What do you want to create today?

Transformers by Mary Kim SchreckMore than a few years ago I had the opportunity to dig deeper into the ideas of creativity and creative thinking thanks to the wonderful Mary Kim Schreck. She was thinking about, writing about, and sharing her ideas about creativity in her book, Transformers: Creative Teachers for the 21st Century. She had been thinking about creativity so much that she was about done with the book! But she asked me to contribute a chapter about technology in the creative classroom.

Don’t get me wrong, I’ve been thinking about creativity most of my career! I taught music and most people segregate musicians into a small, select group of “creatives,” that includes visual artists, actors, dancers, writers and a few others. But creativity is not the purview of the few. Everyone can be creative, and in fact, we need more people to be creative in their lives and in their work, now more than ever. I appreciate that Mary Kim gave me a reason to dig deeper into my own ideas about creativity and to compare them to others. It was a valuable experience and, luckily, I get to keep thinking about creativity.

The Value of Performance

I cringe a bit when I see or hear the directions “be creative” in an assignment, because usually this is followed up by using crayons, markers, or different backgrounds in a slide deck. Students are encouraged to “be creative” without ever teaching them what that means. And what does that mean in, say, science? Or math? It’s not the same as in my class. What few teachers realize is that we folks in the creative fields had content standards we had to address, and just like every other class, some of our standards promoted creative thinking, some did not. The important message here is, yes, science, math, and all the others have standards that promote creative thinking.

As a former high school band director I often reflect back on what was then a somewhat routine conversation that has turned out to have significant impact on my life. I had been through my annual observation with my principal, something all teachers go through. My principal, Dr. Barry Beers, was great to work with and full of ideas that pushed and stretched his teachers. I didn’t realize how valuable that was at the time. During our follow-up conference he said to me, “John, I really appreciate how you move from whole group, small group, to individuals, and back and forth whenever you need to. You’re customizing your instruction to the needs of each student.”

I replied to him, hopefully not too snarkily, something like, “Dr. Beers (I still have a hard time calling him Barry), I was just doing a rehearsal. That’s what musicians to do get ready for a performance. Nothing special.”

He tried to help me see the importance of what was going on, but I didn’t really understand his statement until later. Because everything my students did in my class eventually led to a performance, he tried to help me understand how a performance can only be successful when all of the students can play their part, literally. He reminded me that by working with all of the students individually and in groups during rehearsal that I knew who was ready and who still needed work. Then he challenged me.

Learning-Driven Schools by Barry BeersDr. Beers asked me to help teachers in other content areas understand how they can help their students learn how to “perform” their content. Whether math, science, English or whatever, Barry wanted me to help other teachers in other content areas understand how to help their students rehearse so they’d be better prepared to perform in a more authentic context. He enlisted all the Fine Arts staff, and I collaborated with a social studies teacher one year, English the next. It was a challenge, but it helped me to see connections I hadn’t seen before. So, thanks Barry, for thinking creatively about teaching and learning back then.

You can find out more about Barry’s work in his book Learning-Driven Schools: A Practical Guide for Teachers and Principals from ASCD.

Performance in All Classrooms

Recently, perhaps in reaction to the horribly mind-numbing compliance mentality promoted by federal education policy, the education community is once again seeing the value of performance. I saw this in the release of new college-and-career standards both at the national and state level. New standards in the core areas and the arts definitely push students to work towards levels of creative thinking in their domains. And now, in many states, students demonstrate higher levels of learning through performance.

The best performances are not compliance. They’re not mechanical. They’re not simply the replication of what someone has done before. They’re not multiple choice. The best performances give people a chance to be creative—to pull their knowledge and skills together—to address a real problem or situation in or across content domains.

In this way, creativity is a cumulative skill. I liken it to the top level of the revised Bloom’s Taxonomy. You can’t get to the top without working you’re way up. You have to have the foundational knowledge and skills of any domain you plan to be creative in—whether that’s writing, speaking, visual or performing arts, or science, or engineering, or even legislation. You have to know what the accepted strategies and processes are before you can change them. In other words, you have to know the rules before you can break them.You have to understand what work has come before and to analyze and evaluate information in order to provide a creative solution to address a problem.

Revised Bloom's Taxonomy

One interpretation of the cognitive process dimension from the revised Taxonomy of Learning by Anderson & Krathwohl (2001)

Ideas that don’t build on a foundation are not creative. They’re simply novelty. And novelty wears thin fast and falls apart. Creativity has weight, value, and lasting appeal.

