cwis literature review final - cfey · 2019-09-05 · and the literature highlights the following...
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Literaturereview
...................................................“Societyshouldensurethatallyoungpeoplereceivethesupporttheyneed
inordertomakeafulfillingtransitiontoadulthood”
CreativeWritinginSchools:LiteratureReview.................................................
FirstStory,PaperNationsandLKMcohaveidentifiedsixkeythemestheyareinterestedinexploringaspartoftheCreativeWritinginSchoolsevaluation.Theseare:sustainability;engagement;skilldevelopment;bestpractice;networks,and;valuingcreativewriting.Torefinethesethemes,areviewoftheacademicandgreyliteraturehasbeencarriedoutfocussingonthefollowingresearchquestions:
• Howhaspreviousresearchconceptualisedtheproposedthemesandhowmightweneedtoadaptorrefinethem?
• Howhavethesethemesbeenmeasuredinthepastandwhatcanwelearnfrom
this?
• Howhavepreviousprojectssoughttoimpactintheseareasandwhatcanwelearnfromthis?
Thisdocumentsummarisesthekeyfindingsandthengoesontoexploretheminmoredepth.
ByEleanorBernardesandLoicMenzies
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ContentsContents............................................................................................................................2
ExecutiveSummary............................................................................................................3
1. Sustainability...............................................................................................................3
2. Engagement................................................................................................................3
3. SkillDevelopment.......................................................................................................4
4. Bestpracticeandpedagogyforcreativewriting..........................................................5
5. Networks.....................................................................................................................5
6. ValuingCreativeWriting..............................................................................................6
Possibleimplicationsforevaluation:..................................................................................7
1.Sustainability.................................................................................................................8
2.Engagement.................................................................................................................12
3.Skilldevelopment.........................................................................................................16
4.BestPracticeandpedagogyforcreativewriting...........................................................23
5.Networks.....................................................................................................................30
6.ValuingCreativeWriting...............................................................................................33
Possibleimplicationsforevaluation:................................................................................35
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ExecutiveSummaryTheheadlinefindingsinrelationtothesixthemesaresummarisedbelow: 1. Sustainability Sustainabilityreferstothedegreetowhichchangesinpracticearemaintainedovertimeandtheliteraturehighlightsthefollowingfindingsinrelationtoit:1 Schoolshavedifferentintentionsforengagingwithprojects(long-orshort-term).Itis
importanttounderstandtheirmotivationsandexpectationsattheoutset.2 Impactismoresustainablewhencross-curricularlinksaremade,andthisiseasierat
primarythanatsecondaryschoollevelforlogisticalreasons.3 Sustainabilityismorelikelytobeachievedwhenresponsibilityforaprojectisgiventoa
seniormemberofschoolstaff,andespeciallywhentheheadteacherisinvolved.4 Continuityamongstteachingstaffcanpresentaconsiderablebarriertosustainability.5 Sustainabilityisachievedmostsuccessfullywhenteacherschangetheirteachingpractice
andpedagogicalperspectivesasaresultofaproject.6 Fundingisachallengeininitiatingprojects,butrarelymentionedintermsof
sustainability.7 Therehasbeenlittle,ifany,costeffectivenessanalysiscarriedoutinthisarea.8 Thereisnosinglemodelforsuccess.2. Engagement Thisthemerelatestohowpupilsandteachersengagewithcreativewriting,theirmotivationforandtheoutcomesofparticipating,andtheirperceptionsandenjoymentofwriting.1 Thereareconcernsthatgovernmenteffortstoraisestandardsinliteracyhavebeenat
theexpenseofcultivatingexcitementaboutwriting.2 Bothstudentsandteachersenjoywritingmoreiftheyhaveautonomyandownership
overwhattheywritingabout.3 Boysconsidered‘atrisk’ofunderachievementhavebeenfoundtoenjoywritingintheir
Englishlessonsmorethanelsewhereinthecurriculum.4 Youngpeoplemakelinksbetweenenjoymentofwritingandself-confidenceinwriting.5 Youngpeople’sattitudestowritingarecloselylinkedtotheirperceptionsoftechnical
accuracy.6 Unlikewithreading,theredoesnotappeartobealinkbetweenSESbackgroundand
writingenjoyment.7 Girlsenjoywritingmorethanboys,and11-14yearoldsenjoywritinglessthanotherage
groups.8 Theterm“creativewriting”itselfhashistoricconnotationsforschoolsandteachersthat
arenotalwayspositive.9 Mostyoungwritersacknowledgealinkbetweenwritingandfuturesuccessand
wellbeing.
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10 Youngpeople’screativeabilitiesaremostlikelytobedevelopedinanatmosphereinwhichtheteacher’screativeabilitiesareproperlyengaged.
11 Tofullyappreciatestudents’writingjourneys,teachersneedtobewritersthemselvesandtowritealongsidetheirstudentsinclass.
12 Artsprojectscanhelpreduceinequalitiesinacademicachievementbetweenprivilegedanddisadvantagedchildren.
13 Youngpeople’sexperienceofandparticipationinwritingathomeisunexpectedlyrich.14 Elementsofprogrammesthat‘reach-out’intothecommunityareveryhighlyvalued.
3. SkillDevelopmentTheliteratureexploresawiderangeofskills,dispositionsandcharactertraitsthoughttobedevelopedthroughparticipatingincreativewriting.Thekeyfindingsareoutlinedbelow:1 Whilethereisaconsiderablerangeofacademicresearchthathighlightsthepositive
educationalimpactofthearts,thereiscomparativelylittleontheimpactofcreativewritinginterventions,incomparisonwithmusic,dance,dramaandvisualarts.
2 Thereareawiderangeofskills,dispositionsandcharactertraitsthoughttobedevelopedbyparticipatingincreativewriting,themostfrequentlyhighlightedofwhichare:
• Creativity• Risktakingandproblemsolving• Metacognition• Confidence• Socialandinterpersonalskills• Patience,perseveranceandresilience• Communicationskills• CriticalThinking• Self-efficacy
3 Researchaboutcreativityiswellestablishedinrelationtochildrenandadults,butagapexistsinrelationtoadolescents(duetotheuniquecognitivedevelopmentsthoughttooccurduringthisperiod).Therefore,generalisingacrossthethreegroupsshouldbeavoided.
4 Creativepractitionershavebeenfoundtousestrategiestodevelopstudents’risktakingandself-beliefmoreeffectivelythanteachers.
5 Metacognitioninvolvesreflectinguponandevaluatingone’slearning,andisofparticularimportanceinwriting.Evenveryyoungwriterscanbehelpedtothinkaboutandreflectupontheirwritingprocessesinmetacognitiveways.
6 Changesinpupils’confidencelevelsareoneofthemostcommonlyreportedimpactsofcreativewritingprogrammes,althoughtherigourandrobustnessofresearchmethodologyanddatacollectioninmanystudiesisquestionable.
7 Therecanbeaperceivedtensionbetweencreativewritinginitiativesandthe‘standardsagenda’.
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8 Writingisthemostcomplexandmentallydemandingofthefourlanguageskills(listening,speaking,readingandwriting).
9 Astudent’sperceptionoftheirowntechnicalwritingskilliscloselylinkedtotheirenjoymentofwriting.
4. BestpracticeandpedagogyforcreativewritingBestpracticeandpedagogyforcreativewritingwasexploredinrelationtothreemainareas:havingthetools,resourcesandqualificationforsuccess;teachers’confidenceindeliveringcreativewriting;andhowevidenceofbestpracticehasbeenappliedinschools.1 Thequalityofthestudentwritingenvironment(forexample,theclassroominwhich
theywrite)isseentobeofprimaryimportance.2 Libraries,andlibrariansareanimportantresourceforschools.3 Teachers’confidenceindeliveringcreativewritingisakeyfeatureinsuccessful
programmes.Thefollowingarefrequentareasofdifficultyforteachers:• Writingauthenticallyandunderstandingthatrisktakingisacentralcomponentin
creativity• Aproblematictendencyforteacherstoconsidercreativityandtechnique
separately• Poetry
4 Theliteratureparticularlyhighlightsgoodpracticeinrelationto:
• Developingstudents’risktaking• Leadershipandmanagementofprojects• Pedagogy(including:drama;talk;selfexpression;andknowledgeabout
language)• Teachingpoetry• Writersand‘creativepractitioners’workinginschoolsandeducationsettings• Provisionoffeedbackonwritinganddevelopingstudents’editingskills• Engagingwithcommunitiesandparents
5. NetworksEffectivepartnershipsandnetworksareessentialtoaproject’ssuccess.Thekeyfindingsfromtheliteraturearesummarisedbelow:1 Themosteffectivepartnershipstendtobedevelopedbymorereceptiveteachers,and
creativepractitionerswhounderstandtheconstraintsfacedbyschools.2 Effectiveselectionofreceptivestaffforparticipationinprojectscancatalysewider
participationandenthusiasmforaproject.3 Jointworkingoftenlackscommonpurposeduetodifferentpriorities.4 Severalbarrierstobuildingnetworksarehighlightedintheliterature,relatingto
differentpartners:
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Teacherscanhinderthecreationofeffectivenetworksby:o Delegatingtheroleof‘theteacher’toavisitingpractitionero Feelingconstrainedbythecurriculumandlackingsufficientconfidenceor
trusttobuyintoavisitingpractitioner’smethodso Refusingstudentstheopportunitytoleavetheirlessonstoparticipatein
programmes
Writerscanhinderthecreationofeffectivenetworksbybeingreluctantto:o Initiatinglongertermresidencieso Joiningformalnetworkso Receivingmoreformaltraining
Additionally,schoolsthemselvescancreatebarriersasaresultof:o Concernsaboutcosto Holdingpre-conceptionsaboutstudents’willingnesstoparticipatein
creativewritingandtheirlikelihoodofsuccesso Time-tablingandlogisticalissuesexacerbatedbyanexam-focusedsystemo Perceivedindifferenceamongststaff
5 Reachingouttofamiliesandwidercommunitiesalienatedbyorisolatedfromlearning
canbeparticularlychallenging.6 Thefollowingareasareofkeyimportanceinensuringaproject’ssuccess:
• Timegiventodevelopingrelationships• Qualityandexperienceofstaffassignedtoprojects• Overallprojectmanagementresponsibilities• Geographicallocationandreach• Brokeringpartnerships
6. ValuingCreativeWriting Thevaluethatschools,teachersandthewidercommunityplaceoncreativewritingisofprimeimportancetothesuccessandsustainabilityofcreativewritingprojects.1 Theperceivedoppositionbetweencreativityandtechniqueisanimportantbarrierto
schoolsandteachersvaluingcreativewriting.2 Teachers’ownvalues(forexample,relatingtotheimportanceofgrammaranddifferent
pedagogicalapproaches)influencetheirteachingofwriting.3 Manyteachersplacelowvalueonteachingpoetryandteacherattitudestowardspoetry
itselfplayanimportantroleinthis.4 Schoolsvaluehavingan“outcomeforpublicconsumption”fromaproject,butthisisnot
alwayssharedbycreativepartners.
