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"bio": "\u003cem>\u003ca href=\"https://twitter.com/@dfkris\">Deborah Farmer Kris\u003c/a> has taught elementary, middle and high school and served as a charter school administrator. She spent a decade as an associate at Boston University’s \u003c/em>\u003cem>\u003ca href=\"http://www.bu.edu/ccsr/about-us/\">Center for Character and Social Responsibility\u003c/a>, \u003c/em>\u003cem>researching, writing, and consulting with schools. She is the mother of two young children. You can follower her on Twitter \u003ca href=\"https://twitter.com/@dfkris\">@dfkris\u003c/a>.\u003c/em>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">While boosting kids’ math and verbal skills may draw more attention from parents and educators, spatial reasoning skills play an important -- sometimes overlooked -- role in academic and career success. And preschool, it turns out, is a key time to foster children’s spatial cognition.\u003c/span>\u003c/p>\n\u003cp>Spatial skills encompass far more than having a good sense of direction, according to \u003cspan style=\"font-weight: 400\">Nora Newcombe, a Temple University professor who helps lead the \u003c/span>\u003ca href=\"http://spatiallearning.org/\">\u003cspan style=\"font-weight: 400\">Spatial Intelligence and Learning Center\u003c/span>\u003c/a>. They include the ability to read maps, diagrams and charts; to correctly identify, transform and manipulate shapes; to understand how objects relate to one another in space; and to maintain a stable mental representation of an object as it moves.\u003c/p>\n\u003cp>“We live in a spatial world,” said Newcombe. “The objects we handle are large or small, we move around certain distances, and we turn by certain angles. Thinking about how objects move and change, and how we move among and past objects -- all of this is spatial reasoning.”\u003c/p>\n\u003cp>By teaching spatial reasoning skills to young children through language and activities, caregivers can help prepare kids to develop those senses for developing other skillsets.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There is growing evidence that strong spatial reasoning skills in preschool help support math learning in elementary school,” said Newcombe\u003c/span>\u003cspan style=\"font-weight: 400\">. “Beyond math, spatial thinking is important in and of itself for fostering interest in science, math and technology.” \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In fact, spatial skills “\u003c/span>\u003ca href=\"http://groups.psych.northwestern.edu/uttal/vittae/documents/Spatial%20Abilities%20and%20STEM%20education%20.pdf\">\u003cspan style=\"font-weight: 400\">strongly predict\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” who will pursue STEM careers, and -- according to \u003c/span>\u003ca href=\"https://my.vanderbilt.edu/smpy/files/2013/01/Kell-et-al.-2013b1.pdf\">\u003cspan style=\"font-weight: 400\">one study\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> -- children’s spatial reasoning skills were more predictive of future creativity and innovation in STEM fields than math scores. But learning those skills is not widespread. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We know spatial skills can be taught and grow with practice and we know that spatial skills predict whether or not kids pursue STEM careers,\" said \u003ca href=\"http://www.juliedillemuth.com/\">Julie Dillemuth\u003c/a>, a spatial cognition geographer and children's author. \"But we don’t systematically teach these skills in schools and a lot of parents aren’t tuned in to this topic.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s fixable, said Newcombe. “It’s very easy, and fun, to do spatial play with your preschoolers, and it will probably make a difference.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">How does one help?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Use Spatial Language \u003c/b>\u003c/p>\n\u003cp>The way young children talk about space is a significant, early \u003ca href=\"http://news.uchicago.edu/article/2011/11/09/learning-spatial-terms-improves-childrens-spatial-skills\">predictor\u003c/a> of their future spatial cognition. According to a \u003ca href=\"http://psychology.uchicago.edu/people/faculty/levine/Pruden_2011.pdf\">University of Chicago study\u003c/a>, parents vary widely in the amount of spatial language they use with their children -- and this gap has consequences: Children who were exposed to more spatial language during their preschool years \u003ca href=\"http://www.ncbi.nlm.nih.gov/pmc/articles/PMC3372906/\">outperformed\u003c/a> their peers on spatial tests years later. Spatial language includes references to shapes (triangle, square), sizes (tall, wide), features of shapes (corner, edge) and orientation (above, below, near, between).\u003c/p>\n\u003cp>Parents and preschool teachers can address this language gap by using descriptive language to describe their environment. For example, research suggests that parents can amplify the benefits of \u003ca href=\"http://onlinelibrary.wiley.com/doi/10.1111/j.1751-228X.2011.01122.x/abstract\">block\u003c/a> and \u003ca href=\"http://www.ncbi.nlm.nih.gov/pubmed/22040312\">puzzle\u003c/a> play by using spontaneous\u003ca href=\"http://spatiallearning.org/publications_pdfs/4nora.pdf\"> spatial language\u003c/a> with their children such as, “Can you find all the pieces with a flat edge?”\u003c/p>\n\u003cp>Dillemuth recommends playing games such as “hidden treasure,” where the adult hides an object in a room and then give the child step-by-step spatial directions to find it, such as “Walk forward five steps. Turn to your left, towards the couch. Now reach your hand between the pillows.”\u003c/p>\n\u003cp>\u003cb>Engage in Simple Mapping Activities\u003c/b>\u003c/p>\n\u003cp>Research suggests that children as young as \u003ca href=\"https://www.researchgate.net/publication/223819420_The_ability_of_three-_to_four-year-old_children_to_use_a_map_in_a_large-scale_environment\">3 years old\u003c/a> can appreciate the relationship between a map and the physical world.\u003c/p>\n\u003cp>Dillemuth, whose dissertation focused on how small-screen digital maps influence our navigation decisions, said that map reading is not an obsolete skill. “When you look at maps, you are building a mental map. Mental maps are really important because it gives you freedom to navigate where you want to go -- for example, how to take a shortcut, or where to go if your road is blocked.”\u003c/p>\n\u003cp>Parents can encourage kids to draw maps of familiar places -- such as their bedroom or a favorite playground. Dillemuth said she likes to play “map hide and seek” with her preschooler. “First, we draw a map of the house,” she said. “Then I might hide a toy in the cabinet and point to the cabinet on the map.” This prompts the child to make the connection between the 2-D representation of the room and its 3-D counterpart.\u003c/p>\n\u003cp>\u003cb>Invest in Blocks and Puzzles\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Parents who want a simple way to boost preschoolers’ spatial cognition should start with the toy box, said Newcombe. According to a \u003c/span>\u003ca href=\"http://pss.sagepub.com/content/early/2015/01/27/0956797614563338.abstract\">\u003cspan style=\"font-weight: 400\">2015 study\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that she co-authored, “\u003c/span>\u003cspan style=\"font-weight: 400\">children’s play with spatial toys correlates with spatial development.” Specifically, children who regularly play with blocks and jigsaw puzzles have more advanced block design scores than children who play with such toys less often. Her research also found that “females play less with spatial toys than do males, which arguably accounts for males’ spatial advantages.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Newcombe shared a few rules of thumb for encouraging spatial play. First, procure blocks and puzzles and e\u003c/span>\u003cspan style=\"font-weight: 400\">ncourage girls as well as boys to play with them. Second, try to avoid toys that seem either too hard or too easy -- aim for the “stretch” zone. As children improve, give them something to do that is just a little bit harder. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Read Spatially Challenging Picture Books\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Reading \u003c/span>\u003ca href=\"http://www.ncbi.nlm.nih.gov/pubmed/15144491\">\u003cspan style=\"font-weight: 400\">spatially challenging picture books\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is another way to engage children’s spatial thinking and expose them to spatial language. Look for books that include pictures from various angles or perspectives, that contain \u003c/span>\u003ca href=\"http://www.amazon.com/Lucy-City-Developing-Spatial-Thinking/dp/1433819287\">\u003cspan style=\"font-weight: 400\">maps\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and abundant \u003c/span>\u003ca href=\"http://www.amazon.com/Piggies-Pumpkin-Patch-Mary-Peterson/dp/1570914613\">\u003cspan style=\"font-weight: 400\">spatial language\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, or whose illustration require close attention to decipher their meaning -- such as \u003c/span>\u003ca href=\"http://www.amazon.com/Journey-Aaron-Becker/dp/0763660531\">\u003cspan style=\"font-weight: 400\">wordless\u003c/span>\u003c/a> \u003ca href=\"http://www.amazon.com/Flotsam-David-Wiesner/dp/0618194576\">\u003cspan style=\"font-weight: 400\">books\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003ca href=\"http://spatiallearning.org/publications_pdfs/4nora.pdf\">\u003cspan style=\"font-weight: 400\">According\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to Newcombe, “Even though books only contain static pictures, they can help children understand spatial transformations, if adults read them with the children and stimulate their imagination.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dillemuth said that adults often take spatial skills for granted because we use them all day long. “If you are packing a bag, loading the dishwasher, or playing sports, you pay attention to where things are located in relation to one another. We don’t really think about our spatial skills until we have to assemble a bookcase from IKEA.” \u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But, she said, by taking a step back and consciously introducing more spatial play, spatial activities and spatial language into children’s lives, parents and teachers open doors for their future success. \u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">While boosting kids’ math and verbal skills may draw more attention from parents and educators, spatial reasoning skills play an important -- sometimes overlooked -- role in academic and career success. And preschool, it turns out, is a key time to foster children’s spatial cognition.\u003c/span>\u003c/p>\n\u003cp>Spatial skills encompass far more than having a good sense of direction, according to \u003cspan style=\"font-weight: 400\">Nora Newcombe, a Temple University professor who helps lead the \u003c/span>\u003ca href=\"http://spatiallearning.org/\">\u003cspan style=\"font-weight: 400\">Spatial Intelligence and Learning Center\u003c/span>\u003c/a>. They include the ability to read maps, diagrams and charts; to correctly identify, transform and manipulate shapes; to understand how objects relate to one another in space; and to maintain a stable mental representation of an object as it moves.\u003c/p>\n\u003cp>“We live in a spatial world,” said Newcombe. “The objects we handle are large or small, we move around certain distances, and we turn by certain angles. Thinking about how objects move and change, and how we move among and past objects -- all of this is spatial reasoning.”\u003c/p>\n\u003cp>By teaching spatial reasoning skills to young children through language and activities, caregivers can help prepare kids to develop those senses for developing other skillsets.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There is growing evidence that strong spatial reasoning skills in preschool help support math learning in elementary school,” said Newcombe\u003c/span>\u003cspan style=\"font-weight: 400\">. “Beyond math, spatial thinking is important in and of itself for fostering interest in science, math and technology.” \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In fact, spatial skills “\u003c/span>\u003ca href=\"http://groups.psych.northwestern.edu/uttal/vittae/documents/Spatial%20Abilities%20and%20STEM%20education%20.pdf\">\u003cspan style=\"font-weight: 400\">strongly predict\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” who will pursue STEM careers, and -- according to \u003c/span>\u003ca href=\"https://my.vanderbilt.edu/smpy/files/2013/01/Kell-et-al.-2013b1.pdf\">\u003cspan style=\"font-weight: 400\">one study\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> -- children’s spatial reasoning skills were more predictive of future creativity and innovation in STEM fields than math scores. But learning those skills is not widespread. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We know spatial skills can be taught and grow with practice and we know that spatial skills predict whether or not kids pursue STEM careers,\" said \u003ca href=\"http://www.juliedillemuth.com/\">Julie Dillemuth\u003c/a>, a spatial cognition geographer and children's author. \"But we don’t systematically teach these skills in schools and a lot of parents aren’t tuned in to this topic.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s fixable, said Newcombe. “It’s very easy, and fun, to do spatial play with your preschoolers, and it will probably make a difference.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">How does one help?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Use Spatial Language \u003c/b>\u003c/p>\n\u003cp>The way young children talk about space is a significant, early \u003ca href=\"http://news.uchicago.edu/article/2011/11/09/learning-spatial-terms-improves-childrens-spatial-skills\">predictor\u003c/a> of their future spatial cognition. According to a \u003ca href=\"http://psychology.uchicago.edu/people/faculty/levine/Pruden_2011.pdf\">University of Chicago study\u003c/a>, parents vary widely in the amount of spatial language they use with their children -- and this gap has consequences: Children who were exposed to more spatial language during their preschool years \u003ca href=\"http://www.ncbi.nlm.nih.gov/pmc/articles/PMC3372906/\">outperformed\u003c/a> their peers on spatial tests years later. Spatial language includes references to shapes (triangle, square), sizes (tall, wide), features of shapes (corner, edge) and orientation (above, below, near, between).\u003c/p>\n\u003cp>Parents and preschool teachers can address this language gap by using descriptive language to describe their environment. For example, research suggests that parents can amplify the benefits of \u003ca href=\"http://onlinelibrary.wiley.com/doi/10.1111/j.1751-228X.2011.01122.x/abstract\">block\u003c/a> and \u003ca href=\"http://www.ncbi.nlm.nih.gov/pubmed/22040312\">puzzle\u003c/a> play by using spontaneous\u003ca href=\"http://spatiallearning.org/publications_pdfs/4nora.pdf\"> spatial language\u003c/a> with their children such as, “Can you find all the pieces with a flat edge?”\u003c/p>\n\u003cp>Dillemuth recommends playing games such as “hidden treasure,” where the adult hides an object in a room and then give the child step-by-step spatial directions to find it, such as “Walk forward five steps. Turn to your left, towards the couch. Now reach your hand between the pillows.”\u003c/p>\n\u003cp>\u003cb>Engage in Simple Mapping Activities\u003c/b>\u003c/p>\n\u003cp>Research suggests that children as young as \u003ca href=\"https://www.researchgate.net/publication/223819420_The_ability_of_three-_to_four-year-old_children_to_use_a_map_in_a_large-scale_environment\">3 years old\u003c/a> can appreciate the relationship between a map and the physical world.\u003c/p>\n\u003cp>Dillemuth, whose dissertation focused on how small-screen digital maps influence our navigation decisions, said that map reading is not an obsolete skill. “When you look at maps, you are building a mental map. Mental maps are really important because it gives you freedom to navigate where you want to go -- for example, how to take a shortcut, or where to go if your road is blocked.”\u003c/p>\n\u003cp>Parents can encourage kids to draw maps of familiar places -- such as their bedroom or a favorite playground. Dillemuth said she likes to play “map hide and seek” with her preschooler. “First, we draw a map of the house,” she said. “Then I might hide a toy in the cabinet and point to the cabinet on the map.” This prompts the child to make the connection between the 2-D representation of the room and its 3-D counterpart.\u003c/p>\n\u003cp>\u003cb>Invest in Blocks and Puzzles\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Parents who want a simple way to boost preschoolers’ spatial cognition should start with the toy box, said Newcombe. According to a \u003c/span>\u003ca href=\"http://pss.sagepub.com/content/early/2015/01/27/0956797614563338.abstract\">\u003cspan style=\"font-weight: 400\">2015 study\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that she co-authored, “\u003c/span>\u003cspan style=\"font-weight: 400\">children’s play with spatial toys correlates with spatial development.” Specifically, children who regularly play with blocks and jigsaw puzzles have more advanced block design scores than children who play with such toys less often. Her research also found that “females play less with spatial toys than do males, which arguably accounts for males’ spatial advantages.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Newcombe shared a few rules of thumb for encouraging spatial play. First, procure blocks and puzzles and e\u003c/span>\u003cspan style=\"font-weight: 400\">ncourage girls as well as boys to play with them. Second, try to avoid toys that seem either too hard or too easy -- aim for the “stretch” zone. As children improve, give them something to do that is just a little bit harder. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Read Spatially Challenging Picture Books\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Reading \u003c/span>\u003ca href=\"http://www.ncbi.nlm.nih.gov/pubmed/15144491\">\u003cspan style=\"font-weight: 400\">spatially challenging picture books\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is another way to engage children’s spatial thinking and expose them to spatial language. Look for books that include pictures from various angles or perspectives, that contain \u003c/span>\u003ca href=\"http://www.amazon.com/Lucy-City-Developing-Spatial-Thinking/dp/1433819287\">\u003cspan style=\"font-weight: 400\">maps\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and abundant \u003c/span>\u003ca href=\"http://www.amazon.com/Piggies-Pumpkin-Patch-Mary-Peterson/dp/1570914613\">\u003cspan style=\"font-weight: 400\">spatial language\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, or whose illustration require close attention to decipher their meaning -- such as \u003c/span>\u003ca href=\"http://www.amazon.com/Journey-Aaron-Becker/dp/0763660531\">\u003cspan style=\"font-weight: 400\">wordless\u003c/span>\u003c/a> \u003ca href=\"http://www.amazon.com/Flotsam-David-Wiesner/dp/0618194576\">\u003cspan style=\"font-weight: 400\">books\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003ca href=\"http://spatiallearning.org/publications_pdfs/4nora.pdf\">\u003cspan style=\"font-weight: 400\">According\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to Newcombe, “Even though books only contain static pictures, they can help children understand spatial transformations, if adults read them with the children and stimulate their imagination.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dillemuth said that adults often take spatial skills for granted because we use them all day long. “If you are packing a bag, loading the dishwasher, or playing sports, you pay attention to where things are located in relation to one another. We don’t really think about our spatial skills until we have to assemble a bookcase from IKEA.” \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But, she said, by taking a step back and consciously introducing more spatial play, spatial activities and spatial language into children’s lives, parents and teachers open doors for their future success. \u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>“The single most important implication of research in dyslexia is not ensuring that we don’t derail the development of a future Leonardo or Edison; it is making sure that we do not miss the potential of any child. Not all children with dyslexia have extraordinary talents, but every one of them has a unique potential that all too often goes unrealized because we don’t know how to tap it.” Maryanne Wolf, \u003c/i>Proust and the Squid\u003c/p>\n\u003cp class=\"p1\">The act of reading is a relatively recent phenomenon that was developed over time by humans. Since there are no reading genes or reading center of the brain, humans must learn to read by themselves, training their brain to forge the connections of disparate parts to form the circuitry that allows us to read and write. Reading well can be a sign of intelligence, except when it isn’t, which is often the case for the 5-20 percent of students who have by far the most common form of learning disability, dyslexia.