own sake, or in the prospect that it represents a currency, soft
at its source but as hard and cold as money when it enters the ocean
in the big wide world.
Stand-alone creativity, unrooted in either experience or culture, is chaos.
C. S. Lewis once said ‘While science may lead you towards truth only the
imagination can lead you to meaning.’ Meaning is what we all seek in some
shape or form, from understanding relationships between one another, or
from a desire to be ‘at one with the world’. In common with many of my
generation, I haven’t the comfort of religion, but a thread that runs through
most of us is a desire for some kind of spiritual experience that gives us a
sense of belonging or community in the widest sense of the word. I would
argue that those who are most at one with the world have the least elemental
drive to be creative in the sense of exploring the boundaries of the possible in
a search for a language that reveals some ‘truth’ to them. It is rare to hear
music or see works of art that are ‘edgy’ that are the creation of the
contented. It is almost as if a necessary condition for masterworks is a rage
within, a dysfunction of the soul, you might say. My youngest son once said
in jest that he wished I’d been an abusive father so that he could be a
credibly creative musician. All of us know that, by and large, this is a
stereotype that doesn’t bear very close inspection, but that there is a grain
of truth in it. This is evidenced in part in our culture by awarding artists
more latitude in behaviour than we would allow others. There is a wonderful
irony that we will celebrate artists to whom we wouldn’t give houseroom on
a personal level.
It is in this notion of the artist as being somehow an outsider that gives
the lie to creativity being a universal attribute. There appears to be an
unconscious litmus test that distinguishes between ‘showing off ’, craftsman-
ship and artistry. Of course, the distinctions are blurred. In my experience
creativity is sparked by several influences. Take as a given, for a moment,
that one has the technical ability to execute a particular piece of work or
thinking. In the marketing world there is a famous phrase: ‘Please give me
the freedom of a tight brief’ (a framework in which to create). Often, all it
takes to liberate people is a sharply defined territory on which to focus their
intellectual juices and away they go. The most disastrous technique is to say
‘think of something’, which often has the effect of producing despondency
and inertia.
xvi Foreword
A friend of mine in São Paulo, Ricardo Semler (famous for his manage-
ment books describing the revolutionary techniques used at his factories),
has set up an educational trust. Children come to the school and they are
watched as they play and explore their territory. One child, for instance,
showed no interest in anything until he had lifted a stone and found a
woodlouse underneath it. He was encouraged to draw it and, using this as
a starting point, was encouraged to observe it ever more closely, which,
as any good teacher knows, led him into writing about it, working out
the mathematics of its carapace and studying its living habits. Before
long he was fully assimilated into a recognizable ‘curriculum’, but one of
his making.
Ricardo is inspirational because he takes a huge amount of time working
up the right question. This is a technique I have borrowed from him, and
it has changed my whole approach to developing ideas. He begins with
the question ‘What does great look like?’ Time after time he exposes the
fact that many of our actions or inventions are a response to a situation
that we have accepted without ever going back to first principles.
To give you a trivial example by way of illustration, I asked for the best
waste management system possible for our restaurants at Eden, and I got it.
Unfortunately, I had not asked, or framed the proposition correctly.
I should have asked for the best waste management system possible that not
only separated and minimised waste, but which also encouraged visitors to
clear their own tables and in so doing learned about the waste processes in a
way that would influence their behaviour at home. I cannot count the times
that I have been told things can’t be done, which on closer inspection reveal
that no-one has actually tried.
The most inspirational example of this that I know is William Strickland,
the principal of the Manchester School in Pittsburgh, in the heart of the
roughest area of one of the roughest cities in the USA. Bill was a homeless
child who put his nose up to the window of the Pittsburgh Arts College and
watched an old man turning a pot on a wheel. The man spotted him and
invited him in. To cut a long story short, the man took Bill under his wing
and he eventually went to university, whence he returned to Pittsburgh
with the ambition of providing the opportunities he had had to other poor
people. His mantra is: ‘If it’s good enough for rich folks, it’s good enough
for poor folks too’. His other saying is: ‘Give people world class facilities
and you will get world class behaviours’.