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5 The‘celebritisation’ofwritinghaschangedthewaymanyyoungpeopleviewwriting,yetwhilstthishasensuredliteracyhasremainedhighprofile,insufficientattentionhasbeengiventotheteachingandlearningofwritingspecifically.
6 Artseducatorsandcreativepractitionersneedtoavoidallowingartssubjectstobejustifiedwholly(orprimarily)intermsofwhattheycanofferacademically.
7 Moreeffortneedstobeinvestedinensuringthatteachers,schoolsandthewiderpublicunderstandthat“inspirationdoesnothavetobeattheexpenseofstandards.”
Possibleimplicationsforevaluation:
1. Theextenttowhichaprojectleadstoanactualchangeinpracticeonthebehalfofteachersisofprimeimportance.
2. Creativityandtechniqueshouldnotbeconsideredseparatelybutasmutuallyreinforcingelementsofwriting.
3. Evaluatingprogressinskillssuchas‘creativity’and‘self-confidence’iscomplexanddemandswell-designedtoolsthatneedtobeadministeredinarigorousandrobustway.
4. Thequalityofpartnershipsandjointworkingmethodsthatunderpinaprojectplayacrucialroleinitssuccess.
5. Projectsshouldbeevaluatedfortheirwiderimpactontheschoolcommunity,notjustonthedirectparticipants.
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1.SustainabilitySustainabilityreferstothedegreetowhichchangesinpracticearemaintainedovertime.1.1IntentionanddesiretocontinueSchools,andtosomeextentcreativepartners,havedifferentmotivationsforbecominginvolvedwithcreativewritingprojects,andwillthereforehavevaryingintentionsforcontinuingwiththem.Itisimportanttounderstandthesedesiresandintentionsattheoutsetofaproject.Ifanartsprogramme’simpactistobemaximisedandsustained,partnersmustdesiretomaintainchangesinpractice.However,whilstsomeschoolsengageinartsprovisiontobringaboutculturalandpedagogicalchange,othersdosofora‘one-off’experience.Thiscanbeaconsiderablebarriertosustainability.Somestafffeelthatthe“one-offnature”ofaprojectoreventisimportantforengagingyoungpeople,andthat“suchworkcouldnotbesustainedonanongoingbasis”becausethey“areboundbyexams”(Marshetal.,2009).Ontheotherhand,manyschoolsengageinprojectsinalonger-termwayandplanthem“inordertoensuresustainability”(Marshetal.,2009).Therearealsomanyexamplesofschoolleaderswhoapproachengagementfromapedagogicalperspectivetodevelop“staffwho[can]teachcreativewritinganddeveloprisk-takingskills”,withtheaimofcreating“anEnglishdepartmentthatwrites”(OwenandMunden,2010).Owen(2008)explainsthatalthoughschoolscanperceivewriterresidenciesasboth“magical”andbringing“realitytothenon-realschoolclassroom”,theyalsofrequentlyviewtheimpactasof“limitedshelflife”becausetherecomesatimewhen“whattheschoolistryingtodohastobere-established.”Horner(2010)suggeststhatsecuringsustainabilityiseasierattheprimary-thanthesecondary-levelbecauseteacherscanmorereadilymakeconnectionsbetweensubjectareasandacrosscurriculumtopics.Indeed,eveninsecondaryschoolswherecross-curricularwritinglinkshavebeensuccessfullyestablished,“maintainingtheimpetus”isoftendifficult(Horner,2010).OwenandMunden(2010)alsohighlightlogisticsasaparticularbarriertosustainabilityinsecondaryschools.Lackofcontinuityamongstteachingstaffisasignificantbarriertothesustainabilityofcreativewritingprojects(OwenandMunden,2010)andwidespreadbuy-inisthereforekey.Impactisalsomoresustainablewhenresponsibilityforaprojectisheldbyamoreseniormemberofstaff(Galton,2008;Marsh,2009).Inthemajorityofschoolswherepost-projectimpacthasbeensustained,headteachershaveplayedanactiveandimportantrole(Marsh,2009).1.2CapacityandabilitytocontinueTeachersoftenraisequestionsabouttheirschools’capacityandabilitytocontinuedeliveringaprojectoncetheinitialmomentum(suchastheinvolvementofawriter)haspassed.
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Acommonthemeofsuccessfulprojectsisthatteacherschange(oradapt)theirteachingstyleorapproach,andputnewtechniquesintopractice(SQW,2012;SocietyofAuthors,2013;CapeUk,2010;Galton,2008;Cremin,2006;CreminandMyhill,2012;Marsh,2009;Horner,2010).Inthisway,teachersactivelydevelopthecapacitiesandabilitiestheyneedinordertosustainchange.Theliteraturesuggestsseveralwaysinwhichprojectscanbedesignedtoensurethatthishappenseffectivelyandnotsuperficially:
1 Teachersshouldbeencouragedtorepositionthemselvesaswritersintheclassroomandengagewithprojectsreflectively(Goouchetal.,2009;Ings,2009;Cremin,2012).
2 Creativepartnersshouldconcentratetheireffortswithfewerteachersandclasses.Changingpedagogyinvolveschallengingpersonalvaluesandbeliefsandpartnershipsneedtimetodevelopifthisistohappen(Galton,2008).
3 Writersneedbeexplicitabouttheprocessespupilshavebeenthroughandtheskillstheyhavedevelopedincludingwhytheymatter,tomakeiteasierforteacherstofollowuptheexperiencesandchangetheirroutinesandcontinuethecreativeapproachestheyhaveseeninaction(Horner,2010).
4 Teachersneedtochangethewaytheyteachwritingandschoolsneedtounderstandthatthisis“notashort-termenterprise”:theconfidenceandenthusiasmthatresultsfromresidenciescandissipateifitisnotembeddedintheweeksthatfollowandifitisnotpartofalong-termcommitmentfromtheschool,includingfromseniormanagement(Horner,2010).Galton(2008)suggestsitisprobablyatwo-yearprocesstosecurechangesandthatchangerequiresstrongleadership,aschoolstrategyforwritingandwhole-schoolinvolvementinnewpedagogicalstyles.
5 Careshouldbetakenwhenselectingteachersforparticipationifsustainabilityistobemaximised:onlythosewhoareatthepointintheirdevelopmentwheretheyarewillingtoattributefailuretotheirownefforts,ratherthanblamingitonfactorsoutsidetheirpersonalcontrol,areatastageofprofessionalcompetencewheretheyarelikelytobereceptivetothetheoreticalimplicationsbehindthecreativepractitioners’approach(Galton,2008).
• EconomicviabilityAsurveybytheSocietyofAuthors(2013)foundthatfundingwasthebiggestconcernforschoolswhentryingtoorganisevisitsbywriters.Themajorityofstatesecondaryschoolspaidfortheworkthroughoverallschool,departmentalorlibrarybudgets,withasmallnumberrelyingonparentalandcommunityfundraising.ThebursarythatwasmadeavailabletoschoolsparticipatingintheEverybodyWritesprogrammewasfoundtoenableschoolstodevelopandpurchase‘high-quality’resources,buttheprojectevaluationfoundthatthemosteffectiveresourceswerenotnecessarilythemostexpensive(Marsh,2009).Thereappearstobelittle,ifany,costeffectivenessanalysisintheareaofparticipationinartsactivities(includingcreativewriting)(EPPI,2014),butdespitethis,Horner(2010)believesthatprojectsthatpromote“positiveschoolethos”,“raisestandardsofwriting”and
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haveaconcomitantimpactonpupils’enthusiasmandenjoymentareaworthwhileinvestmentforschools.Inordertominimisetheissueofcost,theSocietyofAuthors(2013)suggeststhatschoolsshouldbeencouragedto:
• Poolresources• Sharevisits• Identifylocalauthors(toreducetransportcosts)
1.3Establishmentanddisseminationofscale-ablebestpracticemodelsIngs(2009)suggeststhatthefollowingpointswereessentialinsustainingtheimpactofthe‘WritingisPrimary’project:
1 Thereisnoonemodelforimprovement.Programmesforchangeshouldbetailoredtosuittheschool’sattributes,itsstrengthsandweaknesses,anditsuniqueculture.
2 Thesustainabilityofaschool’simprovementprogrammeforwritingisenhancedbycollaborativeworkingandpeernetworkingwithneighbourorpartnerschools,sharingcommitment,ideasandpracticesaswellasteachingstaff.
3 ‘Whole-school’awarenessoftheimportanceandpleasureofwritingisessential,ideallyextendingtothecommunitybeyonditsgates.
1. Sustainability Sustainabilityreferstothedegreetowhichchangesinpracticearemaintainedovertimeandtheliteraturehighlightsthefollowingfindingsinrelationtoit:1 Schoolshavedifferentintentionsforengagingwithprojects(long-orshort-term).Itis
importanttounderstandtheirmotivationsandexpectationsattheoutset.2 Impactisseentobemoresustainablewhencross-curricularlinksaremade,andthis
iseasieratprimarythanatsecondaryschoollevelforlogisticalreasons.3 Sustainabilityismorelikelytobeachievedwhenresponsibilityforaprojectisgiven
toamoreseniormemberofschoolstaff,andespeciallywhentheheadteacherisinvolved.
