Contributors to this document: Professors at the Faculty of Education, University of Ottawa – Christina De Simone (lead), Maria Robinson-Cseke, Bernie Andrews, Stephanie Fullarton, Linda Mosley, Nectaria Karagiozis, Christine Tippett, Michael Wilson, and graduate student Geneviève Cloutier.
As this list is by no means exhaustive, we invite you to submit contributions. Please go to the end of this page for further instructions!
As this list is by no means exhaustive, we invite you to submit contributions. Please go to the end of this page for further instructions!
ICI Annotated Bibliography
Amabile, T.M. (1996). Creativity in context: Update to the social psychology of creativity. Boulder, CO: Westview.
This book provides a clear and comprehensive picture of how the motivation of creative behaviour, and creativity itself, can be influenced by the social environment. Focuses broadly on business, classrooms and society.
Babu, R.R. Murali, M., & Swathi, K.A. (2013). Role of creativity and innovation entrepreneurship. Innovative Journal of Business and Management 2 (5), 112 - 115.
The authors discuss creative and innovative aspects of Imagination, Creativity, and Innovation, especially as applied to entrepreneurship. The article adds to the ICI cohort’s understanding of what “what is creativity” and “what is innovation”. And, how the relationships between these two are interactive serving our understanding of the economic health of communities, societies, and the world. I would recommend this article to our students especially because “entrepreneurship” is a common concept in the 21st-century education.
Beghetto R., Kaufman J., Baer J. (2015). Teaching for creativity in the common core classroom. NYC, Teachers College Press, 144pp.
This practical classroom text that crosses subject boundaries, offers particular strategies for helping groups to maximize their collective creative potential. Most of the activities expand upon language arts and mathematics fields in the examples but the main argument here is that groups can better prepare themselves for creative work through collective trust, risk-taking willingness and a sense of mutual respect. Some assessment procedures are provided.
This book is very useful in proving concrete and understandable language for candidates who are not familiar with the theory and pedagogy literature in imagination, creativity and innovation. This is important as the field is vast and very slippery. The weakness of the book is the reference to American Core Standards and a weak assessment section. It is recommended as a useful resource for its cross-curricular applications and clarity of language.
Bergson, H. (2010). The creative mind: An Introduction to metaphysics (M.L. Andison, Trans.). New York: Dover Publications. (Original work published 1946)
This author emphasizes philosophical intuition over systemic intellect. In his collection of essays he encourages the reader to notice what is unique and novel in thoughts and things.
Bergson, H. (2005). Creative evolution (A. Mitchell, Trans., 1911). New York: Barnes and Noble. (Original work published 1907)
This author considers nature and intelligence, examines mechanisms of thought and illusion, and presents a criticism of philosophical systems from those of the ancients to those of his 19th century contemporaries.
Best, D. (1982). Can creativity be taught? British Journal of Educational Studies, 30(3), 280-294.
This article supports that creativity is not a separate mental state, but is a process that is identified by the form or product. Creative potential is dependent on learning techniques, objective criteria and cultural traditions.
Cole, K. (2012). Joy in the making: Young children and the Visual Arts. . In C. Korn-Bursztyn (Ed.), Young Children and the Arts: Nurturing Imagination and Creativity (pp. 71-90). Carlotte, NC: Information Age Publishing, INC
This chapter discusses how visual arts education provides opportunities for meaningful and joyful exploration of the world, as well as opportunities for collaborative engagements and community building. Visuals arts educations is considered of importance because it addresses the needs and interests of all learners and it allows for interdisciplinary learning and cross-curricular teaching between arts, science and social studies. There is also a discussion on the meaning of sensory explorations of young children and how these contribute to visual arts being used as a language of communication. Thus, arts provide the visual language to students to express and explore their feelings. It is through aesthetic education that students may have access to cultural institutions, foster knowledge and appreciation of the works of others and acquire multiple ways of interpreting and corresponding to new ideas and concepts.
Coleman, K. & Flood, A. (Eds.) (2015). Capturing Creativity through Creative Teaching. Common Ground Publishing, Champaign Illinois.
The collection of authors in this edited book write about social constructivism as a lens to understand creative teaching. Others write more practically about creativity spanning from K-20 from art to mathematics to science.