\u003c/p>\n\u003cp class=\"p1\">And yet often, special gifts and talents emerge from dyslexic brains. Whether this happens because of the setup of the dyslexic brain or in spite of it is still an ongoing subject of research. Thomas Edison, Henry Ford, F. Scott Fitzgerald and Pablo Picasso are all said to have struggled with reading and handwriting. Steven Spielberg \u003ca href=\"http://https://www.youtube.com/watch?v=-lGr840jE_0\">has spoken publicly\u003c/a> about how he wasn’t diagnosed with dyslexia until he was long into adulthood. Richard Branson, founder of the 400-company Virgin Group, said that when he was a child in school, everything on the board looked like “gobbledy-goop” to him. Presidential candidate Ben Carson, who was director of pediatric neurosurgery at Johns Hopkins, is listed, along with nearly 40 other household names, on the “Successful Dyslexics” page on the \u003ca href=\"http://eida.org/success-stories/\">International Dyslexia Association\u003c/a> website.\u003c/p>\n\u003cp class=\"p1\">Nashville third-grader \u003ca href=\"http://ww2.kqed.org/mindshift/2015/10/08/why-recognizing-dyslexia-in-children-at-school-can-be-difficult/\">Clara Thorsen\u003c/a> is what’s called twice exceptional, or 2E: She has a high IQ, yet it takes her hours to write one or two sentences. Brooklyn seventh-grader\u003ca href=\"http://ww2.kqed.org/mindshift/2015/10/08/why-recognizing-dyslexia-in-children-at-school-can-be-difficult/\"> Calliope Lissak\u003c/a> is dyslexic but has shown exceptional social skills, and can engage nearly any adult in adult-level conversation.\u003c/p>\n\u003cp class=\"p1\">In her book \"\u003ca href=\"http://www.amazon.com/Proust-Squid-Story-Science-Reading/dp/0060933844\">Proust and the Squid\u003c/a>,\" child development professor \u003ca href=\"http://ww2.kqed.org/mindshift/2015/10/01/understanding-dyslexia-and-the-reading-brain-in-kids/\">Maryanne Wolf\u003c/a> describes how her own dyslexic son questioned what was happening inside his brain: Was it that the brain of the dyslexic, relying heavily on the right hemisphere, was more creative \u003ci>because\u003c/i> the right hemisphere was used more often? Or was the right hemisphere dominant to begin with? Wolf writes that, according to neurologist Al Galaburda, a little bit of both may be true: “Initially, circuits of the left-hemisphere type that do not form allow right hemisphere circuits to populate empty synapses. Later, since they do not read, they get better at other things, especially since they have a good machinery for it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp class=\"p1\">“It’s certainly possible that some dyslexics have special abilities in areas not related to reading, just as other kids could have special abilities in one or two areas but struggle in other areas,\" said research scientist and speech-language pathologist Peggy McCardle, former branch chief at the Eunice Kennedy Shriver National Institute of Child Health and Human Development (NICHD), U.S. National Institutes of Health. \"We know that there are gifted children in the world, and that some of them are dyslexic. What we don’t know — and to date there is no real evidence of this — is whether the dyslexia and the giftedness or talent are connected, or just happened to co-occur in that person. People are looking at ways to study that, with good research designs and solid methods, but so far it has not been done.\"\u003c/p>\n\u003cp class=\"p1\">McCardle goes on to call the dyslexia-talent connection “a popular idea,” and admits it’s hard to say to wait for solid evidence. “But if we are to consider redefining a diagnosis, or changing a practice, we must be careful to be sure we’re right. If your dyslexic child has some special abilities, that’s wonderful, and that means that there are areas where he or she can be successful, which could make him or her feel less discouraged about school and learning. But it’s also important to keep in mind that environment, advantages and opportunities can nurture talents or abilities.\"\u003c/p>\n\u003cp class=\"p1\">In poorer schools and families, dyslexic children may often have fewer opportunities to find and hone special abilities, making it even harder to tease out the connection.\u003c/p>\n\u003cp class=\"p1\">Brock and Fernette Eide, a general practitioner and a neurologist who are also husband and wife, are quite interested in connecting dyslexics to their abilities, focusing on what dyslexics can do instead of what they can’t. Soon after they opened a Seattle clinic for students with learning differences in the late '90s, they began to notice a pattern in dyslexic students and their families.\u003c/p>\n\u003cp class=\"p1\">“It became apparent that [in dyslexia] we were seeing kids with different patterns of optimization and specialization in cognitive function,” Dr. Brock Eide said. “When you start looking at those optimizations, you realize that building certain skills in certain areas usually entails a trade-off in function in some other cognitive set. So, what we were seeing with these kids is that they were optimized in ways that gave them difficulty in certain areas of function — which is why they ended up in our office. But when we looked closely, we were also seeing that those difficulties usually represented the flip side of other talent sets.”\u003c/p>\n\u003cp class=\"p1\">Those talents, report the Eides, might be anything from high levels of spatial reasoning and creativity to outstanding social skills. The Eides said that time and again, families of dyslexic students would compare their child to a relative who had similar issues. For instance, a father might say, \"Yes, my son is just like his grandfather, who struggled in school, but then went on to become a successful geophysicist.\" The Eides became “fascinated” with the pattern, which led them to begin their own search for research to support their data.\u003c/p>\n\u003cp class=\"p1\">Their book, \u003ca href=\"http://Valor\">\"The Dyslexic Advantage,\"\u003c/a> outlines the talents of dyslexics that may be due to different brain structure. As far as the research to support the correlation between dyslexia and talent, the Eides said there are currently about 25 papers from around the world addressing the topic, and numerous universities, many in Europe, continuing to explore the connection between dyslexia and certain talents and abilities. While most are small samples, and are published in some obscure journals, the Eides say what mattered more to them than the quality of the studies, standing alone, was the recurrent evidence found around the world of people who struggled with reading and writing simultaneously -- excelling in areas like engineering, arts and design, and entrepreneurship.\u003c/p>\n\u003cp class=\"p1\">Following their passion for the “upside” of dyslexia, the Eides were prompted to start a nonprofit, also called The Dyslexic Advantage, to promote the positive identities and achievements of dyslexics, which now boasts 15,000 registered members. They have set up connections with professional organizations and universities to identify groups with high incidence of dyslexia. They recently participated in a “neurodiversity in the workplace” conference at Microsoft, where they heard compelling stories of successful dyslexics in the tech force, and how they often compensated for their weaknesses by teaming up with those who had complementary strengths. And they are preparing to release a survey of more than 2,600 participants, called Dyslexia at School, in which those surveyed, mostly parents, give insights into how schools are handling dyslexia in the classroom, and ways in which schools can help support students with learning differences.\u003c/p>\n\u003cp class=\"p1\">According to the Eides, the real world is often a welcome and wonderful change from school for the learning disabled, because suddenly their skills and talents have an arena to flower. Typically dyslexic strengths, like incidental and experiential learning and big-picture thinking, don’t have as many applications at school, unless schools purposely create classes that can harness both. In their clinical work, the Eides often found students living with dyslexia who had been “so broken down and conditioned to think of themselves as being defective, that by the time the development and environment becomes more conducive to their success, they have lost believe in their ability to make something of themselves.”\u003c/p>\n\u003cp class=\"p1\">The researchers and clinicians at the Vanderbilt Kennedy Center Reading Clinic are more measured about promoting the upside of dyslexia — not because the upside can’t be real, but because the struggles to get through school for children with a learning disability are real. Dr. Sheryl Rimrodt, who runs the pediatric clinic, said, “Not every single kid with dyslexia is gifted. When these kids leave my clinic, my goal is to help them feel positive that they will go out and get what they need,” she said. “I will say things like, 'You have a dyslexic brain, like Walt Disney had a dyslexic brain. You are a smart kid.' ”\u003c/p>\n\u003cp class=\"p1\">Rimrodt also cautions saying too much about special talents that don’t seem academic in nature. “I don’t want kids to sell themselves short about going to college. So I will make sure that they know there are plenty of good people out there who have done plenty —academic work, who are in medical school, law school,” she said. “I want to give them the broad picture. I want them to understand that there’s a world of possibilities.”\u003c/p>\n\u003cp class=\"p1\">Brock Eide recalled a recent phone call he received from an award-winning pediatric surgeon, a pioneer of many kinds of life-saving surgical procedures. The surgeon had called because he wanted to attend a local conference for dyslexics. However, he was having trouble filling out the registration form.\u003c/p>\n\u003cp class=\"p1\">“This doctor can walk you through the experience of all the surgeries he performed over the years,” Eide said. “His memory is optimized for a different set of functions. And for all those kids who survived because he was their surgeon, thank goodness that he can’t remember his phone number, or his Zip code! He uses his mind for something better.”\u003c/p>\n\u003cp class=\"p1\">A recent popular Twitter hashtag called #SayDyslexia has spread one particularly useful idea: In order to be recognized as a gift or a curse or perhaps somewhere in between, dyslexia first must be recognized at all. According to the Eide’s Dyslexia in School survey, 86 percent of those surveyed received diagnoses from an outside source other than school, although school is where reading problems almost always begin.\u003c/p>\n\u003cp class=\"p1\">Through all the stories reported here, one thing remains consistent: While many children and families feel the often debilitating and humiliating effects of not understanding why they can’t read and write like everyone else, there is a lack of understanding about what dyslexia is and is not; how to identify dyslexic students and intervene early; and how to structure classrooms to accommodate an astonishing range of neurodiverse strengths and weaknesses.\u003c/p>\n\u003cp class=\"p1\">This misunderstanding is happening at the state and local level, in homes and in schools and in classrooms. It’s happening when children in the lowest reading group are told that it will all come together if they would just apply themselves. It’s happening when teachers unwittingly give prizes for reading contests based on number of pages read. It’s happening when states administer conflicting and confusing guidelines that leave families and schools struggling to put a name to the problem. For many kids with reading problems, the name is dyslexia.\u003c/p>\n\u003cp class=\"p1\">Experts agree that the earlier the diagnosis and intervention, the brighter the future for all those with dyslexia. For some, reading may never come easy. Dr. Brooke Soden, associate director at the Vanderbilt Kennedy Center Reading Clinic, said the reading person is only a piece of the whole person.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp class=\"p1\">“I’ve tried to scrub the word 'treatment' from all the things coming out of our clinic,\" she said. \"It’s not treatment, because it’s not a disease. It’s a different brain. It’s who you are: It’s working with what you’ve got.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>“The single most important implication of research in dyslexia is not ensuring that we don’t derail the development of a future Leonardo or Edison; it is making sure that we do not miss the potential of any child. Not all children with dyslexia have extraordinary talents, but every one of them has a unique potential that all too often goes unrealized because we don’t know how to tap it.” Maryanne Wolf, \u003c/i>Proust and the Squid\u003c/p>\n\u003cp class=\"p1\">The act of reading is a relatively recent phenomenon that was developed over time by humans. Since there are no reading genes or reading center of the brain, humans must learn to read by themselves, training their brain to forge the connections of disparate parts to form the circuitry that allows us to read and write. Reading well can be a sign of intelligence, except when it isn’t, which is often the case for the 5-20 percent of students who have by far the most common form of learning disability, dyslexia.\u003c/p>\n\u003cp class=\"p1\">And yet often, special gifts and talents emerge from dyslexic brains. Whether this happens because of the setup of the dyslexic brain or in spite of it is still an ongoing subject of research. Thomas Edison, Henry Ford, F. Scott Fitzgerald and Pablo Picasso are all said to have struggled with reading and handwriting. Steven Spielberg \u003ca href=\"http://https://www.youtube.com/watch?v=-lGr840jE_0\">has spoken publicly\u003c/a> about how he wasn’t diagnosed with dyslexia until he was long into adulthood. Richard Branson, founder of the 400-company Virgin Group, said that when he was a child in school, everything on the board looked like “gobbledy-goop” to him. Presidential candidate Ben Carson, who was director of pediatric neurosurgery at Johns Hopkins, is listed, along with nearly 40 other household names, on the “Successful Dyslexics” page on the \u003ca href=\"http://eida.org/success-stories/\">International Dyslexia Association\u003c/a> website.\u003c/p>\n\u003cp class=\"p1\">Nashville third-grader \u003ca href=\"http://ww2.kqed.org/mindshift/2015/10/08/why-recognizing-dyslexia-in-children-at-school-can-be-difficult/\">Clara Thorsen\u003c/a> is what’s called twice exceptional, or 2E: She has a high IQ, yet it takes her hours to write one or two sentences. Brooklyn seventh-grader\u003ca href=\"http://ww2.kqed.org/mindshift/2015/10/08/why-recognizing-dyslexia-in-children-at-school-can-be-difficult/\"> Calliope Lissak\u003c/a> is dyslexic but has shown exceptional social skills, and can engage nearly any adult in adult-level conversation.\u003c/p>\n\u003cp class=\"p1\">In her book \"\u003ca href=\"http://www.amazon.com/Proust-Squid-Story-Science-Reading/dp/0060933844\">Proust and the Squid\u003c/a>,\" child development professor \u003ca href=\"http://ww2.kqed.org/mindshift/2015/10/01/understanding-dyslexia-and-the-reading-brain-in-kids/\">Maryanne Wolf\u003c/a> describes how her own dyslexic son questioned what was happening inside his brain: Was it that the brain of the dyslexic, relying heavily on the right hemisphere, was more creative \u003ci>because\u003c/i> the right hemisphere was used more often? Or was the right hemisphere dominant to begin with? Wolf writes that, according to neurologist Al Galaburda, a little bit of both may be true: “Initially, circuits of the left-hemisphere type that do not form allow right hemisphere circuits to populate empty synapses. Later, since they do not read, they get better at other things, especially since they have a good machinery for it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"p1\">“It’s certainly possible that some dyslexics have special abilities in areas not related to reading, just as other kids could have special abilities in one or two areas but struggle in other areas,\" said research scientist and speech-language pathologist Peggy McCardle, former branch chief at the Eunice Kennedy Shriver National Institute of Child Health and Human Development (NICHD), U.S. National Institutes of Health. \"We know that there are gifted children in the world, and that some of them are dyslexic. What we don’t know — and to date there is no real evidence of this — is whether the dyslexia and the giftedness or talent are connected, or just happened to co-occur in that person. People are looking at ways to study that, with good research designs and solid methods, but so far it has not been done.\"\u003c/p>\n\u003cp class=\"p1\">McCardle goes on to call the dyslexia-talent connection “a popular idea,” and admits it’s hard to say to wait for solid evidence. “But if we are to consider redefining a diagnosis, or changing a practice, we must be careful to be sure we’re right. If your dyslexic child has some special abilities, that’s wonderful, and that means that there are areas where he or she can be successful, which could make him or her feel less discouraged about school and learning. But it’s also important to keep in mind that environment, advantages and opportunities can nurture talents or abilities.\"\u003c/p>\n\u003cp class=\"p1\">In poorer schools and families, dyslexic children may often have fewer opportunities to find and hone special abilities, making it even harder to tease out the connection.\u003c/p>\n\u003cp class=\"p1\">Brock and Fernette Eide, a general practitioner and a neurologist who are also husband and wife, are quite interested in connecting dyslexics to their abilities, focusing on what dyslexics can do instead of what they can’t. Soon after they opened a Seattle clinic for students with learning differences in the late '90s, they began to notice a pattern in dyslexic students and their families.\u003c/p>\n\u003cp class=\"p1\">“It became apparent that [in dyslexia] we were seeing kids with different patterns of optimization and specialization in cognitive function,” Dr. Brock Eide said. “When you start looking at those optimizations, you realize that building certain skills in certain areas usually entails a trade-off in function in some other cognitive set. So, what we were seeing with these kids is that they were optimized in ways that gave them difficulty in certain areas of function — which is why they ended up in our office. But when we looked closely, we were also seeing that those difficulties usually represented the flip side of other talent sets.”\u003c/p>\n\u003cp class=\"p1\">Those talents, report the Eides, might be anything from high levels of spatial reasoning and creativity to outstanding social skills. The Eides said that time and again, families of dyslexic students would compare their child to a relative who had similar issues. For instance, a father might say, \"Yes, my son is just like his grandfather, who struggled in school, but then went on to become a successful geophysicist.\" The Eides became “fascinated” with the pattern, which led them to begin their own search for research to support their data.\u003c/p>\n\u003cp class=\"p1\">Their book, \u003ca href=\"http://Valor\">\"The Dyslexic Advantage,\"\u003c/a> outlines the talents of dyslexics that may be due to different brain structure. As far as the research to support the correlation between dyslexia and talent, the Eides said there are currently about 25 papers from around the world addressing the topic, and numerous universities, many in Europe, continuing to explore the connection between dyslexia and certain talents and abilities. While most are small samples, and are published in some obscure journals, the Eides say what mattered more to them than the quality of the studies, standing alone, was the recurrent evidence found around the world of people who struggled with reading and writing simultaneously -- excelling in areas like engineering, arts and design, and entrepreneurship.