Teaching Students as Shapers of the Traditions that Shape Them

An undergraduate liberal arts education can help students be not simply shaped by tradition but also shapers of tradition. Specifically, undergraduate theological education, aimed at ministry preparation in a liberal arts setting, can seek to graduate students who are responsible shapers of the traditions that shape them, that is, who are tradents. The work of a tradent involves active engagement that requires skills and capacities well beyond simply passing on the past formulations of a tradition. The pedagogical question, then, is how to engage in undergraduate theological education if this image of the tradent is what we have in mind for our students. Three aspects of this image can serve as pervasive or recurrent themes across the structure of a major or program. One aspect is the interpretive nature of the tradent's work, a second is facility with traditions, and a third is the creative, constructive work of thinking theologically. Whatever particular traditions characterize a department's context, the image of students as tradents can help focus pedagogical reflection on the department's work: teaching students as shapers of the traditions that shape them.     

Creativity and cognition some implications for arts education

Abstract:

This study explored the relationships between creativity and cognitive skills, and the implications for arts education. The primary hypotheses were (a) that the creative arts career orientation is a valid personality construct, correlating with multiple domains of creative behavior; (b) that this orientation would be correlated with certain cognitive skills, including logical, divergent, and creative thinking; and (c) that these skills are themselves correlated with creative behaviors. Sixty‐five high school seniors were given the ACT Interest Inventory, several tests of logical, insightful, divergent, and creative thinking, and a modified version of the Creative Behavior Inventory. Results included significant correlations of the arts orientation with five domains of creative behawior and three cognitive skills. However, these skills were only correlated with two domains of creative behavior (literature and art). Discussion centered on fundamental implications for methods of arts education.     

Rethinking leadership education: narrative inquiry and leadership stories

This narrative essay shares observations and insights about how instructors can use creativity, student voice, and personalized learning to create more responsive educational leadership pedagogy. Three stories, as told by a professor and two former students, explore how students’ narratives can naturally inform educational leadership preparation across international borders. We aim to demonstrate how students’ narrative experiences in education can contribute to exisiting discourse and research on effective and innovative pedagogical practice in educational leadership preparation.     

Enhancement of Creativity through a One‐Semester Course in University

With the increasing interest by Asian countries in developing a more creative workforce through the education system, many universities have introduced courses that aim to enhance the creativity of their students. Students also perceive a need for increased creativity. However, there is some debate about whether short‐term creativity training is effective at university level. This study examines the effect of a short (one‐semester) course, which included elements of creativity training and practice, at a Hong Kong university. Training in creativity techniques for part of the semester led to increases in two key aspects of creative ability as measured by standard creativity tests conducted outside the classroom: verbal creativity increased compared with a control group, and drawing creativity also increased. Students enjoyed the course, felt it was useful and rated themselves as more creative after the course. Short‐term out‐of‐discipline training courses in creative thinking have a number of other benefits, demonstrably for learning strategies, in addition to an increase in creative abilities.     

World religion and fake news: A pedagogical response in an age of post‐truth

This article describes a pedagogical response to teaching world religions courses in a post‐truth age. The course assignment and its application, utilized in both online and in‐person formats, bridge student academic pursuits with religious traditions, require students to engage with source‐based journalism, and extend beyond the classroom into many of the contemporary politics encroaching upon the humanities fields. Related to the first, the objective of the assignment is for students to discover that religiosity permeates multiple sectors, both private and public, corresponding with student career paths. As a result, students discover that religion is relevant to their academic pursuits and that they must consider the possibilities of how religion might integrate with their career choices. Regarding the second objective, the assignment develops student digital media literacy skills as a form of civic education that challenges the current political attacks on journalism and factuality. Last, this exercise acknowledges the realities facing many humanities programs across the country and offers this assignment as a way of engaging with those issues within the classroom. See as well, published in this issue of the journal, three short companion essays by Sarah L. Schwarz, Jonathan R. Herman, and Harshita Mruthinti Kamath, each of which analyzes this pedagogical strategy for their particular teaching contexts.     