Craig, C.J. (Ed.) (2010). Cultivating curious and creative minds: The role of teachers and teacher educators. (parts I & II). Lanham, MD: Rowman & Littlefield.
This book presents approaches to developing human potential. Organized in two parts, this international collection of essays shed light on how curiosity and creativity can be approached in the teaching domain within particular contexts.
Csikszentmihalyi, M. (2009). Creativity: Flow and the psychology of discovery and invention. CA: Harper Collins Publishers.
Based on interviews with 91 internationally recognized creative people, this book supports that creative people have dialectic personalities they fully engage in “flow” and are able to display “concentrated attention”. These creative people flourish and are validated in a supportive community.
Deleuze, G. & Guattari, F. (1988) A Thousand Plateaus: Capitalism and schizophrenia. London: Athlone.
This is a highly theoretical text that provides a radical and compelling analysis of social phenomena and offers alternatives for thinking about philosophy and culture. These authors present creativity in terms of creative forces that “deterritorialize” through the idea of “becoming”. While this book may be daunting to the layperson, it can be understood by anyone with and open mind and sharp curiosity.
Dewey, J. (2005). Art as experience. New York: Perigee Books. (Original work published 1934)
This text is based off John Dewey’s lectures on esthetics. Theory is pragmatically written and focuses on the importance of creativity as process oriented and experiential. It supports that discipline, engagement and commitment are basic to art making, viewing, and other creative practices.
Gardner, H. (2011). Frames of mind: The theory of multiple intelligences. New York: Basic Books. (Original work published 1983)
This book outlines seven intelligences that target not if a person is smart, but how s/he is smart. Looking at a variety of ways to think and learn offers new perspectives on creative thinking and process.
Greene, M. (1995). Releasing the imagination: Essays on education, the arts, and social change. San Francisco: Jossey-Bass Publishers.
Maxine Greene proposes that we need to unleash our imaginations in order to move towards social change. She suggests that the arts are critical in this endeavour.
Eisner, E.W. (2002). The arts and the creation of mind. New Haven: Yale University Press.
This text supports the arts as critical to the development of the mind and various and essential forms of thinking, including imaginative, creative and innovative thinking. Eisner outlines how the arts contribute to and improve education.
Irwin, R. L., & de Cosson, A. (Eds.). (2004). A/r/tography: Rendering self through arts-based living inquiry. Pacific Education Press.
This is a collection of essays that presents educational research through visual art-based inquiry. It focuses on methods of creative inquiry, through theory and practice, which combines the roles of artist, researcher and teacher.
Creativity in Education, J.P. Isenberg, M. R. Jalongo, 2006 edition, p. 23-25. Pearson Education Inc. http://www.education.com/reference/article/creativity-education/
Teachers do not celebrate creativity in their students. The three mistakes most commonly made by teachers are as follows: 1. Confusing measures of intelligence with measures of creativity. 2. Being overly influenced by socially desirable behavior. 3. Being overly influenced by the child’s rate of development. Adults react more readily and more favorably to children’s uncommon (advanced) behavior than to children’s unconventional (creative) behavior (Nicholson & Moran, 1986).
Johnson, P. (2006). Creators. New York, NY: Harper-Collins.
In Creators, Paul Johnson illustrates the salient characteristics of a large number of creative individuals in the arts, including but not limited to William Shakespeare, J.S. Bach, Victor Hugo, Mark Twain, T. S. Eliot, and Pablo Picasso. These individuals persevered and built on the work of previous creators, most received little in the way of honours or monies in their lifetimes, and they were idiosyncratic in their creativity. What can be said is that creation is difficult: it is hard, dedicated work that requires courage, originality and talent. Often it is a painful terrifying experience that one endures rather than one relishes but is preferable to not creating at all.
This is a well-written book that examines a host of outstanding and prolific creative spirits. It provides the reader with valuable insights into nature of creative endeavours and represents a useful introduction to the human aspects of creativity.
Kant, I. (2007). Critique of judgement (J.D. Meredith, Trans.). Oxford: Oxford University Press. (Original work published 1790)
This anthology critiques aesthetics, particularly taste and beauty. Kant acknowledges the connection between imagination and creativity, and the role that they play in aesthetics.