4 Continuityamongstteachingstaffcanpresentaconsiderablebarriertosustainability.5 Sustainabilityisachievedmostsuccessfullywhenteacherschangetheirteaching
practiceandpedagogicalperspectivesasaresultofaproject.6 Fundingisachallengeininitiatingprojects,butisrarelymentionedinrelationto
sustainability.7 Therehasbeenlittle,ifany,costeffectivenessanalysiscarriedoutinthearea.8 Thereisnosinglemodelforsuccess.Programmesneedtobetailoredtospecific
schoolsandcontexts.9 Sustainabilityisenhancedbycollaborativeworkingandpeernetworkingwith
neighbourorpartnerschools,sharingcommitment,ideasandpracticesaswellasteachingstaff.
10 ‘Whole-school’awarenessoftheimportanceandpleasureofwritingisessential,ideallyextendingtothecommunitybeyonditsgates.
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2.Engagement2.1Enjoyment‘Enjoyment’isakeyrecurringthemeintheliteratureonengagementinwritingforyoungpeople.Thereareconcernsthatsuccessivegovernments’emphasisonraisingstandardsinliteracyhasbeenattheexpenseofcultivatingexcitementaboutwriting(Horner,2010).Researchhasfoundthatyoungpeopleareambivalenttowardswritingwith49%holdingnegativeperceptionsofwritingcomparedto51%withpositiveperceptions.TheNationalLiteracyTrust(2015)reportthatwhilstyoungpeople’senjoymentofreadinghassteadilyincreasedsince2010,thesamecannotbesaidforwriting,andwhilstyoungpeople’sdailywritinglevelshaveremainedstableovertime,engagementwithreadinghassteadilyincreased(NationalLiteracyTrust,2015).Whilelowersocio-economicbackgroundhasbeenfoundtobesignificantlyrelatedtolowerreadingenjoyment(e.g.ClarkandAkerman,2006),thisrelationshipdoesnotseemtobereplicatedinwritingenjoyment(ClarkandDugdale,2009;NationalLiteracyTrust,2015).Girlsenjoywritingsignificantlymorethanboys,whoaremorelikelytobelievethatwritingis“somethingthatmustbedone”rathersomethingthatcanbeenjoyed(ClarkandDugdale,2009;NationalLiteracyTrust,2015).However,boysaremorelikelytobepositiveabouttechnology’spotentialtoincreasetheirenjoymentofwriting(ClarkandDugdale,2009).KS2andKS4pupilsenjoywritingsignificantlymorethanKS3pupils(ClarkandDugdale,2009),with11-14yearoldpupilsmostlikelytohavenegativeattitudestowardswriting(Horner,2010).Variousfactorsappeartoplayaroleinthedegreetowhichyoungpeopleenjoywriting.ClarkandDugdale(2009)highlighttheimportantroleofchoosingone’sowntopic;childrenfrequentlyexpressadesireformoreautonomyinwritingandvalueopportunitieswhentheycanexertagencyovertheprocess(Graingeretal.2003;Myhill2005;Cremin2012).Thisisalsothecasefor‘atrisk’groupssuchasunderachievingboyswhohavebeenfoundtoenjoythecreativefreedomofwritinginEnglishbutnotacrosstherestofthecurriculum(Myhill,etal.,2008).Bothteachersandstudentshavebeenfoundtoexperienceagreatersenseofachievementwhentheyaredoingsomething“forandofthemselves”(Grainger,2005),enablingthemtomake“dynamicsenseoftheirownlives”(Grainger,2005;Moffett,1968).Conversely,iftheactofwritingisdivorcedfromthewriterthemselves,disinterestanddisaffectionarelikelytodevelop(PackwoodandMessenheimer2003).Theevaluationof‘WritingTheGame’(Murphy,2015)alsofoundthatyoungpeoplestronglylinkedtheirincreasedenjoymentincreativewritingtoanincreaseintheirself-confidence. Inrecentyears,concernshavebeenexpressedaboutyoungpeople’sattitudestowritingandtheirlowself-esteemaswriters(Cremin,2006;CreminandMyhill2012;OwenandMunden,2010;Grainger,2005;BooktrustandNationalLiteracyTrust,2011).Motivationalsoappearstobeaffectedbyyoungpeople’s‘self-perceptionsandbeliefsaboutthemselvesaswriters,theirwritingcompetence,andtheirabilitytomanagewritingtasks’(BoscoloandGelati,2007;Cremin2012).Thisiscompoundedwhenyoungpeopleexpressalackofconfidenceintermsoftechnicalcompetenceratherthaninregardstothemessagesthattheymightactuallywanttoconvey(Horner,2010).
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2.2ParticipationincreativewritingAnumberoffactorsrelatingtobothteachers'andpupilsaffectparticipationincreativewriting.
a) Pupils
Thereisawealthofevidencetestifyingtoparticipationincreativewriting’spositiveimpactonyoungpeople,withboysinparticularhavingbeenfoundtomovefromapositionof‘antagonism’tooneof‘enthusiasmandengagement’(OwenandMunden,2010).Theterm‘creativewriting’itself,however,isoftenavoided.Cremin(2012)suggeststhatthisisbecauseofanearliertendencyforcreativewritingtobeseenascontrived,artificialand“divorcedfromrealfeeling”(DES,1975).Thisoccursifteachersretain“toostrongagrasponthecurriculumreins”andprioritisewritinginstructionattheexpenseofdevelopingthedesire,commitment,ownershipandagencyofyoungwriters(Cremin,2012)Writingwellmattersfor“emotional,intellectualandsocialwellbeing”(Owen,2008),andthelinkbetweenwritingandfuturesuccessisacknowledgedbymostyoungwriters(ClarkandDugdale,2009).
b) Teachers
Youngpeople’screativeabilitiesaremostlikelytobedevelopedinanatmosphereinwhichtheteacher’screativeabilitiesareproperlyengagedandwhenteachersthemselvesengageinbeingwriters(ratherthanteachersofwriting).Theirinsightsintothisprocessenablethemtounderstandbetterhowyoungwritersexperiencewritingintheirclassrooms(Cremin,2006;CreminandMyhill,2012).Yeo(2007)arguesthatteacherswhowriteintheirpersonallivesdeveloptheirwritingidentitiesandtransmitthebenefitsofsuchpracticetotheirstudentsthroughtheirteachingofwriting.Onlywhenteachersarewritersthemselvesdotheylearnempathywiththeirpupils,enablingthemtogivemorespacetopupilsandtomodelwriting‘live’(Horner,2010).Teacherswritingalongsidechildreninclassalsoincreasespupils’motivationandcommitment,andresearchsuggeststhatyoungwriterssettlemorequicklyandremainfocusedforlongerwhentheirteachersaresimilarlyengaged(Goouchetal.,2009;CreminandBaker,2010).Whenteachersrevealtheirvulnerabilitiesaswriters,childrenbegintotalkmoreabouttheirownthoughtprocessesaswriters,andbegintoappreciatethatallwriters,whatevertheirageandexperience,encounterchallengesandfrustrationsastheywrite(CreminandMyhill,2012;Grainger,2005).CreminandMyhill(2012)findthatchildrenoftenobservethattheirteachersdonotlikewriting,butbysharinginthe‘discomfort’oftheirstudents,teachersareableto“mobilizeakindofcreativeenergy”(Runco,1999)oftengeneratingtemporaryresolutionstotheirimmediatedilemmasuntilotherwritingproblemsemerge.Whenteachersinoneprogrammerespondedtothecreativechallengeofwritingashortstory,theyencountered
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periodsof“intenselyexperiencedinsecurity”andexpressed“considerableemotionaldiscomfortandevendistress”unbeknowntotheparticipants,theirschoolleaderperceivedtheyweresostressedherequestedthattheprogrammeshouldcease(Cremin,2006):thisfearoffailureandpossibleexposureraisesissuesofsecurity,ownershipandtrustinwritingasteachersexperiencedtherisk,andlackofcertaintyinvolvedincomposition.Participatingontheprogrammeledteacherstofeelthattheirsensitivitytochildren’s“journeysaswriters”hadincreased(Grainger,2005).AccordingtoIngs(2009),“themostexciting”outcomeofthe‘WritingisPrimary’projectwasthatteachersdevelopedadeeperunderstandingofthewritingprocessthroughtheirownpracticeaswriters,whichultimatelyledtoachangeinthewaytheytaughtwriting.Similarly,intheBigWritingproject,Harlandetal.foundthatteachersreportedarangeofimpactsonthewaytheytaughtwriting,includingontheir:repertoireofapproachesandtechniques;abilitytoteachwritinginanengagingway;ideasandresources;abilitytostretchandchallengepupils;subjectknowledgeaboutteachingwriting;andassessmentofwriting(Harlandetal.,2014). 2.3CharacteristicsofparticipantsAlthoughmanycreativewritingprojectsexist,youngpeoples’(andteachers’)likelihoodofaccessingthemvaries.TheBooktrust(2010)foundthatthosewhoalreadyparticipatehaveagreatappetiteformore,butchildrenandyoungpeoplewhodonotparticipatearerarelyrepresentedamongtheusersofnewprogrammes,atrendthatisconsistentwithotherculturalactivities.2.4EngagementwithlearninginandoutofschoolOnesmall-scalecasestudyoffourchildwritersinasingleprimaryschoolrevealedthatstudentshadanunexpectedlyrichpracticearoundwritingathome(CreminandMyhill,2012).ClarkandDugdale(2009)suggestthatyoungpeople’sengagementwithwritingoutsideoftheclassroomhasbeenfurtherimprovedbyyoungpeople’saccessto,anduseoftechnology,with60%ofyoungpeoplebelievingthatcomputersallowthemtobe“morecreative,concentratemore”andareencouraged“towritemoreoften.”Manycreativewritingprogrammesincludecommunityoutreachelementsandthesestrandsofworkareoftenveryhighlyvalued,especiallybyparents(SQW,2012).Intheevaluationof‘Write-Minded’,SQW(2012)highlightthatthepositive“unintendedconsequences”offamilyandcommunityliteracyactivitiesarethatparentsareabletoshareexperiencesandsupporteachotheralongsidetheirchildren,developingnewfriendshipsandnetworksoftheirown.Theprojectencouragedparentalparticipationinactivitiesfocusedondevelopingtheirownchild’sliteracy,andthisledtoanunanticipatedmomentumamongstthecommunityinorganisingliteracyactivities(SQW,2012).Owen(2008)describesthewayinwhichonewriter’sapproachtoworkinginschoolsimpactedonthewidercommunityby“extendinglearninglinkagesoverandbeyondtheimmediateprotagonistsintheclassroom”(Owen,2008).
