Multiple paths to an unknown destination

Entanglement

Entanglement © Belinda Allen

The antecedents for my thinking of how creativity fits into higher education begin with Dewey, and traverse Habermas, Bourdieu, Giroux, Kemmis and McLean. These theorists are not specifically concerned with creativity, but with critical pedagogy, cultural production, praxis, and the transformative nature of learning.

So how does this relate to creativity?

Of all the multiple perspectives on creativity there are two that seem robust and useful, and not coloured by social, political or ideological agendas. Firstly the concept of creativity as a disposition: more than a process or a product, it is a way of seeing, of being, and of acting in a particular way in a given situation that can be identified as ‘creative’ (eg Torrance, Amabile). Secondly the concept of creativity as systemic: dependent on a range of factors that are beyond the individual, such as the environment, colleagues, prior work in the field, and the opportunities for action, collaboration and recognition (eg Csikszentmihalyi, Simonton). But I do have a third perspective, one that is perhaps more ideologically coloured. The dimensions of creativity that relate to personal and social ‘good’ seem neglected in recent discourse that focuses on the economic benefits of developing a creative workforce (eg, Pink, McWilliam). Of course there may be related personal good (able to participate in creative and challenging work), and social good (creative industries develop services and products that improve enjoyment of life). But my aim is for a personal good that goes beyond a hedonistic pleasure in enhanced lifestyle, seeking to support personal growth and capacity for meaningful contribution, and a social good that raises collective awareness of social, political and environmental situations and brings creativity to designing solutions for (or ways of living with) urgent and wicked problems (eg, McLaren, Giroux).

This third perspective is one that in its emancipatory nature owes more to the field of critical pedagogy and transformative learning than to creativity studies. Since its origins in a Marxist approach to literacy education, critical pedagogy has been harnessed to a range of interests, such as feminism, counter-racism and environmentalism. Creativity has tended to be sidelined as a tangential interest, or critiqued as a product of white, middle-class liberal arts education. But I believe that the emancipatory potential of creativity as both a focus and a strategy for critical pedagogy is under-explored (Pope, 2005).

I am interested in:

the creative graduate – how do they act, what are the environmental factors that support or inhibit their creativity, and what agendas does their creativity service?

the creative teacher – how can teaching as a creative act promote and support the development of creativity in learners? How can development of creativity empower teachers to promote a social justice agenda?

the creative researcher – how can a critically creative/creatively critical  approach to research in learning and teaching support creative development of learners and teachers?

creative technologies – what is the role of technology in enabling creativity in learning, teaching and research?

The research question:

How can a critical approach to the development of creativity in higher education contribute to the promotion of personal and social good in learning, teaching and research?