Kaufman, J.C. (2009). Creativity 101. New York: Springer.
This text is a primer on recent research in creativity, with emphasis on individual differences such as: mental illness, gender and ethnicity, personality, motivation and intelligence.
Kelly, R. (2012). Educating for creativity: A global conversation. Calgary, AB: Brush Education.
This book provides a theoretical framework for creative practice and creative development alongside a practical exploration of how to make creativity in education work. Real-life examples reveal the techniques of global leaders in creativity and design thinking.
Korn-Bursztyn, C. (2012). Cultivating imagination and creative thinking. In C. Korn-Bursztyn (Ed.), Young Children and the Arts: Nurturing Imagination and Creativity (pp. 51-67). Carlotte, NC: Information Age Publishing, INC
The author identifies that there is a growth in the development of imagination in young children and explores the earliest form of imagination, which is the social imagination. The author discusses how social imagination emerges through social interactions and allows the child to develop a capacity for empathy and to acquire a theory of mind and recognize the separateness between self and other. The social imagination underlines the capacity of children to develop other forms of symbolic representation, narrative representation through storytelling, musical or embodied representation and iconic or pictorial representation. The discussion on how arts provide opportunity for multiple forms of imagination and creative thinking to develop in children are very interesting and stimulating. Furthermore, engaging in arts is considered a transforming experience as children engage in ‘metaphoric thinking’ which is linked to language and literacy development.
Lowenfeld, V. (1987). Creative and mental growth. New York: Macmillan. (Original work published 1947)
This book outlines the stages of creative and intellectual growth in children, as important to any educational system where joy, meaningful and creative experience is paramount.
Lundy, C. (2012). History and becoming: Deleuze’s philosophy of creativity. Edinburgh: University Press.
This text explores the nature and relation of history and becoming in the work of Gilles Deleuze. It supports an understanding of the process of experimentation, transformation and the creation of the new.
Mora, P. (2010). Zing! Seven creativity practices for educators and students. Thousand Oaks, CA: Corwin.
This guide offers seven powerful practices for personal creativity and professional inventiveness.
Ontario Ministry of Education
The Ontario Curriculum: The Arts (2009). Grades 1 – 8, Government of Ontario.
The Ontario Curriculum: Resource documents - Exemplars- Music gr. 1,4,7; Drama & Dance gr. 3,6,8, Visual Arts.
These Ontario Government documents have the following advantages for candidates:
1) Students have the time now to study and work with the overall and specific expectations for each grade level as well as the achievement chart.
2) They learn how to instruct and devise lesson plans according to the elements.
3) From the exemplars, they learn how to compare and assess students.
4) Tremendous resources that are essential when on practica and trying to integrate various subject areas.
Pink, D.H. (2005). A whole new mind: Why right-brainers will rule the future. New York: Penguin Group.
This book outlines the six fundamentally human abilities that are absolute essentials for professional success and personal fulfillment –and reveals how to master them.
Renolds, L. (2012). A call to creativity: Writing, reading, and inspiring students in an age of standardization. New York: Teachers College Press.
This is a practical guide that encourages and supports creativity in the English/language arts classroom. The book offers both the inspiration and the steps teachers need to engage their students through a variety of hands-on projects and worksheets that can be used immediately to insert creativity into any curriculum.
Robinson, K., (2011). Out of our minds: Learning to be creative. Chichester, West Sussex: Capstone Publishing. (Original work published 2001)
The author addresses three vital questions: Why is it essential to promote creativity? Why do so many people think they are not creative? What can companies, schools and organizations do to develop creativity and innovation in a deliberate and systematic way?
Runco, M.A. & Pritzker, S. (Eds.) (1999). Encyclopedia of creativity. San Diego, CA: Academic Press.
This collection provides a good cross-section of writing about creativity.
Runco, M.A. (2014). Creativity: Theories and themes: Research, development, and practice. Academic Press.
This compilation includes all major theories and perspectives on creativity, and consolidates recent research.
Sawyer, R.K. (2012). Explaining creativity: The science of human innovation (2nd ed.). New York: Oxford University Press.