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2. Engagement Thisthemerelatestohowpupilsandteachersengagewithcreativewriting,theirmotivationforandtheoutcomesofparticipating,andtheirperceptionsandenjoymentofwriting.1 Concernshavebeenexpressedthatgovernmenteffortstoraisestandardsinliteracy
havebeenattheexpenseofcultivatingexcitementaboutwriting.2 Bothstudentsandteachersenjoywritingmoreiftheyhaveautonomyandownership
overwhattheywritingabout.3 Boysconsidered‘atrisk’ofunderachievementhavebeenfoundtoenjoywritingin
theirEnglishlessonsmorethanelsewhereinthecurriculum.4 Youngpeopleoftenmakelinksbetweenenjoymentofwritingandself-confidencein
writing.5 Youngpeople’sattitudestowritingarecloselylinkedtotheirperceptionsoftechnical
accuracy.6 TheredoesnotappeartobealinkbetweenSESbackgroundandwritingenjoyment.7 Girlsenjoywritingmorethanboys,and11-14yearoldsenjoywritinglessthanother
agegroups.8 Theterm“creativewriting”itselfhashistoricconnotationsforschoolsandteachers
thatarenotalwayspositive.9 Mostyoungwritersacknowledgealinkbetweenwritingandfuturesuccessand
wellbeing.10 Youngpeople’screativeabilitiesaremostlikelytobedevelopedinanatmospherein
whichtheteacher’screativeabilitiesareproperlyengaged.11 Tofullyappreciatestudents’writingjourneys,teachersneedtobewriters
themselves,andtowritealongsidetheirstudentsinclass.12 Artsprojectscanhelpreduceinequalitiesinacademicachievementbetween
privilegedanddisadvantagedchildren.13 Youngpeople’sexperienceof,andparticipationinwritingathomeisunexpectedly
rich.14 Elementsofprogrammesthat‘reach-out’intothecommunityareveryhighlyvalued.
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3.SkilldevelopmentTheliteratureexploresawiderangeofskills,dispositionsandcharactertraitsthoughttobedevelopedthroughparticipatingincreativewriting.3.1EnhancementofsoftskillsArangeofskills,dispositionsandcharactertraitsarethoughttobedevelopedthroughparticipatingincreativewriting.Forthepurposeofthisliteraturereview,wewillexplorethemallundertheheading‘softskills’.Whilethereisconsiderableevidencesupportingthepositiveimpactoftheartsineducation(onbothacademicandsoftskills),muchoftheresearchfocusesondrama,music,danceandvisualart,withcomparativelylittleresearchontheimpactofcreativewriting(LorenziandWhite,2013).Anumberofearlystudiesindicatethatcreativewritinghasapositiveinfluenceonparticipants’academicattainmentandalsoontheir“personal,socialandcivicdevelopment”(Chandler,1999;Howell,2008),butrecentresearch(suchasRobertsandEady,2012),hastendedtofocusontheeffectofgroupinteractiononindividuals’literacyandwritingskillsasopposedtotheimpactofsuchactivityonindividuals’holisticdevelopment(LorenziandWhite,2013).Theprocessofparticipatinginagroupwritingprojectcanbean“affirmingexperience”thatenablesindividualstoaccess“self,imaginationandvoice”(Chandler,1999).Ithasalsobeensuggestedthatexperiencingsuccessinawritingprojectboostsstudents’self‐esteem(Nicolini,1994;LorenziandWhite,2013).AfurtherstudyconductedbyChandler(2002)foundthataspecificgroupwritingapproachfacilitatingemotionalcatharsisincreasedparticipantself‐knowledge,copingstrategies,andunderstandingandappreciationofothers(inLorenziandWhite,2013).Researchinthefieldofpsychotherapyhighlightsthetherapeuticvalueofcreativeandexpressivewritingasanagentforself‐expression(LorenziandWhite,2013;Wright,2002;BaikieandWlihelm,2005).Weinstein(2010)identifiedyouthspokenwordpoetryasavehicleforthedevelopmentofliteracyskills,self‐confidence,positiveself‐identity,communitybuildingandrespectforpeersandadults(LorenziandWhite,2013).Itisalsoimportanttokeepinmindthat“creativityisnotsimplyamatteroflettinggo”(NACCCE,1999):rathergenuinecreativework“reliesonknowledge,controlofmaterialsandcommandofideas”andinvolvesnotjustinnovation,butalsoknowledgeandskills(CreminandMyhill,2012).
a) Creativity
CreativityisadominantconceptinwesterneducationalpolicieswiththeUK,US,France,Germany,SwedenandAustriaallrestructuringtheireducationsystemstoencompasscreativityoverthelastdecade(LorenziandWhite,2013;Feldman&Benjamin,2006;Craft,2005;Shaheen,2010).Giventhebenefitsofcreativityinsolvingcomplexindividual,social,andglobalproblems,Beghetto(2005)arguesthatpromotingcreativityshouldbecentraltoeducationalefforts.However,questionsremainaboutwhatcreativityactuallymeansand
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howitmightbefostered:“Creativity,itappears,albeitessential,isasomewhatelusiveconcept”(LorenziandWhite,2013). CreminandMyhill(2012)suggestthatbeforeaddressing‘creativewriting’itisessentialthat“thetangledknot”ofcreativewritingandcreativityinwritingisuntangled,claimingthatthetermitselfis“largelyrestrictedtotheschoolwritingcurriculum”withlittlemeaningtothewiderworldoutsideofformaleducation.Theygoontoargue,however,thatallwritingiscreative,andthatthiscreativitymanifestsitselfinhowawriter“recognisesand[uses]theinfinitepossibilitiesoflanguage”withseeingthingsdifferentlyatitsheart(Bruner,1979;CreminandMyhill,2012).Althoughtheareaiswidelyacknowledgedasbeingcomplex,aspectsofcreativity,andthereforecreativityinwriting,arebothbelievedtobeobservableandmeasurable(Treffinger,2003;Lassig,2013).Thereare,however,limitedunderstandingsofcreativityintheadolescentagegroup(Lassig,2103;Claxton,Pannells,&Rhoads,2005;Oakley,2007),agapinresearchthatexistsdespiteclaimsthatadolescencecouldbethecriticalperiodfordevelopmentofcreativecapacity(Rothenberg,1990).Althoughresearchoncreativitytendstogeneraliseacrossagegroups,Lassig(2013)warnsthatgiventhesignificanceofadolescenceanditsdevelopmentalandexperientialuniquenesscomparedtootheragegroups(Vygotsky,2004),wecannotassumefindingsaboutthecreativityofchildrenoradultsaregeneralisabletoadolescents. Researchincreativityhasradicallyalteredoverthelastdecade,movingfromapsychologicalapproachthatiseasilymeasurable,tooneinwhichcreativityisconceptualisedinmoresocialandculturalterms(CreminandMyhill,2012).Theideaofthecreativeindividualhasalsobeendemocratisedfroman“essentiallyelitist”viewpoint(BanajiandBurn,2007)inwhich“creativegenius”isconfinedtoanexceptionalfew,cannotbetaughtandisthereforenotnecessarilyopentoscientificstudy(SternbergandLubart,1999;Treffinger,2003),tooneinwhicheveryonehasthecapacitytobecreative(Robinson,2001).Morerecentlythesedifferenceshavebeguntobereferredtoas‘BigC’and‘smallc’creativityrespectively,butthereareconcernsthatthisdichotomyoverlooksthetypeofcreativitydemonstratedbyindividualsengagedintheprocessoflearning(KaufmanandBeghetto,2009). Traditionally,observingandmeasuringcreativityfocusesononeormoreofRhodes’(1961)‘FourP’s’:person,process,productand/orpress,withtherecentadditionofthetwoextraP’sofpersuasion(Simonton,1990;1995)andpotential(Runco,2003),ofwhichthelattershouldbeofprimaryconcerntoeducatorsaccordingtoLassig(2013):
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Person Process Product Press Persuasion PotentialPersonality,intellect,temperament,physique,traits,habits,attitudes,self-concept,valuesystems,defencemechanisms,andbehaviour
Motivation,learning,thinking,andcommunicating
Theoutcomeofcreativeengagement:atangibleproduct,behaviour/sorrepertoire,orsetofcommunicatedideas
Therelationshipbetweencreativepersons,processes,andproductsandvarioussocialandenvironmentalfactors,andwhatfacilitatesorhinderscreativeengagementandproduction
Creativityandtheenvironmenthaveareciprocalrelationshipwiththejudgementofcreativityrestingoncreatorspersuadingothersthatthey,theirprocess,ortheiroutcomesarecreative
People’spotentialforcreatingmeaningsandinterpretationsthatarenewtothemasindividuals
Lassig(2013)foundthatwhenfocusingon‘process’,adolescentsapproachedcreativityinfour(non-hierarchical)ways:
• Transfer(whereexistingideasaretransferredfromonetask(ordomain)toanother)• Adaption(whereexistingideasareadaptedfromonetaskto(ordomain)toanother)• Synthesis(wheretwoormoreexistingideasarecombinedtocreatesomethingnew)• Genesis(wheretheproductissignificantlydifferenttoexistingworkthatastudent
hasbeenexposedto,andtheoriginoftheideaisnotidentifiable)Piffer(2012)studiedthe‘person’andfoundthatcreativepeopleinboththeartsandsciencestendtosharecertainpersonalitycharacteristics.Fromthisheconcludedthataperson’screativityisabiologicalphenomenonandassuchcannotbemeasuredwithpsychometricinstrumentsandimpersonalmethods(suchasstandardisedsurveys).Hethereforesuggeststhatresearchersshouldonlyuseunstructuredorsemi-structuredinterviewstocollectdata.