He drew inspiration from Frank Lloyd Wright’s architecture and
searched out his best pupil, who he convinced to design a beautiful school
bathed in natural light. His story of how he then persuaded people to donate
money, so that today the Manchester School is one of the most famous
in the USA, is remarkable. There is a fountain, there are works of art on
all the walls, there is an art gallery as good as a national museum, except
that it exhibits only the work of pupils; there is a concert hall paid for by
some of the world’s most famous musicians who have come there to play.
 Foreword xvii
The refectory is full of hand-made furniture, and on open days all the
parents come to share in the achievements of their children, something
unthinkable when he began 15 years ago. What is the only constant in Bill
Strickland’s daily routine? Buying flowers. Every day he buys big bunches of
flowers, which he places in the entrance hall and in the refectory. Why?
Because if it’s good enough for rich folks, it’s good enough for poor folks
too. In fifteen years there has been no vandalism, theft or violence at the
school.
Talking to Bill, he tells you that his driving philosophy is that many of us
have our creativity repressed as we get older. The crayons and paint are
removed, and the things to bang and holler with are put in a box. He sees
this as institutionalised arrested development. That is why all his pupils of
whatever age are made to express themselves through art for their first year.
They all choose to continue with it. He fundamentally believes that what is
going on is ‘self-expression’ – finding a unique voice for each person. Once
people have discovered their voices they can develop as human beings.
William Strickland is inspirational because he dared to put his beliefs into
practice and has been vindicated by the results. He is also very fierce in
drawing a distinction between self-expression and creativity. The former
is as necessary as breathing; the latter, to him, is the interface between
self-expression and the outside world. Language messes these distinctions
up; I think there is something important in them, but what I’m not
quite sure.
The battleground of creativity throws up much discussion about the
appropriateness of defining creativity as if it were a universal attribute,
recognised across cultures with the same weighting we give it. Like Anna
Craft, I’m not convinced by this. Among Amerindian tribes the womenfolk
are all accorded the status of ‘creatives’, in that they make and decorate
most of the tradable artefacts which are exchanged for the essentials of the
outside world, but the designs are dictated by tradition and symbolic
meaning. To stray into self-expression outside their cultural framework
would be thought of as madness. This attitude is common in many areas of
the world. In fact, creativity that has broken the shackles of the culture
whence it came appears to be a predominantly Western attribute. This,
however, opens up the distinctions between creativity in problem solving
(which is evident in all cultures of the world as they adapt to their
environments and evolve new techniques to combat situations as they arise)
and creativity in the arts (where we tend to interpret it to mean ‘new’ or
previously unseen). It could be argued that creativity in the arts is in inverse
relation to the power of the state or the atrophy within a culture. Most of
the great artistic movements appear to coincide with either great social
upheavals or realignments. This is as true for Pop Art in the 1960s as for the
flowering of Chinese art in the Middle Ages.
The other major criticism of creativity as a universal attribute is that
it has become associated with novelty and the ‘throw-away’ society, the
xviii Foreword
inference being that the constant quest for the new by definition makes the
old redundant, or that the pressure of the new encourages the assumption of
inbuilt obsolescence into all that is made. Unlike Anna Craft, this I refute,
for it confuses the act of creation by the Maker with the values of society
which, while linked, are not connected at the hip: the Maker is aligned to
creativity but not necessarily vice versa. Without the Maker, creativity still
exists.
So many of us feel cowed in the presence of those who presume to have
taste and an eye for the arts, those who are creative. Damn your certainties,
we feel, but they set the cultural agenda in the face of our inability to express
ourselves fully. A recent MORI poll (2004) found that 79% of Britons
wished they were more cultured. This is either hugely exciting or terribly
depressing; I’m not sure which. Louis Armstrong was once asked what Jazz
was. ‘If you have to ask . . . shame on you,’ was the curt reply.
As I come to the end of my personal ramble exploring the nature of
creativity I know exactly what he means: creativity is embarrassingly hard to
pin down, and yet it is something that everyone should feel actively engaged
in, free of fear – for their own health.

