Third Space Creative Pedagogies: Developing a Model of Shared CPDL for Teachers and Artists to Support Reading and Writing in the Primary Curricula of England and Wales

Alex Southern, Jenny Elliott, Colin Morley

Abstract


Zip Zap is a Creative Social Enterprise, which offers an author/illustrator- led Continuing Professional Development and Learning (CPDL) programme to develop teacher knowledge, confidence and skills in delivering creative writing and illustration activities, and a Festival of artist-led activities for school pupils. It is one of a number of initiatives that UK schools can buy into. This paper draws on an evaluation of Zip Zap’s CPDL programme and Festival across two UK sites, with two quite different creative learning contexts – Wales and England, to explore issues affecting the pedagogies at work in the space where teachers and creative practitioners elide. An analysis of findings from teacher/pupil/parent/creative practitioner interviews and observations of classroom teaching and CPDL sessions highlighted a number of key issues in relation to pedagogies of creative writing. These are: the teachers’ lack of confidence in creative writing pedagogies, a lack of shared approaches to teaching creative writing, and the potential for shared creative pedagogies. We propose a theoretical framework based on Homi K. Bhabha’s theory of the third space that offers a framework for professional learning that enables collaboration between teachers and creative practitioners, and the emergence of shared, creative pedagogies that would nurture pupils’ creative writing.

Keywords


Creative Writing, Professional Learning, Creativity, Primary School, Pedagogy

Full Text:

PDF

References


Alexander, R. (2009). The Cambridge Primary Review. [Online] Available: https://cprtrust.org.uk/wp-content/uploads/2013/10/CPR_revised_booklet.pdf (September 8, 2019).

Ball, S. (2003). The teacher's soul and the terrors of performativity. Journal in Educational Policy, 18, 215 - 228.

Bhabha, H. K. (1994). The location of culture. London and New York: Routledge.

Bottery, M. (2004). Trust: Its importance for educators. Management in Education, 18(5), 6–10.

Burnard, P. & White, J. (2008). Creativity and performativity: counterpoints in British and Australian education. British Educational Research Journal, 34(5), 667 – 682.

Cousin, G. (2006). An introduction to threshold concepts. Planet, 17, 4-5.

Craft, A. (2005). Creativity in Schools: tensions and dilemmas. London: Routledge.

DfE. (2013). National Curriculum: primary curriculum. London: DfE.

Donaldson, G. (2015). Successful futures: Independent review of curriculum and assessment arrangements in Wales. Cardiff: Welsh Government.

EACEA. (2009). Arts and Cultural Education at School in Europe. Brussels: Education, Audiovisual and Culture Executive Agency.

Elliott, J. (2018) ‘Buying In and Selling Out – The Commodification of Creativity in the Classroom’, Changing English, 25(4), 396-409.

Foucault, M. (1984). Of Other Spaces: Utopias and Heterotopias. Architecture/Movement/Continuité. October 1984.

Galton, M. (2015). ‘It's a real journey – a life changing experience.’ A comparison case study of Creative Partnership and other primary schools. Education, 43(4), 433-444.

Goffman, E. (1959). The Presentation of Self in Everyday Life. New York: Doubleday Anchor.

Granger, T., & Barnes, J. (2006). Creativity in the Primary Curriculum. In T. Granger & D. Wray (Eds.), Learning to teach in the Primary School. London Routledge.

Gutierrez, K. (1999). Rethinking Diversity: Hybridity and Hybrid Language Practices in the Third Space. Mind Culture and Activity, 6(4), 286 - 303.

Hall, C. & Thomson, P. (2016). Creativity in teaching: What can teachers learn from artists? Research Papers in Education, 32(1), 106-120.

Henley, D. (2012). Cultural Education in England. London: DCMS/DfE.

Jones, K. (2003). Education in Britain 1944 to the Present. Cambridge: Polity Press.

Meyer, J., & Land, R. (2005). Threshold concepts and troublesome knowledge (2): Epistemological considerations and a conceptual framework for teaching and learning. Higher Education, 49, 373 - 388.

NACCCE. (1999). All our Futures: Creativity, Culture and Education. Sudbury, Suffolk: DfEE Publications.

Ofsted. (2019). School Inspection Handbook (180119). Manchester: Ofsted.

Ofsted & Spielman, A. (2017). HMCI's commentary: recent primary and secondary curriculum research. [Online] Available: https://www.gov.uk/government/speeches/hmcis-commentary-october-2017 (September 8, 2019)

Piaget, J. (1955). The construction of reality in the child. London: Routledge.

Quigley, C.F (2013). With Their Help: How community members construct a congruent Third Space in an urban kindergarten classroom. International Journal of Science Education, 35(5), 837-863.

Rose, J. (2006). Independent review of the teaching of early reading. London: Department for Education and Skills.

Said, E. (1978). Orientalism. London: Penguin.

Smith, D. (2013). An Independent Report for the Welsh Government into Arts in Education in the Schools of Wales. Cardiff: Welsh Government.

The Froebel Trust. (2018). Froebelian Principles. [Online] Available: https://www.froebel.org.uk/froebelian-principles/ (September 8, 2019)

Troman, G., Jeffrey, B., & Raggl, A. (2007). Creativity and performativity policies in primary school cultures. Journal of Education Policy, 22(5), 549 - 572.

Wagner, T. (2006). Building Creative Capacities for the 21st Century. Lisbon: UNESCO.

Welsh Government. (2015). Programme for Children and Young People. Cardiff: Welsh Government.




DOI: http://dx.doi.org/10.7575/aiac.ijels.v.8n.1p.24

Refbacks

  • There are currently no refbacks.




Creative Commons License
This work is licensed under a Creative Commons Attribution 4.0 International License.

2013-2020 (CC-BY) Australian International Academic Centre PTY.LTD.

International Journal of Education and Literacy Studies  

You may require to add the 'aiac.org.au' domain to your e-mail 'safe list’ If you do not receive e-mail in your 'inbox'. Otherwise, you may check your 'Spam mail' or 'junk mail' folders.