Young People's Creative and Performing Arts Participation and Arts Self‐concept: A Longitudinal Study of Reciprocal Effects

This longitudinal study examines the relationship between young people's creative and performing arts participation (e.g., in dance, drama, film, music, visual arts) and their arts self‐concept. Drawing on the positive youth development (PYD) framework and the reciprocal effects model (REM) of self‐concept, a cross‐lagged panel design is implemented to explore the connections between arts self‐concept and each of school (e.g., school‐based arts instruction), home (e.g., parent–child arts interaction), and community (e.g., out‐of‐school arts instruction) creative and performing arts participation. The study drew on an Australian sample of 643 elementary and high school students from 15 schools. Analyses showed that beyond the effects of socio‐demographics and prior achievement, there are longitudinal associations (including reciprocal effects) between numerous forms of creative and performing arts participation and arts self‐concept. Implications are discussed.     

Dissociative Experiences and Creativity in Fine Arts Students

Studies on creative personality have revealed that the relationship between personality and creativity remains unclear, and various types of creative thinking have been have been associated with various personality traits. To assess the influence of dissociative experiences on creativity in the context of fine arts education, in which the creative process plays a key role, a sample of fine arts students received a test of creative potential and the dissociative experiences test. The results revealed significant differences in creativity (creative imagination and creative experiences) between students scoring high or low in the number of dissociative experiences. High dissociative experiences scores were associated to high scores in creative imagination and creative experiences, and low scores in dissociative experiences were inversely related to creative imagination and creative experiences. Further studies are required to corroborate these findings.     

“Mistakes Can be Beautiful”: Creative Engagement in Arts Integration for Early Adolescent Learners

In this study we explored students’ perspectives and experiences engaging in an arts integration learning model during middle school through a pluralistic lens of creative engagement in learning. The sample included N = 86 students in Grades 6–7 attending schools in fringe rural and urban locales from small and mid-sized cities in the Pacific Northwest. We used a grounded theory approach to explore how creative engagement takes shape for the early adolescent learner. Our conceptual framework integrated intrapsychological (inward) processes with interpsychological (outward) exchange in the social environment of an arts integrated classroom. Schools involved in the study were part of a larger mixed-methods research investigation and received intensive support for school-wide arts integration development. We found that students valued opportunities in arts integration for (a) choice, (b) the expression of their unique interpretations, (c) taking risks and making mistakes, (d) recognizing and applying their Studio Habits of Mind, and (e) enhancement of motivation and engagement in learning. The need for competency, belonging, and autonomy were important conditions of the learning environment and the need for meaning-making was paramount in the process of creative engagement.     

Ethnography as Pedagogy: Learning and Teaching in a Religion Department Internship Class

Internships and other experiential education courses in Religious Studies departments particularly benefit from careful pedagogical preparation. In addition to the usual components of conceptual content and skills, these courses require knowledge about and understanding of human communication and interaction and organizational function. To be successfully collaborative in the classroom and with Community Partners for learning and service, students and teachers need tools for participant observation, integration of data and response, and reflection. This article proposes and discusses using 10 strategies of ethnography as a pedagogical frame. Developed in an internship class, these ten tools are demonstrated through teacher discussion and reflection and students’ written work. Specific connections to the field of Religious Studies are highlighted. The article is written in the hopes of stimulating additional conversations on how experiential learning and teaching, specifically the use of ethnography, can be effectively and appropriately used in Religious Studies courses.     

Teaching the Material and Teaching the Students: Reflections on Introductory Courses for Non‐Majors

Teaching a required introductory Bible course to non‐majors at a church‐related college presents a number of pedagogical challenges. When considering how to teach such a course in the context of concerns common to the liberal arts, I find myself reflecting on authority. My thoughts on the teaching of this course in my own context are organized around authority understood as a developmental issue, an educational issue, and a religious issue. In each case, I seek to use my discipline and the primary and secondary materials of the course as occasions for the development of capacities that will contribute to the life of students as critical thinkers, creative problem‐solvers, and responsible global citizens.     