Tim Smit
Co-founder and Chief Executive, The Eden Project
26 January 2005
Introduction

This book has arisen from an awareness that the burgeoning discourse in
policy, practice and research that serves to support the development of
creativity in schools brings with it numerous implications. Many of these
are positive, and, in general, creativity in the early twenty-first century
has indeed carried a positive value. In terms of education, it has also
brought together thinking about ‘creativity’, ‘creative teaching’, ‘teaching
for creativity’ and ‘creative learning’ in such a way as to make them often
indistinguishable. One of the purposes behind this book is to clarify some
of the terms. As a practitioner, researcher and parent passionately com-
mitted to fostering the creativity of learners in schools, I believe that this is a
part of our work in ensuring that we do the best we can to nurture learners’
creativity.
However, the book has other purposes too. It is concerned with
untangling some of the tensions, dilemmas and even possible limitations
to promoting creativity in education. For if creativity is to be promoted in
education, then we might ask ourselves what might be some of the possible
implications of doing so.
The discussion is divided into three main parts. Part I uses a number of
lenses associated with the school, to discuss creativity and learning, the
development of a creativity language, curriculum and pedagogy. Part II
takes a broader view, which encompasses principles. It explores creativity
with reference to cultural specificity, environmental degradation and the
destructive potential of creativity. Finally, in Part III, the implications of
tensions and dilemmas in terms of pedagogy and principle are explored, and
some resolutions proposed. A Postscript then lays out a range of possible
onward journeys for development of, and research into, creativity in schools.
In Chapter 1, then, our attention first turns to setting the context,
discussing why and how creativity has come to be such an important aspect
of life in the twenty-first century, and the implications for education policies
and practices. Recent education initiatives in England are discussed and
the research context briefly touched upon.
Other documents randomly have
different content
crossways.... And the little green men. He had almost forgotten
them.
When he looked up, he remembered.
The third little man was slimmer, and had no whiskers at all. He
carried a shiny golden dagger, almost as big as himself. He was
walking forward purposefully.
Shoemaker waited, paralyzed.
The little man fixed him with his gleaming eye. "We're through
kidding around," he said grimly. "Question is now!"
And he laid the golden dagger in Shoemaker's quaking palm.
Shoemaker's first impulse was to cut his own throat. His second was
to throw the dagger as far away as possible. Those two came in
flashing tenths of a second. The third was stronger. He rose
effortlessly into the air, landed facing the sallyport, and, mouth wide
open but emitting no sound, ran straight through it. He passed the
closed inner door more by a process of ignoring it than by bursting it
open.
Directly opposite was the door of Burford's chubby, just now open
far enough to show Burford's startled face. When he saw
Shoemaker, he tried hastily to shut the door, but Shoemaker by now
had so much momentum as to have reached, for practical purposes,
the status of an irresistible force. In the next second, he came to a
full stop; but this was only because he was jammed against Burford,
who was jammed against the far wall of the room, which was braced
by five hundred tons of metal.
"Ugg," said Burford. "Whuff—where did you get that knife?"
"Shut up and start talking," said Shoemaker wildly. "Where's the
microspectrograph?"
Burford opened his mouth to yell. Shoemaker shut it with a fist,
meanwhile thrusting the knife firmly against Burford's midriff to
illustrate the point.
Burford spat out a tooth. As Shoemaker put a little more pressure on
the blade, he said hastily, "It's in the—uhh!—fuel reservoir."
Shoemaker whirled him around and propelled him into the corridor,
after a quick look to make sure that the way was clear. They
proceeded to the engine room, in this order: Burford, knife,
Shoemaker.
Without waiting to be persuaded, Burford produced a ring of keys,
unlocked the reservoir, and withdrew the microspectrograph. "Hook
it up," said Shoemaker. Burford did so.
"Uhh," said Burford. "Now what—whiskey?"
"Nope," said Shoemaker incautiously. "We're taking off."
Burford's eyes bulged. He made a whoofling noise and then, without
warning, lunged forward, grabbing Shoemaker's knife arm with one
hand and punching him with the other. They rolled on the deck.
Shoemaker noticed that Burford's mouth was open again, and he put
his hand into it, being too busy keeping away from Burford's knee to
take more effective measures. Burford bit a chunk out of the hand
and shouted, "Hale! Davies! Help!"

There were bangings in the corridor. Shoemaker decided the knife

was more of a hindrance than a help, and dropped it. When Burford
let go to reach for it, he managed to roll them both away, at the
same time getting a good two-handed grip on Burford's skinny
throat. This maneuver had the disadvantage of putting Burford on
top, but Shoemaker solved the problem by lifting him bodily and
banging his skull against the nearby bulkhead.
