Kerry Chappell

Question-Posing and Question-Responding: The Heart of "Possibility Thinking" in the Early Years.

Drawing on research that sought to explore the characteristics of ‘Possibility Thinking’ as central to creativity in young childrens learning, this paper considers question‐posing and question‐responding as the driving features of ‘Possibility Thinking’ (PT). This qualitative study employed micro‐event analysis of peer and pupil–teacher interaction. Events were sampled from two early years settings in England, one a Reception classroom (4‐ to 5‐year olds) and the other a Year 2 classroom (6‐ to 7‐year olds). This article arises out of the second stage of an ongoing research programme (2004–2007) involving the children and practitioners in these settings. This phase considers the dimensions of question‐posing and the categories of question‐responding and their interrelationship within PT. Three dimensions of questioning were identified as characteristic of PT. These included: (i) question framing, reflecting the purpose inherent within questions for adults and children (including leading, service and follow‐through questions); (ii) question degree: manifestation of the degree of possibility inherent in childrens questions (including possibility narrow, possibility moderate, possibility broad); (iii) question modality, manifestation of the modality inherent in childrens questions (including verbal and non‐verbal forms). The fine‐grained data analysis offers insight into how children engage in PT to meet specific needs in responding to creative tasks and activities and reveals the crucial role that question‐posing and question‐responding play in creative learning. It also provides more detail about the nature of young childrens thinking, made visible through question‐posing and responding in engaging playful contexts.

Creative learning conversations: producing living dialogic spaces

Background: ‘Creative learning conversations’, are methodological devices developed in two co-participative qualitative research projects exploring creativity and educational futures at the University of Exeter in England. Sources of evidence: Framed by Critical Theory, the projects, one on dance education partnership, the other on student voice and transformation, sought to open space between creativity and performativity to initiate emancipatory educational change. This was undertaken over the course of five years in English primary and secondary schools, prioritising humanising, wise creativity. Purpose: This paper re-analyses data and methodological processes to characterise and theorise creative learning conversations in terms of social spatiality and dialogue. The characteristics are: partiality, emancipation, working from the ‘bottom up’, participation, debate and difference, openness to action, and embodied and verbalised idea exchange. Main argument: This re-analysis theoretically adapts Bronfenbrenners ecological model (The ecology of human development; Cambridge, MA: Harvard University Press, 1979) to situate layered engagement. Utilising Lefebvres conceptualisation of lived space (The production of space; Wiley-Blackwell, 1991) and Bakhtins work (Problems of Dostoevskys poetics; ed. and trans. Caryl Emerson; Minneapolis: University of Michigan Press, 1984) on open-ended dialogue, the paper theorises creative learning conversations as producing living dialogic spaces. Conclusions: Creative learning conversations are a way of contributing to change, which moves us towards an education future fit for the twenty-first century. From a living dialogic space perspective, a creative learning conversation is the ongoing process without forced closure of those in the roles of university academic, teachers, artists, students co-participatively researching and developing knowledge of their ‘lived space’ together. Given traditional lethargy in the educational system as a whole commitment to changing education for better futures demands active involvement in living dialogic space, where our humanity both emerges from and guides our shared learning.

Learners Reconceptualising Education: Widening Participation through Creative Engagement?.

Engaging imaginatively with how education is manifested is necessary for providers both in higher education and in preceding contexts and phases. Fostering dispositions for creativity in dynamic engagement and the consideration of pedagogy, curriculum, inclusion, policy and the management of change, requires innovative provision to span school, home, work and higher education learning. Reporting on Aspire Pilot, a National Endowment for Science, Technology and the Arts‐funded initiative at The Open University, which sought to foster creativity of 11–18 year olds in considering future learning systems, this paper offers the beginning of a theoretical frame for considering learning, learners and systems in the Knowledge Age prioritising learner agency. Discussing findings, the paper explores implications for approaches facilitating widening participation in higher education.

Possibility thinking: culminative studies of an evidence-based concept driving creativity?

The authors have, for some years, studied the concept of ‘possibility thinking’ (PT), or ‘what if’ and ‘as if’ thinking in children aged 3–11, which generates novelty – and the pedagogical strategies which foster it. They have argued, on the basis of previous qualitative studies, that ‘PT’ is at the core of creativity in education. Having begun as a conceptual study for 7 years, this team has undertaken empirical studies of PT in classrooms. This paper discusses findings from the third phase of empirical work focusing on 9- to 11-year olds. The particular research question addressed here is ‘What characterises possibility thinking as manifest in the learning engagement of children aged 9–11?’. In a small-scale qualitative study, involving co-participation with teachers, the paper features episode analysis of naturalistic video data featuring children aged 9–11 in two schools. It focuses on PT evidenced by children engaged in a range of classroom activities, some established as individual activities and others as group work. The study reveals some features of PT in both sites (question-posing [Q-P], question-responding [Q-R], self-determination, intentional action, development, being imaginative, play/playfulness, immersion and innovation) to differing degrees of strength. Risk-taking was absent in both and a new feature, collaboration, evident in both. Differences were documented in how Q-P and Q-R manifest, compared with earlier studies with younger children. This study seeks to make an evidence-based contribution to the characterisation of PT as driving creativity in the classroom, with implications for research and practice.