The most creative ideas can live a long time—in an individual, a group, or society, but everyone can be creative as we are all faced with authentic problems that are routinely found in the real world. We need creative solutions for providing affordable housing to everyone no matter where they live. We need creative solutions on how to ensure our planet will be able to sustain us. We also need creative solutions to simply provide the best education to each generation of students.

Creativity: Imaginative processes with outcomes that are original and of value.

Sir Ken Robinson
“Out of Our Minds: Learning to be Creative” (2001)

What do you want to create today?

I’ve been given another chance to continue my musings about creativity. I’m very honored that Dell and Advanced Learning Partnerships have asked me to share my ideas and some of the work we’ve done in districts across the nation around promoting instruction and assessments that encourage creative thinking. Dell is calling these events, appropriately enough, “What do you want to create today?”

We’ll talk a bit about creativity and why it’s important, but the main plan is to co-create ideas of how creative thinking can be promoted in all classrooms—not just a few. We’ll explore performance tasks—something I’ve been immersed in for years (like this one a creative teacher from Lake Travis ISD just Tweeted out), but we’ll also explore how preparing kids to perform (in math, or English, or whatever) has deep implications for all curricula.

At these events I’m looking forward to hearing from district leaders from across the country who are promoting creative thinking in their own schools, and we’ll share ideas on how we can help every student in every classroom experience learning that helps them develop critical and creative thinking and perform what they’ve learned. I look forward to hearing your ideas whether you can attend one of these events or not.

 

 

 

 

Common Language: The Power of a Good Continuum

Like I said last week, I love a good continuum, but while SAMR has good intentions, I’m not convinced of how helpful it is to truly impact the ultimate goal of schooling–improving student learning. But since my Mother used to tell me, “If you can’t say something nice…” I decided this week to share a continuum that I believe does help impact student learning. It’s from my friends at Henrico County Public Schools outside of Richmond, VA, and it’s the Technology Innovation Progression, or TIP Chart.

Developed under the guidance of professional friends and colleagues Tom Woodward, Debbie Roethke, Gaynell Lyman, and others, the continuum does many things to improve the interactions teachers and students have with technology. It’s also the centerpiece of two national recognitions for excellence from the American Libraries Association and the Consortium for School Networking. Despite the awards, it’s creators will be the first to admit it’s not the “be all and end all,” but it has done more to promote quality conversations about teaching and learning with technology in many of the school districts I have worked with. That’s something that a simpler continuum often does not do.

It’s Not Easy Being Simple

I understand that simplicity has it’s appeal, and that since technology integration is a complex issue that a simple framework reaches some people. But I find the SAMR too simplistic and results in oversimplified conversations about what teachers–not to mention students–should know and be able to do to improve student learning. The ultimate goal of technology integration is improved student learning, remember, so we need a continuum that helps students understand what that looks like. SAMR does not do that. The TIP Chart does.

The TIP Chart covers four categories (only one of which is presented above. Follow the link to the full chart on Henrico County’s website). The four categories are based on the 2007 National Educational Technology Standards for Students from ISTE. They include:

  • Research and Information Fluency
  • Communication and Collaboration
  • Critical Thinking and Problem Solving
  • Creativity and Innovation

A single post is not the place for a detailed exploration of each. What is possible is spending time reviewing the structure of the TIP Chart to better understand how it can be used. I use it as a foundation for conversations with educators at every level, from the classroom to the superintendent’s cabinet. In fact, after initial use in one district, the director of secondary schools said to the gathered group, “for the first time, I feel like I have the language to talk with a teacher about what creativity and innovation is, and is not, and what they can do to work on it.” The TIP chart, while addressing complex and sometimes misunderstood concepts like creativity and innovation, uses simple language to make these concepts tangible.

It wasn’t easy to distill these complex concepts down to the simple language that now exists. The TIP chart has and will likely continue to evolve. In fact, several of my districts have started by using the TIP chart to have conversations about technology integration and moved on to create their own continuua that sometimes address the same concepts and sometimes include other concepts they value (e.g., curiosity, imagination, flexible learning environments, global citizenship, etc.).

The following graphic provides an overview of the structure of the chart. For each category, you’ll find more teacher-centric activities described on the left. As you move to the right, you’ll find descriptors of more student-centered learning activities. It’s not that the left is bad and the right is good, or vice versa, it’s just a way to interpret those types of instruction. Many teachers move back and forth from one side to the next, sometimes during a lesson or across a unit. One of the greatest benefits many teachers find with the chart is that while the top row describes what teachers do–in a way that is far less punitive than most state teacher evaluation instruments–it also describes what students are doing (in the bottom row) for the simple reason that if students are to take greater ownership of their learning, the actions students take to do so have to be understood and described.