Burford sagged. Shoemaker pushed him out of the way and got up,
just in time to be knocked down hard by Hale's chunky body.
"Old idiot," panted Hale, "oof! Help me, Davies!"
Shoemaker got an ear between his teeth, and was rewarded by a
bloodcurdling scream from Hale. Davies was hopping ponderously
around in the background, saying, "Boys, stop it! Oh, my—the guns
are all locked up. Charley, give me the keys!"
Shoemaker pulled himself loose from Hale, sprang up, and was
immediately pulled down again. Burford, who was getting dizzily to
his feet, tripped over Shoemaker's head and added himself to the
tangle. Shoemaker got a scissors on him and then devoted himself
to the twin problems of avoiding Burford's wildly threshing heels and
keeping Hale away from his throat. Suddenly inspired, he solved
both by bending Burford's body upward so that the latter's booted
feet, on their next swing, struck Hale squarely in the middle of his
fat face.
At this point he noticed that Davies was standing nearby with one
foot raised. He grasped the foot and pushed. Davies hit the deck
with a satisfying clang.
Shoemaker got up for the third time and looked around for the
dagger, but it had been kicked out of sight. He paused, wondering
whom to hit next, and in the interval all three of his opponents
scrambled up and came at him.
Shoemaker thought, this is it. He spat on his fist for luck and hit
Burford a beauty on the chin. Burford fell down, and, astonishingly,
got up again. A little disheartened, Shoemaker took two blows in the
face from Hale before he knocked the little man into a far corner.
Hale got up again. Shoemaker, who had been aware for some time
that someone was pummeling his back, turned around unhappily
and knocked Davies down. Davies, at any rate, stayed down.
Burford, whose face was puffy, and Hale, who was bleeding from
assorted cuts, came toward him. Hale, he saw, had the dagger in his
hand. Shoemaker stepped back, picked up the unconscious Davies
by collar and belt, and slung him across the deck. This time both
men went down (Hale with a soggy bloomp), and stayed there. The
dagger skidded out of Hale's hand and came to rest at Shoemaker's
feet.
He picked it up, knelt at a convenient distance to cut off Hale's and
Burford's noses, and threatened to do just that. Burford intimated
that he would do as he was told. Hale said nothing, but the
expression on his face was enough.
Satisfied, Shoemaker opened a locker with Burford's keys, got a coil
of insulated wire and tied up Davies and Hale, after which, with
Burford's help, he strapped them into their acceleration hammocks.
Burford was acting a little vague. Shoemaker slapped him around
until he looked alive, then set him to punching calculator keys. After
a few minutes of this, Burford looked as if he wanted to say
something.
"Well, spit it out," said Shoemaker, waving the golden knife.
"You'll get yours," said Burford, looking scared but stubborn. "When
we get back to New York—"
"South Africa," corrected Shoemaker, "where the Supreme Council
can't ask us any questions."
Burford looked surprised, then said it was a good idea.
It was, too.

The lone star winked out in the blue-green heavens, and the winds
of its passing died away. The throng of little rabbit-eared green men,
floating on their placid ocean, gazed after it long after it had
disappeared.
"What do you think?" said the slim one without whiskers. "Did they
like us?"
The one addressed was yards away, but his long ears heard the
question plainly. "Can't say," he answered. "They acted so funny.
When we spoke to that one in their own language, so as to make
him feel at home—"
"Yes," said a third, almost invisible in the mist. "Was that the right
thing to do, d'you suppose? Are you sure you got the words right,
that last time?"
"Sure," said the first, confidently. "I was right next to the ship all
evening, and I memorized everything they said...."
They considered that for a while, sipping from their flasks. Other
voices piped up: "Maybe we should have talked to them when they
were all together?"
"Nooo. They were so big. That one was much the nicest, anyway."
"He took our present."
"Yes," said the slim one, summing it up. "They must have liked us all
right. After all, they gave us this"—swinging his flask to make a
pleasant gurgle of 150-proof grain alcohol. "That proves it!"
Burp!
*** END OF THE PROJECT GUTENBERG EBOOK THE THIRD LITTLE
GREEN MAN ***

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