b) Risktakingandproblem-solving Risk-takingandproblem‐solvingareseentobeessentialprerequisitesforcreativity(LorenziandWhite,2013)andbothfeatureheavilythroughouttheliterature.Compositionitself,likeanygenerativeprocessinvolvesbeingpreparedtotakerisks(Grainger,2005),anditisimportantthatthisismodelledtoyoungpeople(alongwithrecognisingandmanagingfear)(CreminandMyhill,2012):youngpeopleneedtoseewritingasaproblemsolvingactivity(BereiterandScardamalia,1987)andasaprocessofthinkingandevaluatingthatinvolvesaninternaldialogue.Thetendencyforpupilsinschooltoberiskaverse(fromaveryyoungage)isthereforeachallenge(Galton,2008).Galton(ibid)suggeststhattheschoolsystemitself(inparticularrecenteducationalreformsfocusingonthe‘standardsagenda’)causesthis,andthatasaresultyoungpeoplehavedevelopeda
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rangeofstrategiesto“[draw]theadultintogivingmoreandmorecluesuntiltheanswerbecomesobvious.”Partofthebenefitofdeployingcreativepractitionersmaystemfromthis,sincetheyhavenotbeenconditionedinthesamewayasteachersandare“morecomfortablewithsilence”allowingthemtopresenttaskswithhigherlevelsofambiguitythatareperceivedas“morerisky”bystudents,allowingthemtodeveloptheircapacityforrisktakingfurther(Galton,2008).Galton(ibid)alsonotesthatcreativepractitionerstendtousecertainstrategiesmoreeffectivelythanteachers,suchasallocatingresponsibilitywhilstdisplayinggreatconfidencethatthepupilswillbeabletocopewithoutmishap.Thisincreasespupils’self-belief,andthustheircapacityforrisktaking.Ofsted(2006)alsofoundthatyoungpeopleare“inspired”whenworkingwithcreativepractitionersandthattheydevelopcreativeskillssuchasrisk-taking,improvisation,resilienceandcollaboration.
c) Metacognition ‘Metacognition’,theprocessofreflectinguponandevaluatingone’slearning,haslongbeenunderstoodtobeofparticularsignificanceinwriting(Martlew,1983;CreminandMyhill,2012).Jacobs(2004),amongstothers,demonstratedthatveryyoungwriterscanbehelpedtothinkaboutandreflectontheirthinkingandcomposingprocessesinmetacognitiveways(CreminandMyhill,2012).Byprovidingopportunitiesforstudentstothinkmetacognitivelyabouttheircreativity,teacherscanencouragethemtoexperimentwithtakingdifferentapproachestodifferenttasks,andthentoself-assesstheoutcomesoftheircreativeexperiences(Lassig,2013):“themostvitalknowledge[students]gainaboutwriting,gradually,willbeself-knowledge(metacognition)ofthemostpracticalkind”(CreminandMyhill,2012).
d) ConfidenceIncreasesinpupilconfidenceareoneofthemostcommonlyreportedimpactsofcreativewritingprogrammes(Horner,2010;Marshetal.,2009).However,confidencedataisusuallycollectedthroughteacherobservationandpupilself-reflectionmeaningthat,whilsttherearesomeinterestingfindings,questionsremainoverrigourandrobustness. Intheevaluationof‘WritingtheGame’(Murphy,2015)youngpeoplewereabletoclearlyarticulatethefollowingconnectionsduringinterviews:
1. Positivefeedbackandsupportfromworkingwithwriterswasseentobe“highlysignificant”inraisingself-confidence.
2. Increasedenjoymentofcreativewritingwasstronglylinkedtoincreasedself-confidence.
3. Youngpeoplewere“astuteintheirunderstanding”thatwithoutgreaterself-confidence,theywereunlikelytomakeprogressintheirwriting-theyconnectedconfidencenotonlywithattainmentandachievement,butalsowitha“deeplyheldsenseofself.”
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4. Theyreflectedontheirdevelopingself-confidenceas“significant”totheirsenseofthemselvesaslearners,recognisingthattheconfidenceandprogressthattheyweredevelopinginwritingrevealedtheirpotentiallearningcapacityinotherareas.
e) OthersOthersoftskillsthathavebeenexplored(andseenasimportant)increativewritingprojectsinclude:
• Socialandinterpersonalskills(Owen,2008;EPPI,2014;LorenziandWhite,2013)• Patience,perseveranceandresilience(Joubert,2001;Cremin,2006)• Communicationskills(EPPI,2014;Ings,2009)• CriticalThinking(LorenziandWhite,2013)• Self-efficacy(Chandler,1999)
3.2Pupils’literatecommunication(andperceptionof)Apupils’abilitytocommunicatemeaningiscentraltothewritingprocess.Inthissectiontheterm‘literatecommunication’meansthetechnicalskillsthatastudentneedstoconveymeaningeffectively.Researchhasfrequentlyhighlightedaperceivedconflictbetweencreativewritinginitiativesandthe‘standardsagenda’,withsometeachers(inarangeofprojects)suggestingthattheprogrammestheyhavebeeninvolvedwithandthedaytodaybusinessoftheirschoolsarenotalwayscompatible(Horner,2010;Galton,2008;Marshetal,2009).Thisiscompoundedwhenteacherperceptionsofimprovementsinpupilliteratecommunicationarenotplayedoutinsubsequentstatutoryassessment(Safford,2003).Youngpeople’sperceptionsofwhatunderpinsliteratecommunicationarerevealedwhenstudentsareaskedtoratethemselvesonhowgoodtheyareaswriters.ClarkandDugdale(2009)reportthatthemostcommonreasonscitedbythosewhoratethemselvespositivelyare:
• Usingtheirimaginations• Knowinghowtotype• Knowinghowtospell
Whenstudentsratedthemselvespoorlyitwasbecauseof:
• Poorhandwriting• Poorspelling• Notbeinggoodatcheckingtheirwork
Thisdemonstratesthat technicalaspectsofwritingareimportanttostudents’perceptionsofthemselvesaswriters.Underscoringanapproachthatemphasisesbothcreativeandtechnicalfactorsmaythereforeincreasestudents’enjoymentofwriting.
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Ofthefourlanguageskills(listening,speaking,readingandwriting),writingisthemostcomplexandmentallydemanding(Ings,2009;CreminandMyhill,2012;Kellogg,2008).Articulatingthoughts,ideasandresponsesinwritingmaybepartofthe‘standards’agendabutitisalsoabout“accessandempowerment”(Myhilletal,2013).Freire(1972)conceptualisesa‘symbioticrelationship’betweenliteracyandpowerandwritingisakeytoolinthat(Myhilletal,2013).Munden(2011)alsosuggeststhatpreciseandcreativeuseoflanguageisessentialforthemaintenanceofthecomplexintellectual,industrialanddemocraticstructuresthatsurroundus.ClarkandDugdale(2009)statethatwritingismorethanacompulsorytask:itisanessentiallifeskill.Intheliterature,thedominanttheoreticalviewofwritingatpresentisthatofa‘socialact’:“whenwewrite,weareparticipatinginasocialpractice…shapedbysocialandhistoricalunderstandingsofwhatwritingisandwhattextsshoulddo”(CreminandMyhill,2012).
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3. SkillDevelopmentTheliteratureexploresawiderangeofskills,dispositionsandcharactertraitsthoughttobedevelopedthroughparticipatingincreativewriting.1 Thereislittleresearchontheimpactofcreativewritingonacademicandsoftskill
developmentincomparisontomusic,dance,dramaandvisualarts.2 Thereareahugerangeofskills,dispositionsandcharactertraitsthoughttobe
developedbyparticipatingincreativewriting,themostfrequentlyhighlightedare:• Creativity• Risktakingandproblemsolving• Metacognition• Confidence• SocialandInterpersonalskills• Patience,perseveranceandresilience• Communicationskills• CriticalThinking• Self-efficacy
3 Researchaboutcreativityiswellestablishedinrelationtochildrenandadults,butagapexistsinrelationtoadolescents(duetotheuniquecognitivedevelopmentsthoughttooccurduringthisperiod).Therefore,generalisingacrossthethreegroupsshouldbeavoided.
4 Creativepractitionershavebeenfoundtousestrategiestodevelopstudents’risktakingandself-beliefmoreeffectivelythanteachers.
5 Metacognitionisofparticularsignificanceinwritingandevenveryyoungwriterscanbehelpedtothinkaboutandreflectontheirwritingprocessesinmetacognitiveways.
6 Changesinpupilconfidencelevelsareoneofthemostcommonlyreportedimpactsofcreativewritingprogrammes,howevertherigourandrobustnessofresearchmethodologyanddatacollectioninmanystudiesisquestionable.