\u003c/p>\n\u003cp class=\"p1\">Following their passion for the “upside” of dyslexia, the Eides were prompted to start a nonprofit, also called The Dyslexic Advantage, to promote the positive identities and achievements of dyslexics, which now boasts 15,000 registered members. They have set up connections with professional organizations and universities to identify groups with high incidence of dyslexia. They recently participated in a “neurodiversity in the workplace” conference at Microsoft, where they heard compelling stories of successful dyslexics in the tech force, and how they often compensated for their weaknesses by teaming up with those who had complementary strengths. And they are preparing to release a survey of more than 2,600 participants, called Dyslexia at School, in which those surveyed, mostly parents, give insights into how schools are handling dyslexia in the classroom, and ways in which schools can help support students with learning differences.\u003c/p>\n\u003cp class=\"p1\">According to the Eides, the real world is often a welcome and wonderful change from school for the learning disabled, because suddenly their skills and talents have an arena to flower. Typically dyslexic strengths, like incidental and experiential learning and big-picture thinking, don’t have as many applications at school, unless schools purposely create classes that can harness both. In their clinical work, the Eides often found students living with dyslexia who had been “so broken down and conditioned to think of themselves as being defective, that by the time the development and environment becomes more conducive to their success, they have lost believe in their ability to make something of themselves.”\u003c/p>\n\u003cp class=\"p1\">The researchers and clinicians at the Vanderbilt Kennedy Center Reading Clinic are more measured about promoting the upside of dyslexia — not because the upside can’t be real, but because the struggles to get through school for children with a learning disability are real. Dr. Sheryl Rimrodt, who runs the pediatric clinic, said, “Not every single kid with dyslexia is gifted. When these kids leave my clinic, my goal is to help them feel positive that they will go out and get what they need,” she said. “I will say things like, 'You have a dyslexic brain, like Walt Disney had a dyslexic brain. You are a smart kid.' ”\u003c/p>\n\u003cp class=\"p1\">Rimrodt also cautions saying too much about special talents that don’t seem academic in nature. “I don’t want kids to sell themselves short about going to college. So I will make sure that they know there are plenty of good people out there who have done plenty —academic work, who are in medical school, law school,” she said. “I want to give them the broad picture. I want them to understand that there’s a world of possibilities.”\u003c/p>\n\u003cp class=\"p1\">Brock Eide recalled a recent phone call he received from an award-winning pediatric surgeon, a pioneer of many kinds of life-saving surgical procedures. The surgeon had called because he wanted to attend a local conference for dyslexics. However, he was having trouble filling out the registration form.\u003c/p>\n\u003cp class=\"p1\">“This doctor can walk you through the experience of all the surgeries he performed over the years,” Eide said. “His memory is optimized for a different set of functions. And for all those kids who survived because he was their surgeon, thank goodness that he can’t remember his phone number, or his Zip code! He uses his mind for something better.”\u003c/p>\n\u003cp class=\"p1\">A recent popular Twitter hashtag called #SayDyslexia has spread one particularly useful idea: In order to be recognized as a gift or a curse or perhaps somewhere in between, dyslexia first must be recognized at all. According to the Eide’s Dyslexia in School survey, 86 percent of those surveyed received diagnoses from an outside source other than school, although school is where reading problems almost always begin.\u003c/p>\n\u003cp class=\"p1\">Through all the stories reported here, one thing remains consistent: While many children and families feel the often debilitating and humiliating effects of not understanding why they can’t read and write like everyone else, there is a lack of understanding about what dyslexia is and is not; how to identify dyslexic students and intervene early; and how to structure classrooms to accommodate an astonishing range of neurodiverse strengths and weaknesses.\u003c/p>\n\u003cp class=\"p1\">This misunderstanding is happening at the state and local level, in homes and in schools and in classrooms. It’s happening when children in the lowest reading group are told that it will all come together if they would just apply themselves. It’s happening when teachers unwittingly give prizes for reading contests based on number of pages read. It’s happening when states administer conflicting and confusing guidelines that leave families and schools struggling to put a name to the problem. For many kids with reading problems, the name is dyslexia.\u003c/p>\n\u003cp class=\"p1\">Experts agree that the earlier the diagnosis and intervention, the brighter the future for all those with dyslexia. For some, reading may never come easy. Dr. Brooke Soden, associate director at the Vanderbilt Kennedy Center Reading Clinic, said the reading person is only a piece of the whole person.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"p1\">“I’ve tried to scrub the word 'treatment' from all the things coming out of our clinic,\" she said. \"It’s not treatment, because it’s not a disease. It’s a different brain. It’s who you are: It’s working with what you’ve got.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The students in Molly James’s kindergarten classroom were tasked with creating a mathematical art gallery. They had each drawn a number and then searched for two types objects they could use to compose a visual number sentence -- such as two rulers plus three scissors to equal five objects.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After photographing and mounting their pictures on the wall in numerical order, the students sat on the floor with their sketchbooks and began to draw and talk. “I had expected them to learn something about number composition,” James said, “but I didn’t expect the remarkable observations they began to have about the photographs.” For example, when one girl looked at a picture of two red scissors and three blue scissors (2+3=5), she noticed that the direction of the handles gave rise to a \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">new\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> number sentence: 4 scissors pointing left + 1 scissor pointing right = 5 scissors. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">James, who recently published a \u003c/span>\u003ca href=\"http://www.scirp.org/journal/PaperInformation.aspx?PaperID=57294\">\u003cspan style=\"font-weight: 400\">paper\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> about creativity in the classroom, said moments like these remind her that “creativity is not fluff or an add-on, but is instead an essential part of what it means to be a mathematician.” In fact, she believes creativity is the key to helping her students become confident and skilled mathematical thinkers. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Heather Hill, a p\u003c/span>\u003cspan style=\"font-weight: 400\">rofessor at the Harvard Graduate School of Education\u003c/span>\u003cspan style=\"font-weight: 400\">, encourages teachers to make room for creativity in the math classroom “because there’s \u003ca href=\"http://www.theatlantic.com/education/archive/2014/03/5-year-olds-can-learn-calculus/284124/\" target=\"_blank\">heaps\u003c/a> of evidence that kids are naturally very creative when it comes to mathematics.” In the same way that kids create their own stories or make up songs, “kids will invent their own methods for solving mathematics problems, even problems that are sometimes very complex.”\u003c/span>\u003c/p>\n\u003cp>In math education, said Hill, creativity is defined as “kids having their own ideas about how mathematics works and being able to work to verify that those ideas are correct.\" As it turns out, she noted, these are the same traits that are recognized and celebrated in advanced mathematics. When elementary teachers encourage students to ask questions, make observations, and tackle problems in inventive ways, they create an environment that supports creative mathematical thinking.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here are some ways to tap into that creativity:\u003c/p>\n\u003cp>\u003cb>Encourage Students to Question and Observe\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">“Asking mathematical questions is a form of creativity,” said Hill. Kids love to figure out how things work, so when teachers present a new concept, they should also build in time for students to make observations and ask questions. James uses prompts such as, “What do you notice about this [shape, number, story, or design]?” or “How else could we use [addition, graphing, or sorting] in the classroom?” to help students build these habits.\u003cbr>\n\u003c/span>\u003cb>\u003cbr>\nPose Open-Ended Questions\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">Teachers can make a habit of posing inventive questions, said Hill -- even something as simple as “How can we figure out whether to buy chocolate or vanilla ice cream for the class party?” The trick is letting kids decide for\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> themselves \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">how to figure out a solution. The teacher’s job, said Hill, is to make sure students have the tools they need to solve the problem and to ask clarifying questions during the problem-solving process. James said that when she poses questions that require “struggle and creative thinking instead of rote application of rules,” students are not only more engaged, she is also better able to assess their understanding of key concepts by observing in real time how they apply their math skills.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Engage in Rich Conversation\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">One-on-one conversations help students articulate and extend their thought processes. As James circulates through the room, she uses prompts such as “Tell me about that; How did you think of that?; and What steps did you take?” to get kids talking. “I encourage students to share their thinking, and in turn I am open to the unexpected strategy,\" according to James. \"I am willing to say, ‘Wow, I never thought about that before.’”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Apply Skills to New Contexts\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">During \u003c/span>\u003ca href=\"http://creativitylovingeducator.com/2015/07/21/making-room-for-creativity-in-math/\">\u003cspan style=\"font-weight: 400\">one lesson\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, James asked her kindergartners to write a number sentence and then invent a story based on that sentence. Students depicted their story in three ways: as an\u003c/span>\u003cspan style=\"font-weight: 400\"> illustration, as a written sentence, and as a number sentence. James was surprised to find that a few kids who zoomed through their math facts really struggled to complete this task. “They wanted to give me a number sentence without a story,” said James. Being asked to manipulate and view numbers in this way “caused them a bit of internal conflict.” To help them through the process, James said she just sat with them -- wondering out loud and asking questions -- until they found their footing. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">An activity like this is effective, said Hill, because it posed a question that “stretched kids outside of their comfort zone and called on them to think and invent.” James was asking her students to\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> contextualize, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">which is “a core mathematical practice.” When young children are given opportunities to apply their math skills to novel situations, they take steps toward becoming confident and creative mathematical thinkers.\u003c/span>\u003c/p>\n\u003cp>\u003cb>How Parents Can Help\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Parents also play a key role in nurturing a child’s mathematical mind. They can help kids discover the math that is embedded in our daily experiences. “Anything you can make into a math problem is a win,” said Hill, “because it shows the child how useful math can be, and gives them some practice in applying their own thinking to math problems.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">James and Hill offered these strategies for parents:\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>\u003cb>Look for Patterns\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">Be on the lookout for patterns and sequences. For example, said James, a parent could make a plate with one piece of cheese, two tomatoes, three carrots, and four grapes and then ask, “Did you notice what I did with your lunch?” Simple activities such as sorting toys, setting the table, or going on a nature walk can provide opportunities too look for and create color, size, number, and shape patterns. These activities also hone observational skills.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Leave Math Notes\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">James suggests leaving little, unexpected math messages around the house such as, “Did you eat more pretzels or raisins? How many more?” or “How many different routes can you take to get from the kitchen to the bathroom?” Kids will likely start to leave notes for you to respond to, as well. She also recommends putting a number on a big sheet of paper and leaving it up for a few days, letting everyone in the family add something they know about that number. For example, for the number ten, someone might draw ten fingers while another might write 10 + 2, two less than a dozen, the square root of one hundred, or the names of ten friends.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Have Math Chats\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">Take time each week to\u003c/span>\u003ca href=\"http://talkingmathwithkids.com/\">\u003cspan style=\"font-weight: 400\"> talk about math with your kids\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in the same way you might talk about letters and stories. “Ask \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">tons\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> of questions,” James said. “Ask them to show you how they know. Ask, Is there another way to do it? In turn, encourage your kids to try to stump you and let yourself be stumped.” Even math facts can prompt creative conversations. Hill said, “If your kindergartner can already add simple sums like 5 + 5 and 4 + 4, give them progressively more challenging problems. At each step, ask how the child figured out their answer - and prepare to be surprised at some of the unusual strategies they will use!” A few minutes of math talk two or three times a week is all that’s really needed to get your child thinking, said Hill. “I do it when the kids are really bored — in the car, on the subway, waiting in the doctor’s office, and so forth. They’re much more willing to do math when bored.”\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When parents and educators model creative engagement with mathematics, children come to see math as more than simply a set of facts and operations. “We want our students to become mathematical thinkers, not mathematical machines,” said James. “Even in kindergarten, I want to shape people who love solving problems creatively and who have the skills they need to someday change the world.”\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The students in Molly James’s kindergarten classroom were tasked with creating a mathematical art gallery. They had each drawn a number and then searched for two types objects they could use to compose a visual number sentence -- such as two rulers plus three scissors to equal five objects.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After photographing and mounting their pictures on the wall in numerical order, the students sat on the floor with their sketchbooks and began to draw and talk. “I had expected them to learn something about number composition,” James said, “but I didn’t expect the remarkable observations they began to have about the photographs.” For example, when one girl looked at a picture of two red scissors and three blue scissors (2+3=5), she noticed that the direction of the handles gave rise to a \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">new\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> number sentence: 4 scissors pointing left + 1 scissor pointing right = 5 scissors. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">James, who recently published a \u003c/span>\u003ca href=\"http://www.scirp.org/journal/PaperInformation.aspx?PaperID=57294\">\u003cspan style=\"font-weight: 400\">paper\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> about creativity in the classroom, said moments like these remind her that “creativity is not fluff or an add-on, but is instead an essential part of what it means to be a mathematician.” In fact, she believes creativity is the key to helping her students become confident and skilled mathematical thinkers. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Heather Hill, a p\u003c/span>\u003cspan style=\"font-weight: 400\">rofessor at the Harvard Graduate School of Education\u003c/span>\u003cspan style=\"font-weight: 400\">, encourages teachers to make room for creativity in the math classroom “because there’s \u003ca href=\"http://www.theatlantic.com/education/archive/2014/03/5-year-olds-can-learn-calculus/284124/\" target=\"_blank\">heaps\u003c/a> of evidence that kids are naturally very creative when it comes to mathematics.” In the same way that kids create their own stories or make up songs, “kids will invent their own methods for solving mathematics problems, even problems that are sometimes very complex.”\u003c/span>\u003c/p>\n\u003cp>In math education, said Hill, creativity is defined as “kids having their own ideas about how mathematics works and being able to work to verify that those ideas are correct.\" As it turns out, she noted, these are the same traits that are recognized and celebrated in advanced mathematics. When elementary teachers encourage students to ask questions, make observations, and tackle problems in inventive ways, they create an environment that supports creative mathematical thinking.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here are some ways to tap into that creativity:\u003c/p>\n\u003cp>\u003cb>Encourage Students to Question and Observe\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">“Asking mathematical questions is a form of creativity,” said Hill. Kids love to figure out how things work, so when teachers present a new concept, they should also build in time for students to make observations and ask questions. James uses prompts such as, “What do you notice about this [shape, number, story, or design]?” or “How else could we use [addition, graphing, or sorting] in the classroom?” to help students build these habits.\u003cbr>\n\u003c/span>\u003cb>\u003cbr>\nPose Open-Ended Questions\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">Teachers can make a habit of posing inventive questions, said Hill -- even something as simple as “How can we figure out whether to buy chocolate or vanilla ice cream for the class party?” The trick is letting kids decide for\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> themselves \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">how to figure out a solution. The teacher’s job, said Hill, is to make sure students have the tools they need to solve the problem and to ask clarifying questions during the problem-solving process. James said that when she poses questions that require “struggle and creative thinking instead of rote application of rules,” students are not only more engaged, she is also better able to assess their understanding of key concepts by observing in real time how they apply their math skills.