Fostering Diversity in the Creative Arts by Addressing Students' Capacity to Aspire

Research on young people's aspirations and their capacity to aspire to higher education has proliferated in recent decades, however, very little attention has been paid to the creative arts. Diversity in the arts remains a persistent issue in many nations, and repeated attempts to promote diversity in the Australian arts community have had limited impact, suggesting the need for new approaches. Drawing on data from a 4‐year longitudinal study of students from ages 8 to 18 (n = 6,492) in government schools, we examine school students' aspirations for careers in the arts. Arts‐related careers were popular among students, yet we found a distinct lack of diversity among those aspiring to such careers. Using logistic regression analysis we found that being female, high achieving, from an English‐speaking background, possessing high cultural capital, and attending advantaged schools were significant predictors of interest in the arts, suggesting the likely reproduction of existing patterns of participation. We argue that initiatives within schools are essential to disrupting these patterns and building the capacity of a more diverse range of students to aspire to careers in the arts.     

Reflections on teaching health care ethics on the web

As web instruction becomes more and more prevalent at universities across the country, instructors of ethics are being encouraged to develop online courses to meet the needs of a diverse array of students. Web instruction is often viewed as a cost-saving technique, where large numbers of students can be reached by distance education in an effort to conserve classroom and instructor resources. In practice. however, the reverse is often true: online courses require more of faculty time and effort than do many traditional classes. Based on personal experience teaching an online course in health care ethics for students in the Allied Health Professions, it is evident that there are both benefits and challenges in teaching online courses, particularly in ethics. Examples of benefits are (1) the asynchronous nature of web instruction allows students to progress through the course at their own pace and at times that are convenient given their clinical responsibilities; (2) web courses allow for a standardization of content and quality of instruction over a diversity of programs; and (3) examples can be tailored to the differing experiences of students in the course. Some challenges to teaching online ethics courses include (1) the fact that online instruction benefits visual learners and disadvantages those lacking good reading comprehension or strong writing skills; (2) developing meaningful student-student and student-instructor interaction; and (3) teaching ethics involves teaching a process rather than a product. Allowing students to apply their knowledge to real-world cases in their disciplines and encouraging them to share experiences from clinical practice is an effective way to meet several of these challenges. Building an online community is another good way to increase the interaction of students and their engagement with the material.     

Developing Creative Behavior in Elementary School Students with Robotics

The School Robotics Initiative (SRI ), a problem‐based robotics program for elementary school students, was developed with the objective of reaching students early on to instill an interest in Science, Technology, Engineering, and Math disciplines. The purpose of this exploratory, observational study was to examine how the SRI fosters student creative behavior. Weekly observations of 194 students (4th–6th grade) were conducted in three classrooms, over 3 years. Supplemental data were collected from student‐written journals. Data were coded for themes. The findings revealed that the robotics classrooms were characterized by a high degree of energy. The students worked intensely on robotic tasks, engaging in a two‐stage creative process that involved first designing a robot with a preplanned or spontaneous work approach, followed by an iterative period of trial and error creative programming. A variety of creativity techniques were observed being used. The SRI was shown to develop creative behavior in the students through the myriad of creative robot products generated. Based on the findings, the authors propose a componential model for developing creative behavior in the students through robotics, which includes a set of social, psychological, and physical elements necessary for the students to produce creative results in school robotics programs.     

Opening up Openness to Experience: A Four‐Factor Model and Relations to Creative Achievement in the Arts and Sciences

Openness to experience is the broadest personality domain of the Big Five, including a mix of traits relating to intellectual curiosity, intellectual interests, perceived intelligence, imagination, creativity, artistic and aesthetic interests, emotional and fantasy richness, and unconventionality. Likewise, creative achievement is a broad construct, comprising creativity across the arts and sciences. The aim of this study was to clarify the relationship between openness to experience and creative achievement. Toward this aim, I factor analyzed a battery of tests of cognitive ability, working memory, Intellect, Openness, affect, and intuition among a sample of English Sixth Form students (N = 146). Four factors were revealed: explicit cognitive ability, intellectual engagement, affective engagement, and aesthetic engagement. In line with dual‐process theory, each of these four factors showed differential relations with personality, impulsivity, and creative achievement. Affective engagement and aesthetic engagement were associated with creative achievement in the arts, whereas explicit cognitive ability and intellectual engagement were associated with creative achievement in the sciences. The results suggest that the Intellectual and Openness aspects of the broader openness to experience personality domain are related to different modes of information processing and predict different forms of creative achievement.     