7 Therecanbeaperceivedtensionbetweencreativewritinginitiativesandthe‘standardsagenda’.
8 Writingisthemostcomplexandmentallydemandingofthefourlanguageskills(listening,speaking,readingandwriting).
9 Astudent’sperceptionoftheirowntechnicalwritingskilliscloselylinkedtotheirenjoymentofwriting.
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4.BestPracticeandpedagogyforcreativewritingBestpracticeandpedagogyforcreativewritingwasexploredinrelationtothreemainareas:havingthetools,resourcesandqualificationforsuccess;teachers’confidenceindeliveringcreativewriting;andhowevidenceofbestpracticehasbeenappliedinpractice. 4.1Havingthetools,resourcesandqualificationsOfferingpupilsresourcesthataredifferentfromwhatisprovided‘everyday’forwritinginschoolswasfoundtoenhancemotivationforwriting(Marsh,2009).High-qualityresourcesand“toolboxes”havealsobeenfoundtoincreasethesustainabilityofaproject(OwenandMunden,2010;Marsh,2009).Accesstolibrariesandlibrariansmayalsobeanimportantresource.AsurveybytheSocietyofAuthors(2013)foundthat89%ofsecondaryschoolrespondents(mainlyteachingstaff)saiditwasthelibrarianwhohadresponsibilityfororganisingvisitsfromwriters.Environmentwasseentobearesourceofprimaryimportanceintheliterature,withwritingclassroomsneedingtocreate“spacefortheimagination”,“serendipitousmoments”,vibrancyandplayfulness(CreminandMyhill,2012),whilstalsobeing“safespaces”andsecurewritingenvironmentsinwhichyoungpeoplecanexperimentandtakerisks(Grainger,2005;CreminandMyhill,2012). 4.2Teachers’confidenceindeliveringcreativewritingCommentators,researchersandOfstedhaveallquestionedwhethertheteachingprofessionissufficientlyconfident,assuredandwellinformedaboutwritingtoteachiteffectively(CreminandMyhill,2012;Rosen,1981;Geekieetal.,1999;Andrews,2008;Horner,2010;Ofsted,2009).AsnotedinSection2.2b,teachers’ownconfidenceaswriterscannotbetakenforgranted(CreminandMyhill,2012).ThemajorityofsecondaryschoolteachersaredrawntoteachEnglishbecauseofaloveofreading(literature)orbecauseofaninspirationalEnglishteacherratherthanthroughaninterestinwriting(CreminandMyhill,2012;Peel,2000;GannonandDavies,2007).Creminsummarisestheresearchonteacherconfidenceasfollows:
• Somestudiesclaimthatwhenpractitionersdemonstrate“writerly”behaviourandsharetheirchallengesaswriters,youngerwritersbenefit(RootandSteinberg,1996;Susi,1984)
• Others,however,suggestthatteachers’perceptionsoftheimportanceofwritingandtheirfaithintheirstudents’abilityaremoresignificantindicatorsoftheirefficacythantheirinvolvementaswriters(GleesonandPrain,1996;Robbins,1996)
• Someexpressconcernthatbywritingauthentically(seebelow)teachersnotonlybecomesusceptibletoexposurebutalsoloseteachingtime(CreminandMyhill,2012)
Galton(2008)developsthisfinalpointfurther:“teachersaretaughtfromtheoutsetthattobesuccessfulyouneedtokeepyourlifeandfeelingsseparatefromyourrelationshipwiththepupils.”
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a) WritingauthenticallySurveyshaverevealedthatthemajorityofteacherspre-preparewritingtobesharedormodelledathomeratherthaninfrontofaclass.Thispracticewasfoundtobeparticularlyprevalentamongstlessconfidentteachersandthosewhoexpressedlowself-esteemaswriters(Grainger,2005;CreminandMyhil,2012).Bydoingthis,teachersallowthemselves“incubation”,“preparation”and“percolation”timerarelyaffordedtotheirownpupils(Cremin,2006)andtherebyavoidthe“spontaneityandrisk”necessaryforcomposition.Asdiscussedintheprevioussection,risktakingisacentralcomponentincreativity(Sternberg,1997;Craft,2000;Joubert,2001)butitisalsoacceptedasacommoncharacteristicof“successfulliteracyteachers”whoengageartistically,experimentwithpossibilitiesandremainopentoideas,astrategywhichhasbeenfoundtobenefitlearners(WilsonandBall,1997).CreminandMyhill(2012)suggestthattoexploitthis,a“shiftinthelocusofcontrolisneeded”;wherehistoricallythefocusofteachingwritinghasbeenonthe‘product’,teachersshouldinsteadfocusonthe‘process’,fosteringan“enhancedsenseofautonomyandauthorship”intheirstudents.
b) LanguageThereisa“residualandproblematic”tendencyforteacherstoconsidercreativityandtechniqueasneedingtobeaddressedseparately(OwenandMunden,2010).Thisisalongstandingproblem.Inasearlyas1927,SirCharlesCheersWakefield(inIngs,2009)arguedthattheissuewasexacerbatedby“average”teachersbeinghappytocorrecterrorsingrammarorspelling,butgivinglittlehelptostudentswiththeprocessofcomposition.Morerecently,researchhasfoundthatitismetalinguisticknowledgeitself(theawarenessandcontrolofdifferentlinguisticcomponentsoflanguage)thatteachersfindchallenging(Myhill,2013;CreminandMyhill,2012).OwenandMunden(2010)believethatthisisimportantbecauseteachersengagingwith“highlytechnicalskills”willleadtostudentinterestincreativewriting’s“manyapplications”leavingscopefor“almostanysubjectmattertobeaddressed.”Teacherswithpoorgrammaticalknowledgeare“unabletoseelanguagedevelopmentinthewritingandspeakingoftheirownpupils”(Gordon,2005),thushamperingtheteachingofwritingbecausealackofimplicitknowledgeallowsthemtodolittlemorethanimitatethefeaturesandstyleofatext(Myhill,2013).Without“well-developedgrammaticalpedagogicalcontentknowledge”linkinggrammartopurpose,teachersattempttocommunicatehighlygeneralisedprinciplesforwritingwhicharedifficultforlearnerstooperationalisemeaningfully.Teacherswholackconfidenceinthisareahavealsobeenobservedtoquicklyclosedownconversationsinitiatedbystudentsattemptingtoaskquestionsaboutgrammaticalcontentknowledge(Myhill,2013).
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Beginningteachersnowhavelowerlevelsofgrammaticalcontentknowledge(Myhill,2013),aproblemcompoundedbytrainingprovidersappearingtohavea“distinctpreferenceforteacherswhohavecomethroughtheliteraturedegreeroute”combinedwithashortageofapplicantsfromlinguisticsroutes(Blake&Shortis,2010).Asaresult,manyteachershavenoformalstudyoflanguageanddrawupon“partiallyrememberedfolklore”aboutlanguageandgrammar(Derewianka&Jones,2010).Theymaythereforefeelillequippedtocopewiththemetalinguisticdemandsofthecurriculum.Myhill(2013)notesthatteacherswithlimitedgrammaticalcontentknowledgearefrequentlyhighlycapableandprofessionalteachersofEnglish,whocouldbenefitfromaddressingtheirlimitationsinthisparticulararea.Howeverwhatseemstobemissingis“anynotionofwhatpracticalstrategiesateachercantakeifsheorhewantstoimprovetheirperformanceasateacherofwriting”(Ings,2009).
c) PoetryAsmall-scalestudyoftraineeteachers’attitudestowardspoetryfoundthatonly4.2%readpoetryonaregularbasis,andathirddidnotreaditatall(Rogers,2008).Thisisalong-standingissue,alreadyhighlightedbyOfstedin1987(DES,1987)whentheynotedthat“someEnglishteachersexpressgreatuneaseaboutteachingpoetryanditappearsthattherearefewgenuineenthusiastswhoreadpoetryextensivelythemselvesandcommunicatethatenthusiasmtopupils”–afindinghighlightedoncemoreinOfsted’s2007report(Ofsted,2007).Insecondaryschools,teachershavebeenfoundtoconcentrateonpreparingpupilsforexamsattheexpenseofteachingpoetry,andevenwhentheymustdosoatGCSE,theyrarelygiveyoungpeoplethechancetowritetheirownpoetry(Rogers,2008).TheBooktrust(2010)notesthatevenwhereteachersareenthusiasticaboutpoetry,theyfeeltheyneedmoresupporttodeveloptheirskillsandconfidenceinthearea.4.3ApplicationofbestpracticeInseekingtodefinebestpracticeinpromotingcreativewriting,theliteratureparticularlyfocusesonthefollowingareas:
a) Risktakingb) Leadershipandmanagementc) Pedagogy(including:drama;talk;self-expression;andbalancingtheteachingof
knowledgeaboutlanguageandcreativelanguageuse)d) Poetrye) Writersinschoolsf) Feedbackandeditingg) Engagingwithcommunitiesandparents
Wenowexploretheseeachinturn.
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a) RisktakingAshighlightedinSection3.7,risktakingisakeyelementofthecreativewritingprocess.Bestpracticethereforeinvolves“modellingthecreativeprocessforpupilswithalltheattendantrisktakingthisinvolves”(Ofsted,2003;Grainger,2005)andrevealingthechallengesinvolvedaswritersstruggleto“expresstheinexpressible”(Ofsted,2003).