Tip Chart structure

By academic, I’m referring to those simplified, well-structured activities all teachers use to teach concepts and allow students to practice skills (e.g., five-paragraph essay, proofs, scales, etc.). Authentic implies the instruction incorporates problems or phenomena that students will find outside of school–whether actual problems or problems with a real-world context. I’m not just saying “word problems,” which are usually still simplified academic problems. Authentic problems are complex, also referred to as ill-structured, and may have more than one correct answer or no correct answers. Academic exercises are used to train students. Authentic problems require students to perform new skills.

There’s more to it than that, but that’s a good start. Please take time to review the full TIP Chart from Henrico County and consider how it might support teaching and learning in your own school or district. I’ll dig into it in subsequent posts.

Why Audience Matters

In the past week I’ve had reminders from two great educators in different parts of the country who remind me why audience matters. This is something that comes up often in my work but not something I believe many classroom teachers routinely think much about. For a long time, there were only a few things classroom teachers could do to expand the audience for student work. But the audience for student work is now unlimited thanks to the many safe ways that teachers and students can share work beyond the school walls. And that can be a game changer.

Let’s begin with this quote from David Dulberger, a dynamic fifth-grade teacher at Emma K. Doub School in Hagerstown, MD. His review of Piktochart actually prompted this post. In his review (which you should read if you’re interested in creating infographics, but you should probably bookmark his blog for ongoing great ideas), he makes this statement,

“I have found that my students are inclined to work harder on projects that will be showcased to an audience greater than their parents and me. By simply clicking the publish button, my students know that their work can, and often will be, viewed with more than just our classroom community. The concept of having a 5th grade student publish an infographic to the web may sound outrageous to most people, but my students, and many others around the world are more than capable. “

This is a simple, yet powerful statement. When student see value for their work outside of the classroom–when the audience is greater than just the teacher or their peers–they often feel the pressure to do a better job. That’s the power of audience. Simply by changing the audience for student work, students will want to do better.

The importance of audience is underscored by Grant Wiggins and Jay McTighe in their popular instructional design model, Understanding by Design. I use UbD when working with teachers on curriculum design, especially designing performance tasks. A key component of their framework for performance tasks is identifying a relevant audience, and as often as possible, I encourage teachers to design tasks with an audience that goes beyond the classroom to make the tasks more relevant to their students.

Need more convincing? Consider this e-mail from Becki Price, another fifth-grade teacher (just coincidence), but she’s in Round Rock, TX, where I had the privilege of working with a cohort of teachers using Chromebooks. Teachers in the cohort were trying new ideas for student projects, and Becki reflected on a science project. I didn’t get to see it in action but was able to chat with her about it during my last visit. Here’s what she says,

“I wanted to share with you that we wrapped up our first project for the second semester. I took the ideas you shared with me and the student’s projects are posted on my webpage for the world to see! The kids are really excited about this, and some are suddenly not pleased with their final product since it’s out there for everyone to see and compare.”

The Audience Continuum

Perhaps because I taught music, I had the concept of audience drilled into my head all of my career. Everything we did was ultimately for some audience outside of the classroom. We prepared concerts and shows for parents, the community, and competitions across the country. Many school music groups now have their own Facebook or websites with videos of performances that make it even easier to share their work.

But what about a regular classroom? What can those teachers in other content areas do? Digital technologies, as illustrated by these two great teachers, make that easy. Whether using a secure website, a blogging service just for kids, or allowing older students to use social media or other means to promote their work, there’s no reason any teachers shouldn’t be able to “break down the classroom walls” an expand the audience for student work.

As a final example, I use a portion of The Continuum from the Dubuque Community Public Schools (see below). This portion of The Continuum provides guidance for teachers to plan for and implement lessons and activities that promote student communication and collaboration. In terms of audience, my standard story is as you move up The Continuum and you’re trying to promote student communication, the level of audience for student work should increase.

That interprets to moving from an audience of one–just the teacher–to the rest of the classroom. From there, that middle line is really important. It represents the break between inside and outside of the classroom. Moving beyond the classroom means that student work is viewed first in the larger school or family-centric community, but ultimately by the world. In the two fifth-grade examples, note the impact of making the audience the world: same content standards and same learning goals + largest audience possible = increased student interest, engagement, and desire to succeed.

The Continuum

Expanding audiences for student work

Now it’s your turn. Take a lesson you’re working on (or that a teacher you know is working on) and explore ways of expanding the audience. Very often it takes very little work. You may have to explore a new tool, like these teachers did, but chances are most teachers have access to a range of free and easy tools they can use to expand the audience for their students’ work.