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Engage in Rich Conversation\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">One-on-one conversations help students articulate and extend their thought processes. As James circulates through the room, she uses prompts such as “Tell me about that; How did you think of that?; and What steps did you take?” to get kids talking. “I encourage students to share their thinking, and in turn I am open to the unexpected strategy,\" according to James. \"I am willing to say, ‘Wow, I never thought about that before.’”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Apply Skills to New Contexts\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">During \u003c/span>\u003ca href=\"http://creativitylovingeducator.com/2015/07/21/making-room-for-creativity-in-math/\">\u003cspan style=\"font-weight: 400\">one lesson\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, James asked her kindergartners to write a number sentence and then invent a story based on that sentence. Students depicted their story in three ways: as an\u003c/span>\u003cspan style=\"font-weight: 400\"> illustration, as a written sentence, and as a number sentence. James was surprised to find that a few kids who zoomed through their math facts really struggled to complete this task. “They wanted to give me a number sentence without a story,” said James. Being asked to manipulate and view numbers in this way “caused them a bit of internal conflict.” To help them through the process, James said she just sat with them -- wondering out loud and asking questions -- until they found their footing. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">An activity like this is effective, said Hill, because it posed a question that “stretched kids outside of their comfort zone and called on them to think and invent.” James was asking her students to\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> contextualize, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">which is “a core mathematical practice.” When young children are given opportunities to apply their math skills to novel situations, they take steps toward becoming confident and creative mathematical thinkers.\u003c/span>\u003c/p>\n\u003cp>\u003cb>How Parents Can Help\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Parents also play a key role in nurturing a child’s mathematical mind. They can help kids discover the math that is embedded in our daily experiences. “Anything you can make into a math problem is a win,” said Hill, “because it shows the child how useful math can be, and gives them some practice in applying their own thinking to math problems.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">James and Hill offered these strategies for parents:\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>\u003cb>Look for Patterns\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">Be on the lookout for patterns and sequences. For example, said James, a parent could make a plate with one piece of cheese, two tomatoes, three carrots, and four grapes and then ask, “Did you notice what I did with your lunch?” Simple activities such as sorting toys, setting the table, or going on a nature walk can provide opportunities too look for and create color, size, number, and shape patterns. These activities also hone observational skills.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Leave Math Notes\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">James suggests leaving little, unexpected math messages around the house such as, “Did you eat more pretzels or raisins? How many more?” or “How many different routes can you take to get from the kitchen to the bathroom?” Kids will likely start to leave notes for you to respond to, as well. She also recommends putting a number on a big sheet of paper and leaving it up for a few days, letting everyone in the family add something they know about that number. For example, for the number ten, someone might draw ten fingers while another might write 10 + 2, two less than a dozen, the square root of one hundred, or the names of ten friends.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Have Math Chats\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">Take time each week to\u003c/span>\u003ca href=\"http://talkingmathwithkids.com/\">\u003cspan style=\"font-weight: 400\"> talk about math with your kids\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in the same way you might talk about letters and stories. “Ask \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">tons\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> of questions,” James said. “Ask them to show you how they know. Ask, Is there another way to do it? In turn, encourage your kids to try to stump you and let yourself be stumped.” Even math facts can prompt creative conversations. 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"content": "\u003cp>Harvard education specialist Tony Wagner has been advocating that we reinvent the education system to promote innovation for years. He's clear that content should no longer be at the center of school. Instead, he says a teacher's main job should be to help students \u003ca href=\"http://ww2.kqed.org/mindshift/2014/06/23/employers-challenge-to-educators-make-school-relevant-to-students-lives/\" target=\"_blank\">develop key skills necessary for when they leave school\u003c/a>. He contends there are seven essential things young people need to be successful lifelong learners:\u003c/p>\n\u003col>\n\u003cli>Formulate good questions\u003c/li>\n\u003cli>Communicate in groups and lead by influence\u003c/li>\n\u003cli>Be agile and adaptable\u003c/li>\n\u003cli>Take initiative and be entrepreneurial\u003c/li>\n\u003cli>Effective written and oral communication skills\u003c/li>\n\u003cli>Know how to access and analyze information\u003c/li>\n\u003cli>Be creative and imaginative\u003c/li>\n\u003c/ol>\n\u003cp>Wagner worries that unless the U.S. starts focusing on cultivating these skills, the nation will no longer produce innovative people who drive job growth. He interviewed dozens of innovative young people and asked them about their experiences in school. One third of those he interviewed couldn't name one teacher who had impacted them. The other two thirds named teachers, who upon further investigation, were outliers in their schools. Their teaching styles and approaches were at odds with the dominant school culture.\u003c/p>\n\u003cp>Wagner found that all of these tremendously influential teachers ran classrooms that emphasized interdisciplinary learning, real team collaboration, risk taking, creating learning as opposed to consuming knowledge, and cultivated intrinsic motivation in students. These teachers made room for playful exploration and student passions in the classroom, helping their students to develop the purpose that drives them. He co-authored \"\u003ca href=\"http://www.amazon.com/Most-Likely-Succeed-Preparing-Innovation/dp/1501104314\">Most Likely to Succeed: Preparing Our Kids for the Innovation Era\u003c/a>\" with Tony Dintersmith.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/hvDjh4l-VHo?rel=0\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Harvard education specialist Tony Wagner has been advocating that we reinvent the education system to promote innovation for years. He's clear that content should no longer be at the center of school. Instead, he says a teacher's main job should be to help students \u003ca href=\"http://ww2.kqed.org/mindshift/2014/06/23/employers-challenge-to-educators-make-school-relevant-to-students-lives/\" target=\"_blank\">develop key skills necessary for when they leave school\u003c/a>. He contends there are seven essential things young people need to be successful lifelong learners:\u003c/p>\n\u003col>\n\u003cli>Formulate good questions\u003c/li>\n\u003cli>Communicate in groups and lead by influence\u003c/li>\n\u003cli>Be agile and adaptable\u003c/li>\n\u003cli>Take initiative and be entrepreneurial\u003c/li>\n\u003cli>Effective written and oral communication skills\u003c/li>\n\u003cli>Know how to access and analyze information\u003c/li>\n\u003cli>Be creative and imaginative\u003c/li>\n\u003c/ol>\n\u003cp>Wagner worries that unless the U.S. starts focusing on cultivating these skills, the nation will no longer produce innovative people who drive job growth. He interviewed dozens of innovative young people and asked them about their experiences in school. One third of those he interviewed couldn't name one teacher who had impacted them. The other two thirds named teachers, who upon further investigation, were outliers in their schools. Their teaching styles and approaches were at odds with the dominant school culture.\u003c/p>\n\u003cp>Wagner found that all of these tremendously influential teachers ran classrooms that emphasized interdisciplinary learning, real team collaboration, risk taking, creating learning as opposed to consuming knowledge, and cultivated intrinsic motivation in students. These teachers made room for playful exploration and student passions in the classroom, helping their students to develop the purpose that drives them. He co-authored \"\u003ca href=\"http://www.amazon.com/Most-Likely-Succeed-Preparing-Innovation/dp/1501104314\">Most Likely to Succeed: Preparing Our Kids for the Innovation Era\u003c/a>\" with Tony Dintersmith.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/hvDjh4l-VHo?rel=0\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp class=\"p1\">\u003cem>From \u003ca href=\"http://www.amazon.com/Creative-Schools-Grassroots-Revolution-Transforming/dp/0670016713\">Creative Schools \u003c/a>by Ken Robinson and Lou Aronica, published April 21, 2015, by Viking, an imprint of Penguin Publishing Group, a division of Penguin Random House LLC. Copyright by \u003ca href=\"http://sirkenrobinson.com/\">Ken Robinson\u003c/a>, 2015.\u003c/em>\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>Creative Teaching\u003c/strong>\u003c/p>\n\u003cp class=\"p2\">Let me say a few words about creativity. I’ve written a lot about this theme in other publications. Rather than test your patience here with repetition of those ideas, let me refer you to them if you have a special interest. In \u003cem>Out of Our Minds: Learning to Be Creative\u003c/em>, I look in some detail at the nature of creativity and how it relates to the idea of intelligence in the arts, the sciences, and other areas of human achievement. In 1997, I was asked by the U.K. government to convene a national commission to advise on how creativity can be developed throughout the school system from ages five through eighteen. That group brought together scientists, artists, educators, and business leaders in a common mission to explain the nature and critical importance of creativity in education. Our report, \u003ca href=\"http://sirkenrobinson.com/pdf/allourfutures.pdf\">\u003cem>All Our Futures: Creativity, Culture and Education\u003c/em>\u003c/a>, set our detailed proposals for how to make this happen in practice and was addressed to people working at all levels of education, from schools to government.\u003c/p>\n\u003cp class=\"p2\">It’s sometimes said that creativity cannot be defined. I think it can. Here’s my definition, based on the work of the \u003cem>All Our Futures\u003c/em> group: \u003cem>Creativity is the process of having original ideas that have value.\u003c/em>\u003c/p>\n\u003cp class=\"p2\">There are two other concepts to keep in mind: imagination and innovation. Imagination is the root of creativity. It is the ability to bring to mind things that aren’t present to our senses.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp class=\"p2\">[contextly_sidebar id=\"4jmuYGl432P3SyWO53YCjk9Dg7fgcP2P\"]\u003c/p>\n\u003cp class=\"p2\">Creativity is putting your imagination to work. It is applied imagination. Innovation is putting new ideas into practice. There are various myths about creativity. One is that only special people are creative, another is that creativity is only about the arts, a third is that creativity cannot be taught, and a fourth is that it’s all to do with uninhibited “self-expression.”\u003c/p>\n\u003cp class=\"p2\">None of these is true. Creativity draws from many powers that we all have by virtue of being human. Creativity is possible in all areas of human life, in science, the arts, mathematics, technology, cuisine, teaching, politics, business, you name it. And like many human capacities, our creative powers can be cultivated and refined. Doing that involves an increasing mastery of skills, knowledge, and ideas.\u003c/p>\n\u003cp class=\"p2\">Creativity is about fresh thinking. It doesn’t have to be new to the whole of humanity— though that’s always a bonus— but certainly to the person whose work it is. Creativity also involves making critical judgments about whether what you’re working on is any good, be it a theorem, a design, or a poem. Creative work often passes through typical phases. Sometimes what you end up with is not what you had in mind when you started. It’s a dynamic process that often involves making new connections, crossing disciplines, and using metaphors and analogies. Being creative is not just about having off-the-wall ideas and letting your imagination run free. It may involve all of that, but it also involves refining, testing, and focusing what you’re doing. It’s about original thinking on the part of the individual, and it’s also about judging critically whether the work in process is taking the right shape and is worthwhile, at least for the person producing it.\u003c/p>\n\u003cp class=\"p2\">\u003ca href=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2015/04/Ken-Robinson-Creative-schools-cover.png\">\u003cimg class=\"alignright size-full wp-image-40220\" src=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2015/04/Ken-Robinson-Creative-schools-cover.png\" alt=\"Ken Robinson Creative schools cover\" width=\"291\" height=\"441\">\u003c/a>\u003c/p>\n\u003cp class=\"p2\">Creativity is not the opposite of discipline and control. On the contrary, creativity in any field may involve deep factual knowledge and high levels of practical skill. Cultivating creativity is one of the most interesting challenges for any teacher. It involves understanding the real dynamics of creative work.\u003c/p>\n\u003cp class=\"p2\">Creativity is not a linear process, in which you have to learn all the necessary skills before you get started. It is true that creative work in any field involves a growing mastery of skills and concepts. It is not true that they have to be mastered before the creative work can begin. Focusing on skills in isolation can kill interest in any discipline. Many people have been put off by mathematics for life by endless rote tasks that did nothing to inspire them with the beauty of numbers. Many have spent years grudgingly practicing scales for music examinations only to abandon the instrument altogether once they’ve made the grade. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp class=\"p1\">\u003cem>From \u003ca href=\"http://www.amazon.com/Creative-Schools-Grassroots-Revolution-Transforming/dp/0670016713\">Creative Schools \u003c/a>by Ken Robinson and Lou Aronica, published April 21, 2015, by Viking, an imprint of Penguin Publishing Group, a division of Penguin Random House LLC. Copyright by \u003ca href=\"http://sirkenrobinson.com/\">Ken Robinson\u003c/a>, 2015.\u003c/em>\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>Creative Teaching\u003c/strong>\u003c/p>\n\u003cp class=\"p2\">Let me say a few words about creativity. I’ve written a lot about this theme in other publications. Rather than test your patience here with repetition of those ideas, let me refer you to them if you have a special interest. In \u003cem>Out of Our Minds: Learning to Be Creative\u003c/em>, I look in some detail at the nature of creativity and how it relates to the idea of intelligence in the arts, the sciences, and other areas of human achievement. In 1997, I was asked by the U.K. government to convene a national commission to advise on how creativity can be developed throughout the school system from ages five through eighteen. That group brought together scientists, artists, educators, and business leaders in a common mission to explain the nature and critical importance of creativity in education. Our report, \u003ca href=\"http://sirkenrobinson.com/pdf/allourfutures.pdf\">\u003cem>All Our Futures: Creativity, Culture and Education\u003c/em>\u003c/a>, set our detailed proposals for how to make this happen in practice and was addressed to people working at all levels of education, from schools to government.\u003c/p>\n\u003cp class=\"p2\">It’s sometimes said that creativity cannot be defined. I think it can. Here’s my definition, based on the work of the \u003cem>All Our Futures\u003c/em> group: \u003cem>Creativity is the process of having original ideas that have value.\u003c/em>\u003c/p>\n\u003cp class=\"p2\">There are two other concepts to keep in mind: imagination and innovation. Imagination is the root of creativity. It is the ability to bring to mind things that aren’t present to our senses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"p2\">\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp class=\"p2\">Creativity is putting your imagination to work. It is applied imagination. Innovation is putting new ideas into practice. There are various myths about creativity. One is that only special people are creative, another is that creativity is only about the arts, a third is that creativity cannot be taught, and a fourth is that it’s all to do with uninhibited “self-expression.”\u003c/p>\n\u003cp class=\"p2\">None of these is true. Creativity draws from many powers that we all have by virtue of being human. Creativity is possible in all areas of human life, in science, the arts, mathematics, technology, cuisine, teaching, politics, business, you name it. And like many human capacities, our creative powers can be cultivated and refined. Doing that involves an increasing mastery of skills, knowledge, and ideas.\u003c/p>\n\u003cp class=\"p2\">Creativity is about fresh thinking. It doesn’t have to be new to the whole of humanity— though that’s always a bonus— but certainly to the person whose work it is. Creativity also involves making critical judgments about whether what you’re working on is any good, be it a theorem, a design, or a poem. Creative work often passes through typical phases. Sometimes what you end up with is not what you had in mind when you started. It’s a dynamic process that often involves making new connections, crossing disciplines, and using metaphors and analogies. Being creative is not just about having off-the-wall ideas and letting your imagination run free. It may involve all of that, but it also involves refining, testing, and focusing what you’re doing. It’s about original thinking on the part of the individual, and it’s also about judging critically whether the work in process is taking the right shape and is worthwhile, at least for the person producing it.\u003c/p>\n\u003cp class=\"p2\">\u003ca href=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2015/04/Ken-Robinson-Creative-schools-cover.png\">\u003cimg class=\"alignright size-full wp-image-40220\" src=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2015/04/Ken-Robinson-Creative-schools-cover.png\" alt=\"Ken Robinson Creative schools cover\" width=\"291\" height=\"441\">\u003c/a>\u003c/p>\n\u003cp class=\"p2\">Creativity is not the opposite of discipline and control. On the contrary, creativity in any field may involve deep factual knowledge and high levels of practical skill. Cultivating creativity is one of the most interesting challenges for any teacher. It involves understanding the real dynamics of creative work.\u003c/p>\n\u003cp class=\"p2\">Creativity is not a linear process, in which you have to learn all the necessary skills before you get started. It is true that creative work in any field involves a growing mastery of skills and concepts. It is not true that they have to be mastered before the creative work can begin. Focusing on skills in isolation can kill interest in any discipline. Many people have been put off by mathematics for life by endless rote tasks that did nothing to inspire them with the beauty of numbers. Many have spent years grudgingly practicing scales for music examinations only to abandon the instrument altogether once they’ve made the grade. The real driver of creativity is an appetite for discovery and a passion for the work itself. When students are motivated to learn, they naturally acquire the skills they need to get the work done. Their mastery of them grows as their creative ambitions expand. You’ll find evidence of this process in great teaching in every discipline from football to chemistry.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"p2\">\n\u003c/p>\n\u003c/div>\u003c/p>",
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"disqusTitle": "How Improv Can Open Up the Mind to Learning in the Classroom and Beyond",