b) LeadershipandmanagementInthefinalevaluationofthe‘EverybodyWrites’project,Marshetal(2009)suggestthatwhereleadershipandmanagementwaseffective:
- Therewasstrongmanagementaswellasclearaimsandthoroughpreparationandplanning,includingleadersplanningforsustainability
- Leadersmadelinksbetweentheprojectandtheschool’sdevelopmentplanandseniormanagementwereinvolved,drivingforwardawholeschoolapproach
- Leadersemphasisedtherelationshipbetweentalkandwritingaswellasreadingandwritingandencouragedaflexibleapproachtopedagogywithafocusoncreativity
- Leadersprovidedopportunitiesforstafftoengageinprofessionaldevelopmentandbuiltlinkswithexternalproviders,engagingexternalexpertisewherepossible
- Leaderscultivatedawholeschoolenthusiasmandexcitementaboutwritingprojects
c) Pedagogy
i. DramaTheuseofdramaasapre-writingactivityhasbeenhighlightedasafeatureofbestpracticeincreativewriting(Creminetal,2006;Cremin,2006;Grainger,2004).Studentconcentrationandabilitytofocusandfollowthroughontheirwrittenworkwasfoundtobepositivelyaffectedbytheirinvolvementinimprovisationaldrama(Creminetal.,2006),while“steppingintorole”(involvingtension,emotionalengagementandasenseofperspective)createdwritingthatwasauthentic,detailed,emotiveandempathetic,andmoreeffectivelycapturedthereaders’interestthroughaheightenedsenseofaudience(Creminetal.2006;Grainger2004;Cremin2006).ii. Talk
Oralrehearsalandreflectionaspre-writingactivitieshelpyoungwriterstobecomemoreawareoftheirwrittentextandhowtotalkaboutit(Fisheretal.,2010;MyhillandJones,2009).Usingtalktogenerateideasisthemostcommonuseoftalkinwritingclassrooms(Cremin,2006),butforstudentsstrugglingtowrite,talkonthe“assemblinganddevelopmentofideas”canalsobevaluable(Ings,2009).Forwriterstoo,oralrehearsalisseenasavaluableexperience:PhilipPullman(1999)notesthatasawriter,workinginschoolsofferedhimthechancetorefinehisskillsthrough
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repeatedlyretellingtalesandembellishingandpolishinghiswriter’svoiceintheprocess(Cremin,2012).iii. Selfexpression
Duringthe‘WritingtheGame’programme,teachersobservedhighlevelsofengagementwithwritingfromstudentswhowereusuallyreluctantwriters.Studentssuggestedthiswasbecausetheyweregiventheopportunityto“[write]fromtheheart”(Murphy,2015).Galton(2008)suggeststhatoneofthemostsuccessfulelementsofacreativepractitionervisittoaschoolisthattheyarecomfortableexpressingtheirownfeelingsinawayinwhichteachersgenerallyarenot,thusconveyingthemessagetopupilsthat“talkofthiskindisacceptablecurrencyamongthegroup.”EmigandBritton(inCreminandMyhill,2012)alsoarguethattransactionalwriting(i.e.writingintendedtocommunicateideasandinformation,suchaslettersandspeechesandjobapplications)canonlydevelopeffectivelywhenwritersareallowedtowriteexpressivelyaspartofthelearningprocess.
iv. BalancingteachingofknowledgeaboutlanguageandcreativelanguageuseAbalancebetweenteaching‘knowledgeaboutlanguage’andteaching‘creativelanguageuse’needstobestruckwhenhelpingstudentsfindtheirauthorialvoice(CreminandMyhill,2012;Graingeretal.,2003;Grainger,2005).However,Boden(2001)warnsthatthesearenottwoopposingforcesbut“twosidesofthesamepsychologicalcoin.”Cremin(2006)suggeststhatthisbalancecanbefoundwhenteacherssetwritingtargetsthatrelatetoboth“punctuationandspelling”(forexample)aswellastargetswhichfocusonmakinganimpactonthereader(suchaswritingtoamuse,persuadeorshock).Inthisway,childrencanberecognisedas“authors,communicatorsandmeaningmakers”(Cremin,2006).Cremin(2009)suggeststhata“creativeapproachtoteachingliteracy”ishighlymotivatingandenablesteacherstomakeinformeddecisionsabouttheirpractice.Shesuggeststhatthereshouldbeeightstrandstothisapproach:
1. Profilingmeaningandpurpose;2. Usingrichtexts(singleandmulti-model)asinspirationforwriting,especially
thosethatbridgethegapbetweenachild’sown‘culturalcapital’andthatoftheschool;
3. Fosteringplayandengagement;4. Harnessingcuriosityandexploringandprofilingstudentagency;5. Encouragingcollaborationandmakingconnections;6. Integratingreflection,review,feedbackandcelebration;7. Allowingtimeforstudentstoexploreandengagewiththework(or“travel”),
and;8. Ensuringtheteacheriscreativelyinvolved.
d) Poetry
TheBooktrust(2010)exploredhowthebestschoolsteachpoetryandemphasisedtheimportanceof:
• Workingeffectivelywithpoets• Encouragingpupilstocontributetocompetitions,localfestivalsandschool
readinggroups
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• Effectivesubjectleadership
e) WritersinschoolsWritersinschoolsareanimportantaspectofbestpracticeincreativewritingprogrammesbecauseyoungpeopledonototherwisegenerallyencounterpeoplewhosemainjobandsourceofincomeiswriting(Horner,2010).Exposuretoawriterprovidespupilswithsomethingneworunfamiliar(Owen,2008)andevaluationsofprojectsshowthatbringing“schoolwritingclosertothesocialworld”helpsyoungpeople,particularlythosewhoaredisaffected,seethepointofwriting(Horner,2010).Furthermore,introducinganexternalvisitorwithoutanypreconceptionsaboutindividualstudentsandwhoseauthorityisbasedonexpertiseinanartformratherthaninstitutionalauthorityallowswriterstoengagewithstudentsindifferentways(CreminandMyhill,2012).Motionalsoarguesthathearingwritersreadtheirownworkintheir“ownaccentandidiom”canbe“enlightening”(Booktrust,2010). However,Owen(2010)suggeststhattobe“ofuse”writersmustalsobeof“practicalbenefit”,addingawordofcautionabouttheconceptofthewriterinschoolasa“rolemodel”forchildren:“webesttakecare…whichattributesarebeingrolemodelled:transience,impermanenceandsolitudewouldnotratehighlyonmanyteachers’orparents’lists.”Healsonotesthatchildrencansometimesbecome“quitedistressedatthepressurestheyfelt,”leadingthemtosubsequentlywithdrawfromactivitiestheywereparticipatingin.WeturntohowteachersandwritersworktogethermosteffectivelyinSection5.
f) FeedbackandeditingStudentswhoparticipateincreativewritingprogrammesfrequentlysaythatthefeedbackthattheyreceivedontheirworkdevelopedtheirenjoymentofcreativewritingandincreasedtheirachievement(Murphy,2015).However,Wilson(2009)foundthatmanyteacherswerereluctanttoassessortocommentcriticallyonchildren’screativewriting(particularlyinregardstopoetry).Partofthechallengehereisthatjudgementisessentialtothecreativeprocessandcreativeoutcomes,andallcreativeendeavours“requiremasteryofthetoolsofthetradeandthenecessaryskillstoenablecreativeactivitytoflourish”(CreminandMyhill,2012). Teachers’confidenceinmakingsuchjudgementsthereforeunderpinstheirabilitytoprovidethefeedbackandeditingneededtodeveloppupils’creativewriting.Studentsthemselvesalsoneedtobeexplicitlytaughthowtoevaluateandedittheirwriting,sincenovicewritersfrequentlyfindthischallenging,believingthattheeditingprocessisoneof‘addition’(addingin‘wow’wordsandmoreinterestingpunctuation)ratherthanoneof‘subtraction’(takingthe“designer’sknife”(CreminandMyhill,2012)totheirownwork).
g) Engagingwiththecommunity/parents
Successfulwritingresidenciestendtoinvolvebuildingupmultipleandoverlappinglinksacrosssubjects,andyeargroupsandacrosstheschoolandcommunity.However,this
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processfrequentlyproducesnewandunexpectedoutcomesandsurprises(OwenandMunden,2010):CapeUK(2010)foundthatasaresultofchildren’senthusiasmforcreativeprojects,schoolsfoundimprovementsinparentalengagement-evenwherethishadbeenlimitedinthepast.Thiswasconsideredaconsequenceofchildrentakingtheircreativeprojectworkhome.Inthecaseofthe‘ClassWriting’project(OwenandMunden,2010),subjectteachers’refusaltoallowpupilstoleavetheirlessonstoparticipateintheprojectmeantthattheprogrammewasincreasinglydeliveredatweekendsandoutsideofthemainschooltimetable.Thishadtheunexpectedbenefitofpromotinglinkswiththewiderschoolcommunity.SQW(2012)suggeststhatoverthecourseofthe‘WriteMinded’programme,lowlevelsofparentalinvolvementinchildren’slearningcontributedtothechallengeofsustaininglanguagedevelopmentandliteracyprogress.
4. Bestpractice/pedagogyforcreativewritingWehaveexploredbestpracticeandpedagogyforcreativewritinginrelationtothreemainareas:havingthetools,resourcesandqualificationforsuccess;teachers’confidenceindeliveringcreativewriting;andhowevidenceofbestpracticehasbeenappliedinpractice.1 Thequalityofthestudentwritingenvironment(forexample,theclassroominwhich
theywrite)isbelievedtobeofprimaryimportance.2 Libraries,andlibrariansareanimportantresourceforschools.3 Teachers’confidenceindeliveringcreativewritingisakeyfeatureofsuccessful
programmes.Teachershavefrequentdifficultiesinthefollowingareas:• Writingauthenticallyandunderstandingthatrisktakingisacentral
componentincreativity• Aproblematictendencyforteacherstoconsidercreativityandtechnique
separately• Poetry
4 Theliteratureparticularlyhighlightsgoodpracticeinrelationto:• Developingstudents’risktaking• Leadershipandmanagementofprojects• Pedagogy(including:drama;talk;self-expression;andknowledgeabout
language)• Teachingpoetry• Writersworkinginschoolsandeducationsettings• Provisionoffeedbackonwritinganddevelopingstudents’editingskills• Engagingwithcommunitiesandparents
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5.NetworksEffectivepartnershipsandnetworksareoftenessentialtoaproject’ssuccess.5.1ReachWritersinschoolscanbecatalystsfortheformationofnewnetworks(OwenandMunden,2010).Thisisespeciallythecasewhenwritersworkcollegiallywithschoolstaffandshareacommonphilosophy(AinscowandWest,2006).Intheliterature,networksarecharacterisedasencompassingvaryingdegreesofreach:betweenwritersandteachers;wholeschoolstaff;students;parentsandthewidercommunity.5.2BarriersandenablerstopartnershipworkingTheliteraturesuggeststhateffectivepartnershipsbetweenorganisationsdependonfivemainfactors:
1. Time:partnersneedtoinvesttimeinestablishingtheirrelationships;findingcommonelementsintheirpracticeandbeingopenaboutthe“principlesthatgoverntheirapproach”(Galton,2008).
2. Seniorityofstaffing:whererelationshipsaredelegatedtorelativelyjuniormembersofstaff,‘buyin’and‘signoff’canbedifficultandthisfrequentlywastestime.Schoolsthereforeneedtoengageataseniormanagementlevel(Galton,2008).