Creativity in primary level dance education: moving beyond assumption

This paper represents the final layer of analysis carried out in a study investigating the conceptions of and approaches to creativity of three expert specialist dance teachers within late primary age dance education in the UK. This research journeyed through a number of phases culminating in an analysis of the pedagogical dilemmas encountered by the three teachers in their specific situations in relation to creativity in dance education in the current UK climate. This article details the dilemmas and their solutions, articulating the issues and tensions which, within the kinds of situation studied, might be endangering meaningful creative experiences for learners in dance education. Within a theoretical framework, the findings map the terrain for this particular group of teachers, and offer ‘images of the possible’ for other dance and education professionals. The paper culminates by offering suggestions of future directions for intertwining research and developing practice in creativity in dance and education research in this area.

Dance partners for creativity: choreographing space for co-participative research into creativity and partnership in dance education

This paper details the early stages of research which, through exploring new methodological and conceptual spaces, is being carried out with the aim of contributing to redressing the balance between creativity and performativity, in secondary level dance education in England. The Dance Partners for Creativity Research (DPC) Project is a co‐participative study involving university‐based researchers and school‐based partner researchers physically and metaphorically stretching across boundaries between ‘university’ and ‘school’ spaces. We are investigating the kinds of creative partnerships manifested between dance‐artists and teachers in co‐developing the creativity of 11‐14 year olds, and how these partnerships develop. The aim is to work towards transformation for dance‐artist and dance‐teacher partnership practice and invigorate young people’s creativity in dance both in the settings within which the research takes place and through dissemination/provocation in new settings within and beyond UK dance education. In particular this paper focuses on the theoretical framework as developed around dance creativity and partnership in education prior to in‐depth entry into the field, with some methodological detail.

Facilitating and nurturing creativity in pre-vocational dancers : Findings from the UK Centres for Advanced Training

This is a case study investigation into creativity involving young dancers and faculty members on the UK government-funded pre-vocational contemporary dance training programme. Qualitative research techniques were used to gather and interpret data on how individuals nurtured and viewed creativity at an individual level, as well as how the facilitation of creativity was perceived and manifested at a teaching and institutional level. Findings suggest that nurturing creativity at a within-person level involves the evolution and development of personality characteristics and abilities in both direct and indirect ways. Two other factors were influential at this level, namely inspiration and motivation. At an interpersonal and environmental level, the study found that a communal and collaborative approach underpinned the nurture of creativity in the setting. Additionally, teaching styles which supported the development of dancers’ own voice alongside dance skills were critical in helping to encourage and realise creativity in young people. The study sheds light on the constantly evolving and dynamic processes involved when nurturing and facilitating creativity.

Possibility thinking and social change in primary schools

This paper reviews the nature of possibility thinking (PT) (transformation from what is to what might be, in everyday contexts for children and teachers) and reports on how PT manifested in two English primary schools engaged in social change. It identifies shared characteristics across the schools as well as unique ways in which PT manifested. With a focus on uniquely positioned professional wisdom, each school was engaged in change which rejected some assumptions while integrating new ideas relevant to their community, leading to quiet revolutions. Implications for primary schools that generate their own practices and narratives regarding educational futures are discussed.

Reflective creative partnerships as ‘meddling in the middle’: developing practice

This paper explores research-focused reflective creative partnership at the heart of Dance Partners for Creativity (DPC), a qualitative, participatory research project located in secondary school creative partnership initiatives in England. It researched how dance artists and teachers partnered as ‘external’ and ‘school’ partners respectively, to nurture creativity in students aged 11–14. The wider educational context to the research was characterised by tension between striving for excellence harnessed to performativity as characterised by Ball on the one hand, and expanding opportunities for creativity in schools on the other; the two in tension with one another as discussed by the authors of the present article elsewhere. DPC sought to open space between creativity and performativity, enabling partners to co-research and to co-lead learning in the arts. The paper explores emergent practice applying McWilliam’s concept of ‘meddling in the middle’ originally proposed in relation to pedagogy in schools. The paper suggests research-focused partnerships in DPC were characterised by ‘meddling’. It discusses stretches and challenges documented in the study, revealing ways in which partnerships were dynamic and sometimes uncomfortable, whilst offering exciting potential for change. It suggests the retrogressive current policy frame in England may benefit from leaps made possible where partners in creative learning are curiosity-driven ‘meddlers in the middle’: a productive form of reflective practice.

Making and being made: wise humanising creativity in interdisciplinary early years arts education

ABSTRACT This paper focuses on how wise humanising creativity (WHC) is manifested within early years interdisciplinary arts education. It draws on Arts Council-funded participatory research by Devon Carousel Project and University of Exeter’s Graduate School of Education. It is grounded in previous AHRC-funded research, which conceptualised WHC in the face of educational creativity/performativity tensions. WHC articulates the dialogic embodied inter-relationship of creativity and identity – creators are ‘making and being made’; they are ‘becoming’. The research used a qualitative methodology to create open-ended spaces of dialogue or ‘Living Dialogic Spaces’ framed by an ecological model to situate the team’s different positionings. Data collection included traditional qualitative techniques and arts-based techniques. Data analysis involved inductive/deductive conversations between existing theory and emergent themes. Analysis indicated that ‘making and being made’, and other key WHC features were manifested. We conclude by suggesting that WHC can help develop understanding of how creative arts practice supports the breadth of young children’s development, and the role of the creativity-identity dialogue within that, as well as indicating what the practice and research has to offer beyond the Early Years.