This book summarizes and integrates a broad range of research in psychology and related scientific fields. It considers arts, science, stage performance, business innovation, and creativity in everyday life. The social and cultural contexts of creativity are considered, including the role of collaboration in the creative process. This volume employs a very wide lens in examining the major scientific studies in creativity. Featured in this second edition are cognitive neuro-scientific studies and a particular concern for creativity and education. The reader viewpoint is largely that of the related scholarly field and best suited for candidates in post-graduate study. It is domain free with implications for all of education and crosses many disciplinary areas to pull together common conclusions that may generally be useful to all concerned with the ICI Cohort. As in most of Sawyer’s published work, he gives particular emphasis to the potential of collaborative creativity. This is a comprehensive synthesis of much of the current literature.
Sternberg, R.J. (Ed.) (1999). Handbook of creativity. New York: Cambridge University Press.
This collection of chapters by relevant authors in the field provides a good cross-section of writing on creativity.
Stokes, D. (2014). The role of imagination in creativity. In E. Paul & S. B. Kaufman (eds.), of creativity. Oxford University Press. Oxford: Oxford University Press).
This volume provides in-depth philosophical and cognitive analysis, synthesis, and reflection on the relationship between “imagination” and “creativity”. This is clearly a book that requires several rounds of reading and thinking as well as imagination and creativity, to continue the journey.
Turnbull, J. (2012). Creative educational leadership: A practical guide to leadership as creativity. London: Bloomsbury.
In order to develop creative capacity, leadership itself needs to be a creative action to resolve limitations, and to develop original solutions to the challenge of educating for work and life in the 21st century. Recognizing the vital importance of creativity to young people facing a rapidly changing world, the author reveals how, in highly effective leadership, a unique combination of values, relationships and personal attributes enables creativity.
Usher D. (2014). Let the elephants run. Toronto, House of Anansi Press. 227pp.
This is a chronicle of one person’s artistic history from early family experiences to his roles with the band “Moist” and more recent activity. He relates his history with Montreal area artists in many fields that he grew up with and suggests how all of these experiences affected his developing creative self. Apart from the celebrity curiosity, what makes this book useful is Usher’s sense that creativity is a domain free phenomenon and that most creative initiatives are not bolts of inspiration but result from considerable preparation, hard work and relating to important colleagues. Generally, a light read but entertaining and a specific application to one person’s situation and life story.
Wilson, M. (2012). In a grain of sand: a new view for arts education. Stratford. Drama-focus arts consulting group.
This short volume, written largely for the general reader contains relevant chapters on play, imagination, creativity, beauty, holism and implications for arts education. It suggests the interplay between all of these categories and has relevance for inter-connectedness. Its main limitation is that it concentrates mostly on implications for arts education.
Vygotsky, L.S. (1978). Mind and society: The development of higher psychological processes. Cambridge, MA: Harvard University Press.
This is a selection of the author’s essays on his theory of development where language and learning are social experiences. It supports the idea that creativity can effectively be a collaborative experience, affected by content and environment.
National Roundtable for Teacher Education in the Arts - www.nrtea.ca
Canadian Society for Education Through Art – http://www.csea-scea.ca/
Canadian Network for Arts and Learning - http://www.eduarts.ca/
Ontario Arts Council - http://www.arts.on.ca/
Pulse Ontario Dance Conference – http://www.pulsedance.ca/web/web-pages/symposium.shtml
Council of Dance and Drama Educators (CODE) – www.code.on.ca
Unesco - www.unescohkied.org and www.unescohkied.org/links
Walking and art – http://walkart.wordpress.com/bibliography/
MASC – http://www.masconline.ca/
Canadian dance assembly - http://www.cda-acd.ca/en/advocacy/
National dance organization map - http://dancemap.canadacouncil.ca/
Arts-based research bibliography from the University of Alberta - https://abrstudio.wordpress.com/arts-based-bibliography/
Art starts in schools - http://artstarts.com/research
Actorshop - http://www.actorshop.biz/
Center for Creative Learning - http://www.creativelearning.com
National Creativity Network - http://www.nationalcreativitynetwork.org