3. ProjectManagement:Inordertokeepprojectsontrack,Marsh(2009)highlightstheneedforexpertprojectmanagerswhoareabletocommunicateeffectivelywithschools,writersandotherpartners.
4. Geographicallocation:notonlyisitdifficulttosupportteachersatageographicalremove(OwenandMunden,2010),butthedevelopmentoflinkswiththewidercommunityisalsoseenasimportant(Marsh,2009).
5. Brokering:Writingagenciesandliteratureorganisationscanactasvaluablebrokersbetweenwritersandschoolspartlybecausetheseorganisationsareoftenveryinfluentialwithwritersthemselves(Horner,2010).
Evenwhenjointworkingiswellestablished,however,thereremainsariskthathardworkcanbeundonewhenkeystaffmembersmoveon,orschoolprioritieschange.Strongpartnershipsandnetworksaremostlikelytodevelopwhentheyinvolve“receptiveteachers”(Galton,2008).Targetingsuchteachersinthefirstinstancecouldthereforebeanimportantenabler,allowingenthusiaststoactasmodelsandcatalysts.Involvingthemosteffectivecreativepractitionerswho“[recognise]theconstraintsthatexistinschools”isalsoimportant(Galton,2008).Barrierstopartnershipcanariseasaresulteitherofschools’actions,writers’actionsoramismatchbetweenthetwo.Twoschooldrivenfactorsareparticularlysalient:
1. Delegationofteachers’roletothevisitingpractitioner,leadingtolittleinvolvementfromtheteacherwhopositionsthemselves“tooneside”(Galton,2008;RossandKamba,1997;Horner,2010).
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2. Teachersfeeling“toostrainedbycurriculumpressures”andlackingtheconfidenceortrusttobuyintothevisitingpractitioner’smethods(CreminandMyhill,2012).
Inaddition,TheSocietyofAuthors(2013)highlightsthefollowingchallengesfacedbyschoolstaffthemselveswhentryingtoconvincetheirschoolstoengageawriter:
• Cost• Resistanceto‘takingpupilsawayfromlessons’• Holdingpre-conceptionsaboutstudents’willingnesstoparticipateandlikelihoodof
success• Time-tablingandlogisticalissuesdrivenbyanemphasisonexams• Staffindifference
Writerscancreatebarrierstopartnershiptoo,particularlywhentheyresistlonger-termresidenciesandadvocatea“singlevisit”approach(RossandKamba,1997).Furthermore,RossandKambasuggestthatmanywritersarereluctanttojoinmoreformalnetworksortoreceivemoreformaltraining(ibid).Finally,barrierstopartnershipworkingcanalsoariseduetomismatchinvaluesandpractices,whichresultsinalackofcommonpurpose.WeexplorethisissueinmoredetailinSection6.1.
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5. NetworksEffectivepartnershipsandnetworksareessentialtoaproject’ssuccess.Thekeyfindingsfromtheliteraturearesummarisedbelow:1 Themosteffectivepartnershipstendtobedevelopedbymorereceptiveteachers,
andcreativepractitionerswhounderstandtheconstraintsfacedbyschools.2 Effectiveselectionofreceptivestaffforparticipationinprojectscancatalysewider
participationandenthusiasmforaproject.3 Jointworkingoftenlackscommonpurposeduetodifferingpriorities.4 Severalbarrierstobuildingnetworksarehighlightedintheliterature,relatingto
differentpartners:
Teacherscanhinderthecreationofeffectivenetworksby:o Delegatingtheroleof‘theteacher’toavisitingpractitionero Feelingconstrainedbythecurriculumandlackingsufficient
confidenceortrusttobuyintoavisitingpractitioner’smethodso Refusingstudentstheopportunitytoleavetheirlessonstoparticipate
inprogrammes
Writerscanhinderthecreationofeffectivenetworksbybeingreluctantto:o Initiatinglonger-termresidencieso Joiningformalnetworkso Receivingmoreformaltraining
Additionally,schoolsthemselvescancreatebarriersasaresultof:o Concernsaboutcosto Holdingpre-conceptionsaboutstudents’willingnesstoparticipateand
likelihoodofsuccesso Time-tablingandlogisticalissuesexacerbatedbyanexam-focused
systemo Perceivedindifferenceamongststaff
5 Itcanbeparticularlychallengingtoreachouttofamiliesandwidercommunities
alienatedby,orisolatedfromlearning.6 Thefollowingareasareofkeyimportanceinensuringaproject’ssuccess:
• Timegiventodevelopingrelationships• Qualityandexperienceofstaffassignedtoprojects• Overallprojectmanagementresponsibilities• Geographicallocationandreach• Brokeringpartnerships
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6.ValuingCreativeWritingThevaluethatschools,teachersandthewidercommunityplaceoncreativewritingisofprimeimportancetothesuccessandsustainabilityofcreativewritingprojects.6.1SharedvaluesandapproachesSchoolscanneedpersuadingthatcreativewritingprojectsare“somethingworthdoing”and,evenschoolswithanappetiteforsuchprojectsoftenexpressaconcernaboutsuchprogrammesbeing“adistractionfromthemainendeavour:academicresults”(OwenandMunden,2010).Afailuretovaluecreativewritingcanthereforeactasaserioushindrancetothedevelopmentofcreativewritingprojects.AsnotedinSection3,thiscanpartlyresultfromaperceivedtensionbetweencreativityandtechniqueamongstteachers(Horner,2010).AsnotedinSection5.2,establishingcommonprioritiesandexpectationsisacrucialfoundationforpartnership.This“mutualmisunderstanding”(Horner,2010)canresultin:
• Issuesofownershipandresponsibility(i.e.whoisresponsibleifthingsgorightorwrong?)
• Perceivedappropriatenessofmaterial• Pre-conceptionsofoneanother’sroles(eg.writer/teacher)(Thomasetal,2006;
CreminandMyhill,2012)
OwenandMunden(2010)citeoneexampleinwhichaschooljoinedthe‘ClassWriting’projectfor“publicitypurposes.”Thismadecollaborativeworkingimpossibleduetoalackofsharedpurpose(OwenandMunden,2010).Schoolsalsofrequentlyplaceparticularvalueonhavingan“outcomeforpublicconsumption”(Galton,2008)–avaluenotalwayssharedbycreativepractitioners,whomayfindthatitrestrictstheirworkandunderminessomeoftheirpedagogicalapproachesandprinciples.AccordingtoRogers(2008),teachertraining,carefulpreparationand“greaterunderstandingandaccommodationofeachother’sneedsandpriorities”canallplayaroleinovercomingthesedifficultiesandinbuildingsharedvalues,expectationsandpractices.6.2AdvocacyandpublicvalueDespiteconcernsaboutwritingstandardsinschoolsdeclining,ClarkandDugdale(2009)arguethatthestatusofwritinghasundergoneaculturalchangeoverthepastdecadewithauthorsbecomingcelebritiesandcelebritiesbecomingauthors.This‘celebritisation’ofwritinghaschangedthewaymanyyoungpeopleviewwriting(ClarkandDugdale,2009).However,CreminandMyhill(2012)arguethatthishasfailedtoresultinsufficientattentionbeinggiventotheteachingandlearningofwritingspecifically-mainlyduetosuccessivegovernment’sviewingcreativewritingas“littlemorethananunproblematicsetoftechnicalskills.”Furthermore,HetlandandWinner(2001)arguethatartseducatorsneedtoavoidallowingartssubjectstobejustifiedwholly(orprimarily)intermsofwhattheycanofferacademically.Insteadtheyarguethat“theartsmustbejustifiedintermsofwhattheartscanteachthatnoothersubjectcanteach.”
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Therethereforeremainssignificantscopefortheadvocacyofcreativewritingeducationinordertoarticulateamorenuancedconceptionofwhatitinvolves,whyitisvaluableandthat“inspirationdoesnothavetobeattheexpenseofstandards”(Horner,2010).
6. ValuingCreativeWriting Thevaluethatschools,teachersandthewidercommunityplaceoncreativewritingisofprimeimportancetothesuccessandsustainabilityofcreativewritingprojects.1 Theperceivedoppositionbetweencreativityandtechniqueisanimportantbarrierto
schoolsandteachersvaluingcreativewriting.2 Teachers’ownvalues(forexample,relatingtotheimportanceofgrammarand
differentpedagogicalapproaches)influencetheirteachingofwriting.3 Manyteachersplacelowvalueonteachingpoetryandteacherattitudestowards
poetryitselfplayanimportantroleinthis.4 Schoolsvaluehavingan“outcomeforpublicconsumption”fromaproject,butthisis
notalwayssharedbycreativepartners.5 The‘celebritisation’ofwritinghaschangedthewaymanyyoungpeopleviewwriting,
yetwhilstthishasensuredliteracyhasremainedhighprofile,insufficientattentionhasbeengiventotheteachingandlearningofwritingspecifically.
6 Artseducatorsandcreativepractitionersneedtoavoidallowingartssubjectstobejustifiedwholly(orprimarily)intermsofwhattheycanofferacademically.
7 Moreeffortneedstobeinvestedinensuringthatteachers,schoolsandthewiderpublicunderstandthat“inspirationdoesnothavetobeattheexpenseofstandards”
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Possibleimplicationsforevaluation:
1. Creativityandtechniqueshouldnotbeconsideredseparatelybutasmutuallyreinforcingelementsofwriting.
2. Theextenttowhichaprojectleadstoanactualchangeinpracticeonthebehalfofteachersisofprimeimportance.
3. Evaluatingprogressinskillssuchas‘creativity’and‘self-confidence’iscomplexanddemandswell-designedtoolsthatneedtobeadministeredinarigorousandrobustway.
4. Thequalityofpartnershipsandjointworkingmethodsthatunderpinaprojectareparamounttoitssuccess.
5. Projectsshouldbeevaluatedfortheirwiderimpactontheschoolcommunity,notjustonthedirectparticipants.
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