"title": "How Improv Can Open Up the Mind to Learning in the Classroom and Beyond",
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"content": "\u003cfigure id=\"attachment_39154\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/mindshift/2015/01/how-improv-can-open-up-the-mind-to-learning-in-the-classroom-and-beyond/improv2_baukeschildt1/\" rel=\"attachment wp-att-39154\">\u003cimg class=\"size-full wp-image-39154\" src=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2015/01/Improv2_BaukeSchildt1.gif\" alt=\"Illustration by Bauke Schildt\" width=\"640\" height=\"960\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Illustration by Bauke Schildt\u003c/figcaption>\u003c/figure>\n\u003cp class=\"dropcap-serif\">Long before Amy Poehler became famous for her comic roles as Hillary Clinton on \"Saturday Night Live,\" and as indefatigable bureaucrat Leslie Knope on \"Parks and Recreation,\" she was a college freshman looking for something to do outside class. During her first week on campus, she auditioned for the school’s improvisational theater group, \"My Mother’s Fleabag,\" and discovered a passion. “Everyone was getting to act and be funny and write and direct and edit all at the same time,” she writes in her memoir, \u003cem>Yes, Please\u003c/em>. “My college life sort of exploded in happiness,” she adds.\u003c/p>\n\u003cp>What Poehler found liberating as a performer — the free-wheeling, creative and judgment-free nature of improv — is what makes it an appealing way to learn. \u003c/p>\n\u003cp>Improvisation is well-known as comedy and entertainment, but during the past decade it has grown as a method of teaching and learning as well, says Robert Kulhan, adjunct professor of business administration at Duke’s Fuqua School of Business, and CEO of \u003ca href=\"http://businessimprov.com/\">Business Improvisations\u003c/a>. Today, improv is offered in the theater departments of many colleges and some high schools, according to Kulhan. As well, improv troupes around the country offer short workshops to school kids on specific subjects, and teach the basics of the art form in afterschool programs and summer camps. ImprovBoston, a 30-year old nonprofit comedy theater, sends staff into local schools to perform assemblies and share the fundamentals of improv to teachers and students.\u003c/p>\n\u003cp>[contextly_sidebar id=\"q8ZaL0bQGGf6Oqj4cOuVNjNxaQHc2KrF\"]\u003c/p>\n\u003cp>The first rule of improvisation is “yes, and,” meaning that anyone’s contribution to the group discussion is accepted without judgment. “We always talk about the four ‘c’s of improv: creativity, critical thinking, collaboration and communication,” says Deana Criess, director of ImprovBoston’s National Touring Company, about how she teaches the form to seventh-graders. To persuade students to abandon their fear of mistakes, she insists on unconditional support to all answers, then works to build trust among the group and invite risk-taking. “Once we have confidence in our ideas and in our teammates, we can free ourselves up to have fun,” she says. “So support, trust, risk, confidence and fun. That’s what improv is all about,” Criess says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Improv enthusiasts rave about its educational value. Not only does it hone communication and public speaking skills, it also stimulates fast thinking and engagement with ideas. On a deeper level, improv chips away at mental barriers that block creative thinking — that internal editor who crosses out every word before it appears on a page — and rewards spontaneous, intuitive responses, Criess says. Because improv depends on the group providing categorical support for every answer, participants also grow in confidence and feel more connected to others.\u003c/p>\n\u003cp>“It’s one of the few opportunities they have to truly create something, and have a voice that isn’t prescribed for them,” Criess says about students engaged in an improv exercise. And the form’s imperative to be fully “in the zone,” as Kulhan puts it, is a rebellion against the interruptions and distractions of our modern, high-tech lives.\u003c/p>\n\u003cp>Improv is especially beneficial for atypical kids, no matter their stripe. It helps children with learning and physical disabilities develop a sense of play, and enables the socially awkward intellectual to socialize more easily, Kulhan explains. Run-of-the-mill introverts, who might be reluctant to raise their hands or audition for the play, also gain from the experience, Criess says. When they know they’ll be supported no matter their answer, introspective kids thrive. “Introverts give improv its richness,” she says, adding that many improv instructors identify themselves as introverts.\u003c/p>\n\u003cfigure id=\"attachment_39158\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/mindshift/2015/01/how-improv-can-open-up-the-mind-to-learning-in-the-classroom-and-beyond/tenets-of-improve-iskme/\" rel=\"attachment wp-att-39158\">\u003cimg class=\"size-medium wp-image-39158\" src=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2015/01/Tenets-of-Improve-ISKME-300x410.gif\" alt=\"Facilitators at the Institute for the Study of Knowledge Management in Education's Big Ideas Fest 2014 conveyed the improv mindset for solving problems and learning new ideas. \" width=\"300\" height=\"410\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Facilitators at ISKME's \u003ca href=\"http://www.bigideasfest.org/\">Big Ideas Fest 2014\u003c/a> conveyed the improv mindset for solving problems and learning new ideas.\u003c/figcaption>\u003c/figure>\n\u003cp>And improv is liberating for those in fields like science, where emotional detachment is critical for success. The Alan Alda Center for Communicating Science at Stony Brook University offers a graduate course on improv to help emerging scientists convey their ideas without resorting to textbook speak or one-sided lectures. “Improv helps the scientist re-engage with their own passions in their work, get out of their head and connected to the needs of the listener, be able to respond more freely, spontaneously and flexibly,” says Valeri Lantz-Gefroh, the improvisation coordinator at Stony Brook.\u003c/p>\n\u003cp>\u003cstrong>A Student’s Perspective\u003c/strong>\u003c/p>\n\u003cp>Lilly Hartman, now a junior at Brookline High School in Brookline, Massachusetts, took her first improv class in eighth grade, and remembers thinking it seemed cool but kind of nerve-wracking. Her first few times on stage she felt anxious about what her peers would think of her, worrying that she might do something foolish or embarrassing. But the more times Hartman did it, the less self-conscious she became, and the quicker she began to trust her own ideas and to think on her feet. “It’s about deciding to go with the flow and acting on what’s around you, and making decisions based on that,” she says. “And then feeling good about those decisions,” she adds.\u003c/p>\n\u003cp>Unlike the classroom, where the learning environment is often tense and competitive, an improv setting builds enthusiasm among the participants, Hartman explained. “When you’re performing, it’s not competitive,” she says, and the trust that the performers build with one another is rewarding in itself. Acknowledging that math and English classes teach important skills, Hartman says that her improv work has been more personally transformative. “Improv helps you change on the inside,” she says. Without it, “I would be a more scared and quiet person,” she says. In fact, she adds, “I wouldn’t be the same person.”\u003c/p>\n\u003cp>\u003cstrong>Improvisation Exercises\u003c/strong>\u003c/p>\n\u003cp>Improv works cumulatively, so that a group ordinarily starts with a simple task and moves on to more challenging assignments once they’ve loosened up and begun to trust one another. Kulhan offers these two simple introductory examples:\u003c/p>\n\u003cp>\u003cstrong>One-Word Story:\u003c/strong> In this exercise, a group of individuals tells a cohesive story one word at a time. It starts when one person says a single word, and unfolds when someone else in the group offers up another word. Groups can do this in circles, so the participants know when it’s their turn to talk, or at the will of the teacher, adding a randomness to the exercise. The improvising continues until the group has created a story. “It takes a lot of focus, concentration, adaptability, flexibility, attentive listening, etc., just to create a single sentence … let alone a whole story,” Kulhan says.\u003c/p>\n\u003cp>\u003cstrong>Conducted Story:\u003c/strong> This is more advanced than the one-word story. Here, participants form a line with the teacher up front, who behaves like the conductor of a line orchestra. When the conductor points to a student, that person talks for as long as the conductor remains pointing — perhaps just a couple of words, or maybe a few sentences. But as soon as the conductor turns to another student, the first talker must stop immediately and allow the second speaker to take over the narrative. The conductor moves haphazardly, forward and back through the line, lending even more unexpected twists to the story.\u003c/p>\n\u003cp>Variations of improv are also useful in helping revitalize a sleepy or distracted class or to introduce more proactive kinds of learning:\u003c/p>\n\u003cp>\u003cstrong>Shakeout Exercise:\u003c/strong> Together, the teacher and class stand at their desks and count backward from eight to one — then seven to one, and six to one, etc. — saying the number out loud as if it’s the most important word they’ve ever heard. While counting, they also shake their right hands in keeping with the number. Then they do the same series of countdowns while moving their left hand, then their right leg, and finally their left leg. “It’s superpowerful,” says Criess, “and doing it together can teach kids and adults it’s OK to look foolish in front of each other.”\u003c/p>\n\u003cp>\u003cstrong>Living Wax Museum/Historical Talk Show:\u003c/strong> Students pick an important historical figure to research, and later “become” that person, improvising answers to questions posed by fellow classmates, visiting parents or the talk-show “host”.\u003c/p>\n\u003cp>\u003cstrong>An Aid for Teachers and Schools\u003c/strong>\u003c/p>\n\u003cp>Inviting kids of all types to engage together in improv exercises reinforces the values that most schools seek, Criess says. With its emphasis on support and acceptance of all ideas, improv’s “yes, and” code penetrates social tribes and teaches kids to see the positive in their peers, creating a healthier climate at school. “It helps kids be positive community members,” she says.\u003c/p>\n\u003cfigure id=\"attachment_39155\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/mindshift/2015/01/how-improv-can-open-up-the-mind-to-learning-in-the-classroom-and-beyond/improv-photo-from-iskme-big-ideas-fest/\" rel=\"attachment wp-att-39155\">\u003cimg class=\"size-medium wp-image-39155\" src=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2015/01/Improv-photo-from-ISKME-Big-Ideas-Fest-300x300.gif\" alt=\"Facilitators at ISKME's Big Ideas Fest 2014 conveyed the "Yes, and" mindset for solving problems and learning new ideas. \" width=\"300\" height=\"300\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Facilitators at ISKME's Big Ideas Fest 2014 conveyed the \"Yes, and\" mindset for solving problems and learning new ideas.\u003c/figcaption>\u003c/figure>\n\u003cp>Training in improv may help teachers be more effective as well. Criess began learning improv while working in a preschool for children on the autism spectrum, and found herself applying the lessons from theater to the class. “What I was doing there with adults is exactly what these kids needed,” she says. Improv class helped her work with the kids on their level rather than according to a preconceived idea about what they needed to know.\u003c/p>\n\u003cp>It also reminds teachers that listening and responding to students, and adapting to their needs, is more educational than obeying a rigid teaching plan, Kulhan explains. “It's communication based on observation, collaboration, and not teaching with blinders on,” he says. Teachers might also find that kids are energized and more attentive after engaging in simple improv exercises that induce everyone to look ridiculous together.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But does “yes, and” diminish one’s ability to think critically? Are there limits to all the right answers? “Improv says yes to the idea of ideas,” Criess says. Not every original thought will turn into the next invention, but offshoots of that first idea may lead to better ones, she explains. “Let’s agree to have ideas,” she says. “And set up a culture where risks are encouraged, and greeted positively and with respect.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_39154\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/mindshift/2015/01/how-improv-can-open-up-the-mind-to-learning-in-the-classroom-and-beyond/improv2_baukeschildt1/\" rel=\"attachment wp-att-39154\">\u003cimg class=\"size-full wp-image-39154\" src=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2015/01/Improv2_BaukeSchildt1.gif\" alt=\"Illustration by Bauke Schildt\" width=\"640\" height=\"960\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Illustration by Bauke Schildt\u003c/figcaption>\u003c/figure>\n\u003cp class=\"dropcap-serif\">Long before Amy Poehler became famous for her comic roles as Hillary Clinton on \"Saturday Night Live,\" and as indefatigable bureaucrat Leslie Knope on \"Parks and Recreation,\" she was a college freshman looking for something to do outside class. During her first week on campus, she auditioned for the school’s improvisational theater group, \"My Mother’s Fleabag,\" and discovered a passion. “Everyone was getting to act and be funny and write and direct and edit all at the same time,” she writes in her memoir, \u003cem>Yes, Please\u003c/em>. “My college life sort of exploded in happiness,” she adds.\u003c/p>\n\u003cp>What Poehler found liberating as a performer — the free-wheeling, creative and judgment-free nature of improv — is what makes it an appealing way to learn. \u003c/p>\n\u003cp>Improvisation is well-known as comedy and entertainment, but during the past decade it has grown as a method of teaching and learning as well, says Robert Kulhan, adjunct professor of business administration at Duke’s Fuqua School of Business, and CEO of \u003ca href=\"http://businessimprov.com/\">Business Improvisations\u003c/a>. Today, improv is offered in the theater departments of many colleges and some high schools, according to Kulhan. As well, improv troupes around the country offer short workshops to school kids on specific subjects, and teach the basics of the art form in afterschool programs and summer camps. ImprovBoston, a 30-year old nonprofit comedy theater, sends staff into local schools to perform assemblies and share the fundamentals of improv to teachers and students.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The first rule of improvisation is “yes, and,” meaning that anyone’s contribution to the group discussion is accepted without judgment. “We always talk about the four ‘c’s of improv: creativity, critical thinking, collaboration and communication,” says Deana Criess, director of ImprovBoston’s National Touring Company, about how she teaches the form to seventh-graders. To persuade students to abandon their fear of mistakes, she insists on unconditional support to all answers, then works to build trust among the group and invite risk-taking. “Once we have confidence in our ideas and in our teammates, we can free ourselves up to have fun,” she says. “So support, trust, risk, confidence and fun. That’s what improv is all about,” Criess says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Improv enthusiasts rave about its educational value. Not only does it hone communication and public speaking skills, it also stimulates fast thinking and engagement with ideas. On a deeper level, improv chips away at mental barriers that block creative thinking — that internal editor who crosses out every word before it appears on a page — and rewards spontaneous, intuitive responses, Criess says. Because improv depends on the group providing categorical support for every answer, participants also grow in confidence and feel more connected to others.\u003c/p>\n\u003cp>“It’s one of the few opportunities they have to truly create something, and have a voice that isn’t prescribed for them,” Criess says about students engaged in an improv exercise. And the form’s imperative to be fully “in the zone,” as Kulhan puts it, is a rebellion against the interruptions and distractions of our modern, high-tech lives.\u003c/p>\n\u003cp>Improv is especially beneficial for atypical kids, no matter their stripe. It helps children with learning and physical disabilities develop a sense of play, and enables the socially awkward intellectual to socialize more easily, Kulhan explains. Run-of-the-mill introverts, who might be reluctant to raise their hands or audition for the play, also gain from the experience, Criess says. When they know they’ll be supported no matter their answer, introspective kids thrive. “Introverts give improv its richness,” she says, adding that many improv instructors identify themselves as introverts.\u003c/p>\n\u003cfigure id=\"attachment_39158\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/mindshift/2015/01/how-improv-can-open-up-the-mind-to-learning-in-the-classroom-and-beyond/tenets-of-improve-iskme/\" rel=\"attachment wp-att-39158\">\u003cimg class=\"size-medium wp-image-39158\" src=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2015/01/Tenets-of-Improve-ISKME-300x410.gif\" alt=\"Facilitators at the Institute for the Study of Knowledge Management in Education's Big Ideas Fest 2014 conveyed the improv mindset for solving problems and learning new ideas. \" width=\"300\" height=\"410\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Facilitators at ISKME's \u003ca href=\"http://www.bigideasfest.org/\">Big Ideas Fest 2014\u003c/a> conveyed the improv mindset for solving problems and learning new ideas.\u003c/figcaption>\u003c/figure>\n\u003cp>And improv is liberating for those in fields like science, where emotional detachment is critical for success. The Alan Alda Center for Communicating Science at Stony Brook University offers a graduate course on improv to help emerging scientists convey their ideas without resorting to textbook speak or one-sided lectures. “Improv helps the scientist re-engage with their own passions in their work, get out of their head and connected to the needs of the listener, be able to respond more freely, spontaneously and flexibly,” says Valeri Lantz-Gefroh, the improvisation coordinator at Stony Brook.\u003c/p>\n\u003cp>\u003cstrong>A Student’s Perspective\u003c/strong>\u003c/p>\n\u003cp>Lilly Hartman, now a junior at Brookline High School in Brookline, Massachusetts, took her first improv class in eighth grade, and remembers thinking it seemed cool but kind of nerve-wracking. Her first few times on stage she felt anxious about what her peers would think of her, worrying that she might do something foolish or embarrassing. But the more times Hartman did it, the less self-conscious she became, and the quicker she began to trust her own ideas and to think on her feet. “It’s about deciding to go with the flow and acting on what’s around you, and making decisions based on that,” she says. “And then feeling good about those decisions,” she adds.\u003c/p>\n\u003cp>Unlike the classroom, where the learning environment is often tense and competitive, an improv setting builds enthusiasm among the participants, Hartman explained. “When you’re performing, it’s not competitive,” she says, and the trust that the performers build with one another is rewarding in itself. Acknowledging that math and English classes teach important skills, Hartman says that her improv work has been more personally transformative. “Improv helps you change on the inside,” she says. Without it, “I would be a more scared and quiet person,” she says. In fact, she adds, “I wouldn’t be the same person.”\u003c/p>\n\u003cp>\u003cstrong>Improvisation Exercises\u003c/strong>\u003c/p>\n\u003cp>Improv works cumulatively, so that a group ordinarily starts with a simple task and moves on to more challenging assignments once they’ve loosened up and begun to trust one another. Kulhan offers these two simple introductory examples:\u003c/p>\n\u003cp>\u003cstrong>One-Word Story:\u003c/strong> In this exercise, a group of individuals tells a cohesive story one word at a time. It starts when one person says a single word, and unfolds when someone else in the group offers up another word. Groups can do this in circles, so the participants know when it’s their turn to talk, or at the will of the teacher, adding a randomness to the exercise. The improvising continues until the group has created a story. “It takes a lot of focus, concentration, adaptability, flexibility, attentive listening, etc., just to create a single sentence … let alone a whole story,” Kulhan says.