• Cecilia Krill
4. semester, Læring og Forandringsprocesser, Kandidat (Kandidatuddannelse)
The essence of this master thesis on ’learning and innovative change’ has emerged through a fundamental wondering: Why do we still tend to believe that certain educational disciplines automatically - as a sort of ’medication’ - develop certain skills and abilities? Is creativity actually teachable; as if it was a skill like tying laces or reading music? If we believe this to be possible, what understanding of creativity is then implied? And how then is creativity thought to be learned?
This master thesis raises the question: How does the fundamental under-standing of creativity impact on the development of creativity, in educational environments?
Creativity in an educational perspective is increasingly drawing attention from a rapidly growing field of researchers and educators all attempting to meet the challenge of developing creativity as a basic human skill - or what some scien-tists call a core-competence. A core-competence on which we rely to build an innovative and entrepreneurial society, fit for globalization and continued economic growth.
In the field of present educational solutions in Denmark, there are seemingly two dominant strategies for developing and increasing creativity. One is based on a cognitive approach in which creativity is explained as mental patterns and schemes, shapeable - and thereby learnable - by cognitive training and mental exer-cise. The other strategy is based on an aesthetic approach in which creativity is ex-plained as the human ability to express individual insight through a unique crea¬tive outcome, generated - and learned - through the experience of art.
From a learning point of view - although seemingly dichotomic - both of these stra-te¬gies focus on an individual approach to creativity and learning. Creativity is under¬stood as an objective skill, to be ’installed’ or transmitted through educational activity.

The basic thesis of this inquiry is that creativity is much more than techniques and knowledge the same way musicality is way much more than notes and sound. Therefore music is chosen as an example of creative activity, which will be discussed in order to better understand the relationship between learning and creativity.
Through a thorough introduction to a sociocultural theoretic approach to lear-ning and creativity, and to musicality, we are invited into an alternative under-standing of creativity. Creativity understood as a social process and a way of life.
As it is the case with learning language and musicality, creativity is under-stood as a socially and culturally experienced way of being. Rather than being skills and expertise creativity is seen as an approach to life - a being-in-the-world. Creativity is thereby understood as a human dialogic ability, compar-able to musicality, developed in communities of practice.
Standing on the shoulders of John Dewey, the thesis brings into focus the im-por¬tance of how we learn, rather than what we learn as important in creativity development. It becomes clear that no educational discipline in itself produces or develops creative skills, and neither does teaching. Teaching is considered an intentional act of framing certain learning outcomes. What we learn is there¬by different from what is intentionally taught. We are more likely to learn the sociocultural contexts and ways to participate in these.

Learning in communities of practice, shows us how what we learn depends on the social and cultural ways and the repertoire of the community. This pin-points how different frames of learning, based on different basic under¬stand-ings of creativity, develops different forms of creativity. In an educational con-text creativity can be taught as techniques and methods of innovation - and will thereby offer a certain understanding and a specific creative repertoire. When it comes to developing creativity as a dialogic ability, however, learning depends on the possibility to learn through experience and participation in crea¬tive, dialogic and open-minded communities of learning practices. As is the case with learning to speak or to play music by heart.

Udgivelsesdato14 sep. 2012
Antal sider64
ID: 67107033