Erotic Education: Elaborating a Feminist and Faith‐Based Pedagogy for Experiential Learning in Religious Studies

This essay explores intersections among Jesuit, Quaker, and feminist theologies and pedagogies of social justice education in order to propose and elaborate an innovative theoretical and theological framework for experiential learning in religious studies that prioritizes relationality, called erotic education. This essay then applies the relational rationale of erotic education to interpret the author's design of a service or community‐based learning component in a course about contemporary U.S. Christian social justice movements, offered in both religiously‐affiliated and religiously‐inspired liberal arts colleges. The course case study not only chronicles the author's evolving pedagogical praxis as a feminist theologian teaching in Jesuit and Quaker institutions, but also is grounded in how the author's course embodies erotic education, that is, how specific objectives, learning practices, and assignments build and bolster relationships among students (in peer‐to‐peer small groups inside and outside the classroom) as well as among students and their community sites. In developing this framework and implementing it within this particular course, the author argues that erotic education emphasizes the naming and training of our existential desires for interpersonal relations in order to upbuild not only the individual but also the common good.     

Using Expressive Arts in Online Education to Identify Feelings

The authors of this article present two creative teaching activities to illustrate how online counselor education can use expressive arts to promote awareness of how one feels. Included is a discussion of this awareness of feelings, the downside of expressing feelings, creative arts in counselor education, and how counselor education can promote feeling experiences. Two examples of expressive arts are offered with a brief discussion.     

Ethnocultural resistance to multicultural training: students and faculty

Teaching diversity courses in mental health programs presents a unique set of issues for the faculty. These courses generate various forms of emotional reactions in students that could take the form of anger, silence, avoidance, and passivity. The purpose of this article is to specifically focus on the experience of students of color who find themselves in these courses and the various ways they respond. This learning process is often impeded by resistance because of the personal experiences of all students, but students of color experience a unique set of resistances in each stage of this process, either because of their own experience or because of a lack of experience with racism, racial and biracial identity development, cultural and bicultural identity, or acculturation issues. Resistance in the classroom interferes with the reciprocal communication between instructors and students and interferes with learning and the development of trust between instructors and students of color. Suggestions are made to help faculty to understand these resistances and to develop appropriate responses for working through the process.     

Including Manual Signing as Nontargeted Information When Using a Constant Time Delay Procedure to Teach Receptive Identification of Packaged Food Items

This investigation extends the constant time delay research base by embedding nontargeted information in the task direction when teaching communication skills. Specifically, instructors taught receptive identification of packaged food items to 4 secondary students with moderate to severe disabilities and evaluated generalization to the community. In addition, instructors included the manual sign for each food item. The instructional strategy was a constant time delay procedure using a 5-s delay interval. The intervention, conducted within a multiple probe design across behaviors replicated across students, resulted in the acquisition and generalization of receptive identification of packaged food items by 3 out of 4 of the students. In addition, the students acquired the nontargeted manual signs with an average of 60% percent in the final probe session.     

The Crosstown Initiative: Art,Community, and Placemaking in Memphis

This case study examines an arts organization at the center of an urban neighborhood revitalization effort and its contributions to creative placemaking and inclusive community building. The study documents innovative arts practices and explores their meaning for a local context, an understudied city in the Mid‐South region of the United States. It builds on the research team’s ongoing work as teachers, students, and scholars in partnership with the arts organization. It includes systematic participant observation, interviews with stakeholders, and a review of historical and contemporary media coverage. We found that the organization and its practices provided a rich context for exploring an expanded sense of community including bridging social capital and place‐based frameworks. Analysis suggests that the organization’s intentional arts based practices bring multiple understandings of community and art into meaningful dialogue through the generation of creative and social friction. These practices illustrate one context‐specific strategy addressing the tensions in a community–diversity dialectic (Townley et al. in Am J Commun Psychol 47:69–85, 2011 ).