\u003c/p>\n\u003cp>\u003cstrong>Conducted Story:\u003c/strong> This is more advanced than the one-word story. Here, participants form a line with the teacher up front, who behaves like the conductor of a line orchestra. When the conductor points to a student, that person talks for as long as the conductor remains pointing — perhaps just a couple of words, or maybe a few sentences. But as soon as the conductor turns to another student, the first talker must stop immediately and allow the second speaker to take over the narrative. The conductor moves haphazardly, forward and back through the line, lending even more unexpected twists to the story.\u003c/p>\n\u003cp>Variations of improv are also useful in helping revitalize a sleepy or distracted class or to introduce more proactive kinds of learning:\u003c/p>\n\u003cp>\u003cstrong>Shakeout Exercise:\u003c/strong> Together, the teacher and class stand at their desks and count backward from eight to one — then seven to one, and six to one, etc. — saying the number out loud as if it’s the most important word they’ve ever heard. While counting, they also shake their right hands in keeping with the number. Then they do the same series of countdowns while moving their left hand, then their right leg, and finally their left leg. “It’s superpowerful,” says Criess, “and doing it together can teach kids and adults it’s OK to look foolish in front of each other.”\u003c/p>\n\u003cp>\u003cstrong>Living Wax Museum/Historical Talk Show:\u003c/strong> Students pick an important historical figure to research, and later “become” that person, improvising answers to questions posed by fellow classmates, visiting parents or the talk-show “host”.\u003c/p>\n\u003cp>\u003cstrong>An Aid for Teachers and Schools\u003c/strong>\u003c/p>\n\u003cp>Inviting kids of all types to engage together in improv exercises reinforces the values that most schools seek, Criess says. With its emphasis on support and acceptance of all ideas, improv’s “yes, and” code penetrates social tribes and teaches kids to see the positive in their peers, creating a healthier climate at school. “It helps kids be positive community members,” she says.\u003c/p>\n\u003cfigure id=\"attachment_39155\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/mindshift/2015/01/how-improv-can-open-up-the-mind-to-learning-in-the-classroom-and-beyond/improv-photo-from-iskme-big-ideas-fest/\" rel=\"attachment wp-att-39155\">\u003cimg class=\"size-medium wp-image-39155\" src=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2015/01/Improv-photo-from-ISKME-Big-Ideas-Fest-300x300.gif\" alt=\"Facilitators at ISKME's Big Ideas Fest 2014 conveyed the "Yes, and" mindset for solving problems and learning new ideas. \" width=\"300\" height=\"300\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Facilitators at ISKME's Big Ideas Fest 2014 conveyed the \"Yes, and\" mindset for solving problems and learning new ideas.\u003c/figcaption>\u003c/figure>\n\u003cp>Training in improv may help teachers be more effective as well. Criess began learning improv while working in a preschool for children on the autism spectrum, and found herself applying the lessons from theater to the class. “What I was doing there with adults is exactly what these kids needed,” she says. Improv class helped her work with the kids on their level rather than according to a preconceived idea about what they needed to know.\u003c/p>\n\u003cp>It also reminds teachers that listening and responding to students, and adapting to their needs, is more educational than obeying a rigid teaching plan, Kulhan explains. “It's communication based on observation, collaboration, and not teaching with blinders on,” he says. Teachers might also find that kids are energized and more attentive after engaging in simple improv exercises that induce everyone to look ridiculous together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But does “yes, and” diminish one’s ability to think critically? Are there limits to all the right answers? “Improv says yes to the idea of ideas,” Criess says. Not every original thought will turn into the next invention, but offshoots of that first idea may lead to better ones, she explains. “Let’s agree to have ideas,” she says. “And set up a culture where risks are encouraged, and greeted positively and with respect.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "A Problem-Solving Game For Teachers and Administrators ",
"title": "A Problem-Solving Game For Teachers and Administrators ",
"headTitle": "MindShift | KQED News",
"content": "\u003cfigure id=\"attachment_38244\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2014/10/Teamwork.gif\">\u003cimg class=\"size-large wp-image-38244\" src=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2014/10/Teamwork-640x360.gif\" alt=\"iStock\" width=\"640\" height=\"360\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">iStock\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>By Gayle Allen\u003c/strong>\u003c/p>\n\u003cp class=\"dropcap-serif\">Earlier, I wrote about four activities teachers and school leaders can use to \u003ca href=\"http://ww2.kqed.org/mindshift/2014/09/four-activities-to-jump-start-teamwork-among-teachers-and-school-leaders/\">jump-start creative problem-solving\u003c/a> in teams. Given the increased pressure on educators to innovate, the goals for each activity were to build or deepen skills associated with that work. Readers expressed particular interest in one of these activities, so I wanted to do a deep dive and provide additional information.\u003c/p>\n\u003cp>This activity grew out of my work with teachers and school leaders to identify effective solutions to school problems. Over time, I became curious about how schools might make pain points visible, in order to tap into educators’ collective wisdom to solve them. I wondered, too, if we could structure this problem-solving in such a way that everyone’s voice would be heard. Finally, I wondered if there might be a way to make it a fun and creative game. That’s where a set of index cards comes in.\u003c/p>\n\u003cp>\u003cstrong>Game Objective\u003c/strong> \u003c/p>\n\u003cp>To identify as many creative solutions to pain points as possible by pairing each to a relevant observation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Rules of the Game\u003c/strong>\u003c/p>\n\u003cp>1. Each team plays with an identical set of cards.\u003cbr>\n2. Each deck of cards will be developed in advance of game play.\u003cbr>\n3. Every stakeholder will have an opportunity to contribute cards to the deck. This ensures that all pain points are made public.\u003cbr>\n4. Observations are neutral. There is no such thing as a “bad” observation.\u003cbr>\nAs many stakeholders as possible -- teachers, staff, administrators, students, parents, families, board members, etc. -- will participate, so that everyone can be part of the solution.\u003cbr>\n5. Team size is determined by the amount of time for card play and by the total number of cards per deck.\u003cbr>\n6. Teams should be no larger than six and no smaller than two.\u003c/p>\n\u003cp>\u003cstrong>How to Build the Deck\u003c/strong>\u003c/p>\n\u003cp>1. There are two types of cards in every deck, Pain Point and Observation cards.\u003cbr>\n2. Each deck will include an equal number of Pain Point and Observation cards.\u003cbr>\n3. Create cards using index cards or, if card players prefer, an online note tool, like Evernote.\u003cbr>\n4. Cards will be highly readable, and pain points and observations will make sense to everyone. This is especially important if game play will include teachers from across the district or stakeholders from outside the school.\u003cbr>\n5. Everyone who plays the game will have an opportunity to create cards for the deck. Players are more invested if they can contribute pain points and observations.\u003cbr>\n6. Time will be provided for everyone to create cards. It’s best to request cards in advance of game day, although game facilitators can also build time into the day to allow everyone to build the deck.\u003c/p>\n\u003cp>\u003cstrong>Building Pain Point Cards\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_38240\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2014/10/Pain-Point-Card.gif\">\u003cimg src=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2014/10/Pain-Point-Card-640x400.gif\" alt=\"Sample Pain Point card (Courtesy of Gayle Allen)\" width=\"640\" height=\"400\" class=\"size-large wp-image-38240\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sample Pain Point card (Courtesy of Gayle Allen)\u003c/figcaption>\u003c/figure>\n\u003cp>Every Pain Point card should include the following:\u003c/p>\n\u003cp>-The title “Pain Point” so that players know it’s not an observation\u003cbr>\n-Problem question or statement. Examples include: “How can we find more time for community service in the middle school?” or “Laptop carts are also signed out in the high school. We don’t have enough carts for all students and teachers.”\u003cbr>\n-Tags. Possible tags for the sample two cards would include community service, middle school, laptop carts and high school.\u003c/p>\n\u003cp>For those addressing issues beyond their immediate school, include the school level (e.g., elementary, middle, high school, etc.) to avoid confusion. Knowing the school level will allow stakeholders unfamiliar with pain points and observations associated with that school to tailor their solutions.\u003c/p>\n\u003cp>\u003cstrong>Building Observation Cards\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_38239\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2014/10/Observation-Card.gif\">\u003cimg class=\"size-large wp-image-38239\" src=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2014/10/Observation-Card-640x400.gif\" alt=\"Sample Observation card (Courtesy of Gayle Allen)\" width=\"640\" height=\"400\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sample Observation card (Courtesy of Gayle Allen)\u003c/figcaption>\u003c/figure>\n\u003cp>Every Observation card should include the following:\u003c/p>\n\u003cp>-The title “Observation” so players know it’s not a pain point.\u003cbr>\n-Neutral observation statement or question. Examples include: ““We don’t provide language classes in the elementary school” or “Why are there so few girls in AP Computer Science in our high school?”\u003cbr>\n-Tags. Possible tags for the sample two cards would include language classes, elementary school, girls, high school and AP Computer Science.\u003c/p>\n\u003cp>If relevant, be sure to include the school level (e.g., elementary, middle, high school, etc.) or grade.\u003c/p>\n\u003cp>\u003cstrong>Instructions for Play\u003c/strong>\u003c/p>\n\u003cp>1. To start, provide each team with an identical deck of cards. Keep team sizes to no more than six and no fewer than two. Size should be determined by the number of cards in the set – larger teams if deck size is 20 or more – and the amount of time allotted. The goal is for each team to work through the entire set of cards. Not all Pain Point cards will have a potentially matching Observation card. Set those cards aside and work with the matching pairs. \u003c/p>\n\u003cp>2. Each team should identify a note taker before the activity begins.\u003c/p>\n\u003cp>3. Provide at least one hour for this activity. Remember that participants will need time to read each card in the deck, to sort and re-sort cards, to think through and process with one another all the possible connections between the Pain Point and Observation cards, and to record connections and solutions. Rushing the process will make it more difficult for participants to be creative and to engage in the types of discussions needed to work through their ideas.\u003c/p>\n\u003cp>4. Provide time at the end for each team to share out at least one innovative solution. If possible, ask teams to post or tape all solutions and connections on a board or wall. Then ask all teams to do a gallery walk around the room, in order to learn from other teams.\u003c/p>\n\u003cp>5. Be sure to gather everyone’s recordings at the end of the activity. Facilitators create a shared document, like a Google doc, to which everyone can contribute. They can also collect hard-copy recordings and add the information to a shared document. Announce the timeline for how you will analyze this information and report back to everyone, and any other next steps. Facilitators can follow up at schoolwide meetings to lay out findings and next steps. Participants will be more engaged if they know there will be follow-up and that their solutions may be implemented.\u003c/p>\n\u003cp>Every time you do this activity, it should take less time, since participants will know what to expect, will have a stronger skill set in making creative connections, and will have a smaller deck of cards (there should be fewer Pain Points as time goes on).\u003c/p>\n\u003cp>\u003cstrong>Three Examples\u003c/strong>\u003c/p>\n\u003cp>1. A \u003cstrong>middle school loses a dedicated maker space \u003c/strong>to a much needed classroom due to increased enrollment. A team reads through their cards and looks for patterns. They notice that several cards include the tags of \"physical space.\" They put them to one side and read through them together. They wonder if they can find a way, as a group of teachers, to get creative with their classrooms by building a pop-up maker space schedule. While they don’t yet have all the answers, they know there’s something there. They pair up the cards, write up the connection, along with a draft of their solution -- a classroom “timeshare” -- and then move on to the other cards.\u003c/p>\n\u003cfigure id=\"attachment_38243\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2014/10/Enrollment-Card.gif\">\u003cimg class=\"size-large wp-image-38243\" src=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2014/10/Enrollment-Card-640x750.gif\" alt=\"Sample Pain Point card (Courtesy of Gayle Allen)\" width=\"640\" height=\"750\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sample Pain Point card and Observation cards.(Courtesy of Gayle Allen)\u003c/figcaption>\u003c/figure>\n\u003cp>2. Another team gets caught up in the \u003cstrong>computer programming Pain Point\u003c/strong>. Several members of the team have read articles about online resources for learning how to code. This prompts another member of the group to look at the card tags more closely. She sees one focused on online resources and asks the group what it thinks. Immediately, another group member brings up the idea of creating an after-school programming club, open to all high school students, using free online resources that they can research, vet, and select as part of the club. Soon the group is recording the connections it has made and the solution it's proposing.\u003c/p>\n\u003cfigure id=\"attachment_38241\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2014/10/Programming-Card.gif\">\u003cimg class=\"size-large wp-image-38241\" src=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2014/10/Programming-Card-640x750.gif\" alt=\"Sample Pain Point card (Courtesy of Gayle Allen)\" width=\"640\" height=\"750\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sample Pain Point and Observation cards. (Courtesy of Gayle Allen)\u003c/figcaption>\u003c/figure>\n\u003cp>3. Finally, another team gets caught up in a discussion of the card about the fifth-grade research project. For many of the team’s members, mostly middle and high school teachers in schools across the district, this is the first time they’re learning about this project. Several reflect on how hard it is for their own students to decide on research topics, and this gets them wondering if there isn’t a more real-world way to do it. In sorting through their observation cards, they notice the “real-world skills” card. This triggers a team member to talk about student entrepreneurship and a recent article he read about \u003cstrong>student pitch fests\u003c/strong>. The team categorizes pitching as a real-world skill and makes the connection between it and the research topic pain point. They record their idea and mention the article as a resource.\u003c/p>\n\u003cfigure id=\"attachment_38242\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2014/10/Real-World-Card.gif\">\u003cimg class=\"size-large wp-image-38242\" src=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2014/10/Real-World-Card-640x750.gif\" alt=\"Sample Pain Point card (Courtesy of Gayle Allen)\" width=\"640\" height=\"750\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sample Pain Point and Observation cards. (Courtesy of Gayle Allen)\u003c/figcaption>\u003c/figure>\n\u003cp>Clearly, this is just the start. Once ideas are recorded and shared, team members may want to connect with others post-activity to work through the details of problem-solving and implementation.\u003c/p>\n\u003cp>\u003cstrong>Empower Everyone to Innovate\u003c/strong>\u003c/p>\n\u003cp>This activity empowers all stakeholders. It gives everyone an opportunity to share pain points and observations and to brainstorm solutions. By building a card deck of context-specific pain points and observations, there’s buy-in from the start. All participants have a vested interest in the cards they create. Likewise, the activity has enough structure built in to drive toward solutions.\u003c/p>\n\u003cp>All who participate get to practice and deepen their creative problem-solving skills. You’ll be surprised at how energizing it will be to problem-solve with colleagues, how creative the solutions will be, and how pain points will begin to disappear.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Gayle Allen spent nearly two decades as a teacher, school leader and founder of two professional development institutes. She holds an Ed.D. from Teachers College, Columbia University, where she focused her research on teacher learning. Gayle currently serves on the advisory board for \u003ca href=\"http://biobuilder.org/\">BioBuilder Educational Foundation\u003c/a> and is an edupreneur at BrightBytes. She blogs at \u003ca href=\"http://www.gayleallen.net/\">Connecting the Thoughts\u003c/a> and tweets \u003ca href=\"https://twitter.com/GAllenTC\">@GAllenTC\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_38244\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2014/10/Teamwork.gif\">\u003cimg class=\"size-large wp-image-38244\" src=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2014/10/Teamwork-640x360.gif\" alt=\"iStock\" width=\"640\" height=\"360\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">iStock\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>By Gayle Allen\u003c/strong>\u003c/p>\n\u003cp class=\"dropcap-serif\">Earlier, I wrote about four activities teachers and school leaders can use to \u003ca href=\"http://ww2.kqed.org/mindshift/2014/09/four-activities-to-jump-start-teamwork-among-teachers-and-school-leaders/\">jump-start creative problem-solving\u003c/a> in teams. Given the increased pressure on educators to innovate, the goals for each activity were to build or deepen skills associated with that work. Readers expressed particular interest in one of these activities, so I wanted to do a deep dive and provide additional information.\u003c/p>\n\u003cp>This activity grew out of my work with teachers and school leaders to identify effective solutions to school problems. Over time, I became curious about how schools might make pain points visible, in order to tap into educators’ collective wisdom to solve them. I wondered, too, if we could structure this problem-solving in such a way that everyone’s voice would be heard. Finally, I wondered if there might be a way to make it a fun and creative game. That’s where a set of index cards comes in.\u003c/p>\n\u003cp>\u003cstrong>Game Objective\u003c/strong> \u003c/p>\n\u003cp>To identify as many creative solutions to pain points as possible by pairing each to a relevant observation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Rules of the Game\u003c/strong>\u003c/p>\n\u003cp>1. Each team plays with an identical set of cards.\u003cbr>\n2. Each deck of cards will be developed in advance of game play.\u003cbr>\n3. Every stakeholder will have an opportunity to contribute cards to the deck. This ensures that all pain points are made public.\u003cbr>\n4. Observations are neutral. There is no such thing as a “bad” observation.\u003cbr>\nAs many stakeholders as possible -- teachers, staff, administrators, students, parents, families, board members, etc. -- will participate, so that everyone can be part of the solution.\u003cbr>\n5. Team size is determined by the amount of time for card play and by the total number of cards per deck.\u003cbr>\n6. Teams should be no larger than six and no smaller than two.\u003c/p>\n\u003cp>\u003cstrong>How to Build the Deck\u003c/strong>\u003c/p>\n\u003cp>1. There are two types of cards in every deck, Pain Point and Observation cards.\u003cbr>\n2. Each deck will include an equal number of Pain Point and Observation cards.\u003cbr>\n3. Create cards using index cards or, if card players prefer, an online note tool, like Evernote.\u003cbr>\n4. Cards will be highly readable, and pain points and observations will make sense to everyone. This is especially important if game play will include teachers from across the district or stakeholders from outside the school.\u003cbr>\n5. Everyone who plays the game will have an opportunity to create cards for the deck. Players are more invested if they can contribute pain points and observations.\u003cbr>\n6. Time will be provided for everyone to create cards. It’s best to request cards in advance of game day, although game facilitators can also build time into the day to allow everyone to build the deck.\u003c/p>\n\u003cp>\u003cstrong>Building Pain Point Cards\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_38240\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2014/10/Pain-Point-Card.gif\">\u003cimg src=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2014/10/Pain-Point-Card-640x400.gif\" alt=\"Sample Pain Point card (Courtesy of Gayle Allen)\" width=\"640\" height=\"400\" class=\"size-large wp-image-38240\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sample Pain Point card (Courtesy of Gayle Allen)\u003c/figcaption>\u003c/figure>\n\u003cp>Every Pain Point card should include the following:\u003c/p>\n\u003cp>-The title “Pain Point” so that players know it’s not an observation\u003cbr>\n-Problem question or statement. Examples include: “How can we find more time for community service in the middle school?” or “Laptop carts are also signed out in the high school. We don’t have enough carts for all students and teachers.”\u003cbr>\n-Tags. Possible tags for the sample two cards would include community service, middle school, laptop carts and high school.\u003c/p>\n\u003cp>For those addressing issues beyond their immediate school, include the school level (e.g., elementary, middle, high school, etc.) to avoid confusion. Knowing the school level will allow stakeholders unfamiliar with pain points and observations associated with that school to tailor their solutions.\u003c/p>\n\u003cp>\u003cstrong>Building Observation Cards\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_38239\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2014/10/Observation-Card.gif\">\u003cimg class=\"size-large wp-image-38239\" src=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2014/10/Observation-Card-640x400.gif\" alt=\"Sample Observation card (Courtesy of Gayle Allen)\" width=\"640\" height=\"400\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sample Observation card (Courtesy of Gayle Allen)\u003c/figcaption>\u003c/figure>\n\u003cp>Every Observation card should include the following:\u003c/p>\n\u003cp>-The title “Observation” so players know it’s not a pain point.\u003cbr>\n-Neutral observation statement or question. Examples include: ““We don’t provide language classes in the elementary school” or “Why are there so few girls in AP Computer Science in our high school?”\u003cbr>\n-Tags. Possible tags for the sample two cards would include language classes, elementary school, girls, high school and AP Computer Science.\u003c/p>\n\u003cp>If relevant, be sure to include the school level (e.g., elementary, middle, high school, etc.) or grade.\u003c/p>\n\u003cp>\u003cstrong>Instructions for Play\u003c/strong>\u003c/p>\n\u003cp>1. To start, provide each team with an identical deck of cards. Keep team sizes to no more than six and no fewer than two. Size should be determined by the number of cards in the set – larger teams if deck size is 20 or more – and the amount of time allotted. The goal is for each team to work through the entire set of cards. Not all Pain Point cards will have a potentially matching Observation card. Set those cards aside and work with the matching pairs. \u003c/p>\n\u003cp>2. Each team should identify a note taker before the activity begins.\u003c/p>\n\u003cp>3. Provide at least one hour for this activity. Remember that participants will need time to read each card in the deck, to sort and re-sort cards, to think through and process with one another all the possible connections between the Pain Point and Observation cards, and to record connections and solutions. Rushing the process will make it more difficult for participants to be creative and to engage in the types of discussions needed to work through their ideas.\u003c/p>\n\u003cp>4. Provide time at the end for each team to share out at least one innovative solution. If possible, ask teams to post or tape all solutions and connections on a board or wall. Then ask all teams to do a gallery walk around the room, in order to learn from other teams.\u003c/p>\n\u003cp>5. Be sure to gather everyone’s recordings at the end of the activity. Facilitators create a shared document, like a Google doc, to which everyone can contribute. They can also collect hard-copy recordings and add the information to a shared document. Announce the timeline for how you will analyze this information and report back to everyone, and any other next steps. Facilitators can follow up at schoolwide meetings to lay out findings and next steps. Participants will be more engaged if they know there will be follow-up and that their solutions may be implemented.\u003c/p>\n\u003cp>Every time you do this activity, it should take less time, since participants will know what to expect, will have a stronger skill set in making creative connections, and will have a smaller deck of cards (there should be fewer Pain Points as time goes on).\u003c/p>\n\u003cp>\u003cstrong>Three Examples\u003c/strong>\u003c/p>\n\u003cp>1. A \u003cstrong>middle school loses a dedicated maker space \u003c/strong>to a much needed classroom due to increased enrollment. A team reads through their cards and looks for patterns. They notice that several cards include the tags of \"physical space.\" They put them to one side and read through them together. They wonder if they can find a way, as a group of teachers, to get creative with their classrooms by building a pop-up maker space schedule. While they don’t yet have all the answers, they know there’s something there. They pair up the cards, write up the connection, along with a draft of their solution -- a classroom “timeshare” -- and then move on to the other cards.\u003c/p>\n\u003cfigure id=\"attachment_38243\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2014/10/Enrollment-Card.gif\">\u003cimg class=\"size-large wp-image-38243\" src=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2014/10/Enrollment-Card-640x750.gif\" alt=\"Sample Pain Point card (Courtesy of Gayle Allen)\" width=\"640\" height=\"750\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sample Pain Point card and Observation cards.(Courtesy of Gayle Allen)\u003c/figcaption>\u003c/figure>\n\u003cp>2. Another team gets caught up in the \u003cstrong>computer programming Pain Point\u003c/strong>. Several members of the team have read articles about online resources for learning how to code. This prompts another member of the group to look at the card tags more closely. She sees one focused on online resources and asks the group what it thinks. Immediately, another group member brings up the idea of creating an after-school programming club, open to all high school students, using free online resources that they can research, vet, and select as part of the club. Soon the group is recording the connections it has made and the solution it's proposing.\u003c/p>\n\u003cfigure id=\"attachment_38241\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2014/10/Programming-Card.gif\">\u003cimg class=\"size-large wp-image-38241\" src=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2014/10/Programming-Card-640x750.gif\" alt=\"Sample Pain Point card (Courtesy of Gayle Allen)\" width=\"640\" height=\"750\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sample Pain Point and Observation cards. (Courtesy of Gayle Allen)\u003c/figcaption>\u003c/figure>\n\u003cp>3. Finally, another team gets caught up in a discussion of the card about the fifth-grade research project. For many of the team’s members, mostly middle and high school teachers in schools across the district, this is the first time they’re learning about this project. Several reflect on how hard it is for their own students to decide on research topics, and this gets them wondering if there isn’t a more real-world way to do it. In sorting through their observation cards, they notice the “real-world skills” card. This triggers a team member to talk about student entrepreneurship and a recent article he read about \u003cstrong>student pitch fests\u003c/strong>. The team categorizes pitching as a real-world skill and makes the connection between it and the research topic pain point. They record their idea and mention the article as a resource.\u003c/p>\n\u003cfigure id=\"attachment_38242\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2014/10/Real-World-Card.gif\">\u003cimg class=\"size-large wp-image-38242\" src=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2014/10/Real-World-Card-640x750.gif\" alt=\"Sample Pain Point card (Courtesy of Gayle Allen)\" width=\"640\" height=\"750\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sample Pain Point and Observation cards. (Courtesy of Gayle Allen)\u003c/figcaption>\u003c/figure>\n\u003cp>Clearly, this is just the start. Once ideas are recorded and shared, team members may want to connect with others post-activity to work through the details of problem-solving and implementation.\u003c/p>\n\u003cp>\u003cstrong>Empower Everyone to Innovate\u003c/strong>\u003c/p>\n\u003cp>This activity empowers all stakeholders. It gives everyone an opportunity to share pain points and observations and to brainstorm solutions. By building a card deck of context-specific pain points and observations, there’s buy-in from the start. All participants have a vested interest in the cards they create. Likewise, the activity has enough structure built in to drive toward solutions.\u003c/p>\n\u003cp>All who participate get to practice and deepen their creative problem-solving skills. You’ll be surprised at how energizing it will be to problem-solve with colleagues, how creative the solutions will be, and how pain points will begin to disappear.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Gayle Allen spent nearly two decades as a teacher, school leader and founder of two professional development institutes. She holds an Ed.D. from Teachers College, Columbia University, where she focused her research on teacher learning. Gayle currently serves on the advisory board for \u003ca href=\"http://biobuilder.org/\">BioBuilder Educational Foundation\u003c/a> and is an edupreneur at BrightBytes. She blogs at \u003ca href=\"http://www.gayleallen.net/\">Connecting the Thoughts\u003c/a> and tweets \u003ca href=\"https://twitter.com/GAllenTC\">@GAllenTC\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_35515\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-35515\" src=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2014/05/475253193-e1399403283931.jpg\" alt=\"Getty\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/23/2014/05/475253193-e1399403283931.jpg 640w, https://ww2.kqed.org/app/uploads/sites/23/2014/05/475253193-e1399403283931-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/23/2014/05/475253193-e1399403283931-320x180.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Getty\u003c/figcaption>\u003c/figure>\n\u003cp class=\"dropcap-serif\">If it's true, in \u003ca href=\"http://ww2.kqed.org/mindshift/2013/01/sir-ken-robinson-fostering-creativity-in-education-is-not-an-option/\" target=\"_blank\">Sir Ken Robinson's words\u003c/a>, that “Creativity is not an option, it’s an absolute necessity,” then it's that much more imperative to find ways to bring creativity to learning.\u003c/p>\n\u003cp>But first, we have to understand what conditions foster true creativity. One definition that scientists have agreed upon for creativity is the ability to create something that's both novel as compared to what came before, and has value. “It’s this intersection of novelty and value, a combination of those two features that’s particularly important,” Dr. Robert Bilder, a psychiatry and psychology professor at UCLA’s Semel Institute for Neuroscience and Human Behavior. In any system, there are forces pushing towards organization and others introducing unpredictability. A truly creative idea straddles both of those states.\u003c/p>\n\u003cp>“The truly creative changes and the big shifts occur right at the edge of chaos,” Bilder said.\u003c/p>\n\u003cp>For educators who have embraced the notion of the tightly controlled classroom, it's a worst-case scenario. But Bilder has a reason for this theory. He tested it by asking children what aspects of a learning environment make them feel most creative. “One of the things they found most valuable in their arts classes was the freedom not to have to seek right and wrong answers,” Bilder said. “It was that freedom to explore that led them to be increasingly engaged and allowed them to forge connections that allowed them to be more creative.”\u003c/p>\n\u003cp>It’s the lack of this type of freedom that has led skeptics to \u003ca href=\"http://ww2.kqed.org/mindshift/2014/03/can-creativity-truly-be-fostered-in-classrooms-of-today/\" target=\"_blank\">question if today's schools could ever inspire true creativity\u003c/a>. While there are exceptions -- schools that have built freedom of expression into their models -- the majority of schools, whether public or private -- expect students to conform to behavior norms that don’t allow for the individual space to \u003ca href=\"http://ww2.kqed.org/mindshift/2012/06/why-daydreaming-isnt-a-waste-of-time/\" target=\"_blank\">daydream\u003c/a>, reflect, and create. In fact, creative behaviors are often associated with mental disorders.\u003c/p>\n\u003caside class=\"pullquote alignleft\">\"The truly creative changes and the big shifts occur right at the edge of chaos.\"\u003c/aside>\n\u003cp>“In the school environment, creativity can be considered pathological behavior as opposed to the compliant traits of being reliable, sincere, good-natured, responsible, tolerant, and peaceable — the qualities associated with the lowest levels of creativity,” \u003ca href=\"http://ww2.kqed.org/mindshift/2014/03/can-creativity-truly-be-fostered-in-classrooms-of-today/\" target=\"_blank\">writes Cevin Soling\u003c/a>. Openness to new experiences and a \"disagreeable personality\" are also associated with creative achievement, two attributes not always found in schools.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To foster creativity, teachers can make room for more freedom around activities in class, and highlight students’ ability to be creative achievers, Bilder said. Freedom offers students space to generate ideas.\u003c/p>\n\u003cp>How does an educator know if she's creating space for creativity? The way Bilder describes it, students in a classroom that allowed for creativity would appear to a visitor to be enraptured in what they were doing -- they’d be in the zone. “You’d have a hard time distracting them and getting them away from what they’re working on,” Bilder said. He highlighted \u003ca href=\"http://ww2.kqed.org/mindshift/2013/01/what-project-based-learning-is-and-isnt/\" target=\"_blank\">project-based learning\u003c/a> as a way that educators are beginning to introduce choice, and thus freedom, into school work, making space for at least some creativity.\u003c/p>\n\u003cp>\u003cstrong>COGNITIVE TRAITS OF CREATIVITY\u003c/strong>\u003c/p>\n\u003cp>Generating lots of different ideas is more important to creativity than many people realize. That’s partly because of the free flowing nature of coming up with lots of ideas, no matter how ridiculous they seem, but it’s also because it gets the idea out of the brain, making space for the next idea.\u003c/p>\n\u003cp>“When we look through examples of illustrious creative types these individuals create a lot of work,” Bilder said. Picasso is a good example. The artist created between 10,000 and 50,000 works of art (depending on how they're counted). The number of pieces produced is the number one predictor of creative achievement, said Bilder. Additionally, putting an idea to paper and expelling it from the mental space allows the creator to react to it in new ways.\u003c/p>\n\u003cp>[contextly_sidebar id=\"6b0a345526ec6da4b4cc8d3dd25874e3\"]\u003c/p>\n\u003cp>While many people cite disinhibition as a crucial element of creativity -- and it is -- positive inhibition is even more important, Bilder said. “The ability to inhibit the first thing that comes to mind in order to get to the higher hanging fruit in the cognitive tree is one of the cornerstones of creative achievement,” said Bilder. The first idea is not usually the most novel one; pushing past the easy answer and reaching for a better one is a mark of creativity.\u003c/p>\n\u003cp>Perhaps one of the most important parts of creativity is its connection to emotions and the visceral parts of the brain. “Neuroimaging experiments show us that we use the very same neural systems to feel our bodies as to feel our relationships, our moral judgments, and our creative inspiration,” said \u003ca href=\"http://www-bcf.usc.edu/%7Eimmordin/\">Mary Helen Immordino-Yang\u003c/a>, a professor at USC’s Rossier School of Education and an expert on the neuroscience of learning and creativity. She and other neuroscientist \u003ca href=\"http://ww2.kqed.org/mindshift/2013/03/how-emotional-connections-can-trigger-creativity-and-learning/\" target=\"_blank\">researchers have found that this visceral connection \u003c/a>to the body is a huge motivator of creativity.\u003c/p>\n\u003cp>To develop ideas that could be considered creative, the brain has to be both stable and flexible at the same time. Brains perform just this type of balancing act every second of every day. “The brain maintains a duality of systems that are constantly introducing flexibility into our thinking and then trying to stabilize our thinking,” Bilder said. The brain evaluates a new stimuli, compares it the plan originally set and then decides on the optimal degree of flexibility or stability to pursue. This cycle happens three times per second.\u003c/p>\n\u003cp>To reach that perfect state of brain balance it helps if the creator is feeling what Bilder refers to as “flow,” and what an athlete might call “playing in the zone.” It’s an automatic, effortless, but highly concentrated state when all the practice and knowledge leading up to that moment comes pouring out in perfect harmony.\u003c/p>\n\u003cp>Musicians and artists describe this same sense of flow, which can appear out of nowhere and often doesn’t happen when someone is trying too hard to form an idea. “When you’re trying so hard to come up with ideas you can’t do it, you can’t force it,” said Charles Limb, associate professor of Otolaryngology-Head and Neck Surgery at John’s Hopkins University. “Then at another time, some flip switches and you’ve got this flow going on, this generation of ideas.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/mindshift/2014/04/the-link-between-jazz-improvisation-and-student-creativity/\" target=\"_blank\">Limb’s research\u003c/a> has shown that when musicians are improvising, there’s a switch away from the lateral prefrontal lobes responsible for monitoring and self-censoring, allowing the musician to generate ideas more freely. Limb’s research has led him to agree with Binder that freedom to explore and practice without a specific goal in mind is a key element of developing creative competence. “You have to cultivate these behaviors by introducing them to children and recognizing that the more you do it, the better you are at doing it,” Limb said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>So, can educators help their students become more creative? Some teachers are moving in that direction, loosening the rules, giving students choice, celebrating ideas and behaviors that challenge the status quo, but without a drastic \u003ca href=\"http://ww2.kqed.org/mindshift/2012/05/are-we-wringing-the-creativity-out-of-kids/\" target=\"_blank\">reimagining of the structures within which educators work\u003c/a>, true creativity could be hard to find in school.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_35515\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-35515\" src=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2014/05/475253193-e1399403283931.jpg\" alt=\"Getty\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/23/2014/05/475253193-e1399403283931.jpg 640w, https://ww2.kqed.org/app/uploads/sites/23/2014/05/475253193-e1399403283931-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/23/2014/05/475253193-e1399403283931-320x180.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Getty\u003c/figcaption>\u003c/figure>\n\u003cp class=\"dropcap-serif\">If it's true, in \u003ca href=\"http://ww2.kqed.org/mindshift/2013/01/sir-ken-robinson-fostering-creativity-in-education-is-not-an-option/\" target=\"_blank\">Sir Ken Robinson's words\u003c/a>, that “Creativity is not an option, it’s an absolute necessity,” then it's that much more imperative to find ways to bring creativity to learning.\u003c/p>\n\u003cp>But first, we have to understand what conditions foster true creativity. One definition that scientists have agreed upon for creativity is the ability to create something that's both novel as compared to what came before, and has value. “It’s this intersection of novelty and value, a combination of those two features that’s particularly important,” Dr. Robert Bilder, a psychiatry and psychology professor at UCLA’s Semel Institute for Neuroscience and Human Behavior. In any system, there are forces pushing towards organization and others introducing unpredictability. A truly creative idea straddles both of those states.\u003c/p>\n\u003cp>“The truly creative changes and the big shifts occur right at the edge of chaos,” Bilder said.\u003c/p>\n\u003cp>For educators who have embraced the notion of the tightly controlled classroom, it's a worst-case scenario. But Bilder has a reason for this theory. He tested it by asking children what aspects of a learning environment make them feel most creative. “One of the things they found most valuable in their arts classes was the freedom not to have to seek right and wrong answers,” Bilder said. “It was that freedom to explore that led them to be increasingly engaged and allowed them to forge connections that allowed them to be more creative.”\u003c/p>\n\u003cp>It’s the lack of this type of freedom that has led skeptics to \u003ca href=\"http://ww2.kqed.org/mindshift/2014/03/can-creativity-truly-be-fostered-in-classrooms-of-today/\" target=\"_blank\">question if today's schools could ever inspire true creativity\u003c/a>. While there are exceptions -- schools that have built freedom of expression into their models -- the majority of schools, whether public or private -- expect students to conform to behavior norms that don’t allow for the individual space to \u003ca href=\"http://ww2.kqed.org/mindshift/2012/06/why-daydreaming-isnt-a-waste-of-time/\" target=\"_blank\">daydream\u003c/a>, reflect, and create. In fact, creative behaviors are often associated with mental disorders.\u003c/p>\n\u003caside class=\"pullquote alignleft\">\"The truly creative changes and the big shifts occur right at the edge of chaos.\"\u003c/aside>\n\u003cp>“In the school environment, creativity can be considered pathological behavior as opposed to the compliant traits of being reliable, sincere, good-natured, responsible, tolerant, and peaceable — the qualities associated with the lowest levels of creativity,” \u003ca href=\"http://ww2.kqed.org/mindshift/2014/03/can-creativity-truly-be-fostered-in-classrooms-of-today/\" target=\"_blank\">writes Cevin Soling\u003c/a>. Openness to new experiences and a \"disagreeable personality\" are also associated with creative achievement, two attributes not always found in schools.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To foster creativity, teachers can make room for more freedom around activities in class, and highlight students’ ability to be creative achievers, Bilder said. Freedom offers students space to generate ideas.\u003c/p>\n\u003cp>How does an educator know if she's creating space for creativity? The way Bilder describes it, students in a classroom that allowed for creativity would appear to a visitor to be enraptured in what they were doing -- they’d be in the zone. “You’d have a hard time distracting them and getting them away from what they’re working on,” Bilder said. He highlighted \u003ca href=\"http://ww2.kqed.org/mindshift/2013/01/what-project-based-learning-is-and-isnt/\" target=\"_blank\">project-based learning\u003c/a> as a way that educators are beginning to introduce choice, and thus freedom, into school work, making space for at least some creativity.\u003c/p>\n\u003cp>\u003cstrong>COGNITIVE TRAITS OF CREATIVITY\u003c/strong>\u003c/p>\n\u003cp>Generating lots of different ideas is more important to creativity than many people realize. That’s partly because of the free flowing nature of coming up with lots of ideas, no matter how ridiculous they seem, but it’s also because it gets the idea out of the brain, making space for the next idea.\u003c/p>\n\u003cp>“When we look through examples of illustrious creative types these individuals create a lot of work,” Bilder said. Picasso is a good example. The artist created between 10,000 and 50,000 works of art (depending on how they're counted). The number of pieces produced is the number one predictor of creative achievement, said Bilder. Additionally, putting an idea to paper and expelling it from the mental space allows the creator to react to it in new ways.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>While many people cite disinhibition as a crucial element of creativity -- and it is -- positive inhibition is even more important, Bilder said. “The ability to inhibit the first thing that comes to mind in order to get to the higher hanging fruit in the cognitive tree is one of the cornerstones of creative achievement,” said Bilder. The first idea is not usually the most novel one; pushing past the easy answer and reaching for a better one is a mark of creativity.\u003c/p>\n\u003cp>Perhaps one of the most important parts of creativity is its connection to emotions and the visceral parts of the brain. “Neuroimaging experiments show us that we use the very same neural systems to feel our bodies as to feel our relationships, our moral judgments, and our creative inspiration,” said \u003ca href=\"http://www-bcf.usc.edu/%7Eimmordin/\">Mary Helen Immordino-Yang\u003c/a>, a professor at USC’s Rossier School of Education and an expert on the neuroscience of learning and creativity. She and other neuroscientist \u003ca href=\"http://ww2.kqed.org/mindshift/2013/03/how-emotional-connections-can-trigger-creativity-and-learning/\" target=\"_blank\">researchers have found that this visceral connection \u003c/a>to the body is a huge motivator of creativity.\u003c/p>\n\u003cp>To develop ideas that could be considered creative, the brain has to be both stable and flexible at the same time. Brains perform just this type of balancing act every second of every day. “The brain maintains a duality of systems that are constantly introducing flexibility into our thinking and then trying to stabilize our thinking,” Bilder said. The brain evaluates a new stimuli, compares it the plan originally set and then decides on the optimal degree of flexibility or stability to pursue. This cycle happens three times per second.\u003c/p>\n\u003cp>To reach that perfect state of brain balance it helps if the creator is feeling what Bilder refers to as “flow,” and what an athlete might call “playing in the zone.” It’s an automatic, effortless, but highly concentrated state when all the practice and knowledge leading up to that moment comes pouring out in perfect harmony.\u003c/p>\n\u003cp>Musicians and artists describe this same sense of flow, which can appear out of nowhere and often doesn’t happen when someone is trying too hard to form an idea. “When you’re trying so hard to come up with ideas you can’t do it, you can’t force it,” said Charles Limb, associate professor of Otolaryngology-Head and Neck Surgery at John’s Hopkins University. “Then at another time, some flip switches and you’ve got this flow going on, this generation of ideas.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/mindshift/2014/04/the-link-between-jazz-improvisation-and-student-creativity/\" target=\"_blank\">Limb’s research\u003c/a> has shown that when musicians are improvising, there’s a switch away from the lateral prefrontal lobes responsible for monitoring and self-censoring, allowing the musician to generate ideas more freely. Limb’s research has led him to agree with Binder that freedom to explore and practice without a specific goal in mind is a key element of developing creative competence. “You have to cultivate these behaviors by introducing them to children and recognizing that the more you do it, the better you are at doing it,” Limb said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So, can educators help their students become more creative? Some teachers are moving in that direction, loosening the rules, giving students choice, celebrating ideas and behaviors that challenge the status quo, but without a drastic \u003ca href=\"http://ww2.kqed.org/mindshift/2012/05/are-we-wringing-the-creativity-out-of-kids/\" target=\"_blank\">reimagining of the structures within which educators work\u003c/a>, true creativity could be hard to find in school.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2014/04/jazz.jpg\">\u003cimg class=\"size-full wp-image-34965\" src=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2014/04/jazz.jpg\" alt=\"jazz\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/23/2014/04/jazz.jpg 640w, https://ww2.kqed.org/app/uploads/sites/23/2014/04/jazz-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/23/2014/04/jazz-320x180.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp class=\"dropcap-serif\">Listening to jazz musicians improvise, how the piano player's chords toy with the sax player's runs and the standup bass player's beats, it may seem like their music-making process is simply magic. But research of jazz musicians' brain activity as they improvise is helping shed light on the neuroscience behind creativity, and it turns out creating that magic is not as serendipitous a process as we might think.\u003c/p>\n\u003cp>“I started looking at jazz musicians playing the blues as a way to understand how the creative brain emerges from a neuroscience perspective,” said Charles Limb, associate professor of Otolaryngology-Head and Neck Surgery at John’s Hopkins University.\u003c/p>\n\u003cp>Limb, \u003ca href=\"http://www.plosone.org/article/info%3Adoi%2F10.1371%2Fjournal.pone.0088665\" target=\"_blank\">a \u003c/a>\u003ca href=\"http://www.hopkinsmedicine.org/hmn/s08/feature4.cfm\" target=\"_blank\">jazz musician and music lover, \u003c/a>and\u003ca href=\"http://www.plosone.org/article/info%3Adoi%2F10.1371%2Fjournal.pone.0088665\" target=\"_blank\"> his team\u003c/a> designed a plastic keyboard that jazz musicians could both play and hear while they were inside an MRI machine. Limb asked the musicians to play a memorized piece of music, then improvise with another musician in the control room. Limb captured images of their brains as they played.\u003c/p>\n\u003cp>When musicians go to an improvisation, the brain switches, Limb said, and the lateral prefrontal lobes responsible for conscious self monitoring became less engaged. “Musicians were turning off the self-censoring in the brain so they could generate novel ideas without restrictions,” he said. Interestingly, the improvising brain activates many of the same brain centers as language, reinforcing the idea that the back and forth of \u003ca href=\"http://www.theatlantic.com/health/archive/2014/02/how-brains-see-music-as-language/283936/\" target=\"_blank\">improvisation between musicians is akin to its own language\u003c/a>.\u003c/p>\n\u003caside class=\"pullquote alignleft\"> “When you're trying so hard to come up with ideas you can’t do it, you can’t force it.”\u003c/aside>\n\u003cp>The same principle applies to something like writer's block. “When you're trying so hard to come up with ideas you can’t do it, you can’t force it,” Limb said. “Then at another time, some flip switches and you've got this flow going on, this generation of ideas.” When the stakes are higher and the brain is actively over-thinking something, it can interfere with processes that have become routinized, causing behavior or performance to suffer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>CREATIVITY CAN BE DEVELOPED\u003c/strong>\u003c/p>\n\u003cp>Luckily, creativity isn't an unknowable, mystical quality. It can be developed. “You have to cultivate these behaviors by introducing them to children and recognizing that the more you do it, the better you are at doing it,” Limb said. The problem is a lot of kids don’t get much unstructured time either in school or out of it. School is often based on right or wrong answers, leaving little room for students to come up with ideas that haven’t been taught to them before.\u003c/p>\n\u003cp>“It doesn't have to be so directed all the time,” Limb said. “We've taken a lot of the joy out of things that used to be joyful.” Even a lot of music lessons have become about the discipline of learning to play well, not the joy of creating the music. Children should have part of every lesson reserved for improvisation and free form play, Limb said. The same could be said for free play on the playground and experimentation with new ideas in the classroom. \u003ca href=\"http://ww2.kqed.org/mindshift/2013/02/how-free-play-can-define-kids-success/\" target=\"_blank\">Unprogrammed time is necessary\u003c/a> for students to practice using their creativity.\u003c/p>\n\u003cp>[contextly_sidebar id=\"bd48fba2af700ed4b71ce0c51dff63ba\"]\u003c/p>\n\u003cp>In recent years \u003ca href=\"http://ww2.kqed.org/mindshift/2012/05/are-we-wringing-the-creativity-out-of-kids/\" target=\"_blank\">many schools have cut their art programs as non-essential subjects\u003c/a>. At the same time, leaders are crying for more creative thinking in students. “We tend to look at education of creative aspects of children as something that happens incidentally and that is entertainment-based,” Limb said. But that misses the connection between creativity and the idea generation necessary for strong problem solving skills. “Art may be one of the best ways to train the brain to have this kind of creative fluency,” Limb said. He believes art is as central to education as math and reading, especially when created in collaborative environments like band or orchestra.\u003c/p>\n\u003cp>Limb is working to set up an experiment testing his theory with kids who have never had drawing or music lessons before. He’d like to see what’s going on in their brains when first allowed to improvise. Capturing the brain as it begins to create could help deepen an understanding of how to support creative growth.\u003c/p>\n\u003cp>Creativity may even be hardwired into human brains, an essential feature that has allowed the species to adapt repeatedly over the course of history. “Very early on there’s this need for the brain to be able to come up with something that it didn't know before, that’s not being taught to it, but to find a way to figure something out that’s creative,” Limb said. “That’s always been essential for human survival.”\u003c/p>\n\u003cp>Creating is core to the human experience throughout time, Limb says. “The brain has been hard wired to seek creative or artistic endeavors forever,” he said. “We don’t need it to survive, you wouldn’t think, and yet the brain wants it and seeks it.”\u003c/p>\n\u003cp>Interestingly, the creating brain looks a lot like the dreaming brain, one of the most creative states humans can enter, but one associated with unconsciousness. Similar to what Limb observed in jazz musicians, when people dream the self-monitoring part of the brain is suppressed and the default network in the brain takes over. This is the introspective part of the brain, as well as the autobiographical part. That’s why dreams feel so personal, pulling from experiences or recent worries. “The brain is an organ and some of its functions are geared toward generation of unpredictable ideas,” Limb said. That’s just how it’s meant to function.\u003c/p>\n\u003cp>Listen to a \u003ca href=\"http://www.sciencefriday.com/segment/02/28/2014/your-brain-on-jazz.html\" target=\"_blank\">Science Friday interview\u003c/a> with Charles Limb for even more about his interesting research.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/143916388&color=ff5500&auto_play=false&hide_related=false&show_artwork=true\" frameborder=\"no\" scrolling=\"no\" width=\"100%\" height=\"166\">\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2014/04/jazz.jpg\">\u003cimg class=\"size-full wp-image-34965\" src=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2014/04/jazz.jpg\" alt=\"jazz\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/23/2014/04/jazz.jpg 640w, https://ww2.kqed.org/app/uploads/sites/23/2014/04/jazz-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/23/2014/04/jazz-320x180.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp class=\"dropcap-serif\">Listening to jazz musicians improvise, how the piano player's chords toy with the sax player's runs and the standup bass player's beats, it may seem like their music-making process is simply magic. But research of jazz musicians' brain activity as they improvise is helping shed light on the neuroscience behind creativity, and it turns out creating that magic is not as serendipitous a process as we might think.\u003c/p>\n\u003cp>“I started looking at jazz musicians playing the blues as a way to understand how the creative brain emerges from a neuroscience perspective,” said Charles Limb, associate professor of Otolaryngology-Head and Neck Surgery at John’s Hopkins University.\u003c/p>\n\u003cp>Limb, \u003ca href=\"http://www.plosone.org/article/info%3Adoi%2F10.1371%2Fjournal.pone.0088665\" target=\"_blank\">a \u003c/a>\u003ca href=\"http://www.hopkinsmedicine.org/hmn/s08/feature4.cfm\" target=\"_blank\">jazz musician and music lover, \u003c/a>and\u003ca href=\"http://www.plosone.org/article/info%3Adoi%2F10.1371%2Fjournal.pone.0088665\" target=\"_blank\"> his team\u003c/a> designed a plastic keyboard that jazz musicians could both play and hear while they were inside an MRI machine. Limb asked the musicians to play a memorized piece of music, then improvise with another musician in the control room. Limb captured images of their brains as they played.\u003c/p>\n\u003cp>When musicians go to an improvisation, the brain switches, Limb said, and the lateral prefrontal lobes responsible for conscious self monitoring became less engaged. “Musicians were turning off the self-censoring in the brain so they could generate novel ideas without restrictions,” he said. Interestingly, the improvising brain activates many of the same brain centers as language, reinforcing the idea that the back and forth of \u003ca href=\"http://www.theatlantic.com/health/archive/2014/02/how-brains-see-music-as-language/283936/\" target=\"_blank\">improvisation between musicians is akin to its own language\u003c/a>.\u003c/p>\n\u003caside class=\"pullquote alignleft\"> “When you're trying so hard to come up with ideas you can’t do it, you can’t force it.”\u003c/aside>\n\u003cp>The same principle applies to something like writer's block. “When you're trying so hard to come up with ideas you can’t do it, you can’t force it,” Limb said. “Then at another time, some flip switches and you've got this flow going on, this generation of ideas.” When the stakes are higher and the brain is actively over-thinking something, it can interfere with processes that have become routinized, causing behavior or performance to suffer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>CREATIVITY CAN BE DEVELOPED\u003c/strong>\u003c/p>\n\u003cp>Luckily, creativity isn't an unknowable, mystical quality. It can be developed. “You have to cultivate these behaviors by introducing them to children and recognizing that the more you do it, the better you are at doing it,” Limb said. The problem is a lot of kids don’t get much unstructured time either in school or out of it. School is often based on right or wrong answers, leaving little room for students to come up with ideas that haven’t been taught to them before.\u003c/p>\n\u003cp>“It doesn't have to be so directed all the time,” Limb said. “We've taken a lot of the joy out of things that used to be joyful.” Even a lot of music lessons have become about the discipline of learning to play well, not the joy of creating the music. Children should have part of every lesson reserved for improvisation and free form play, Limb said. The same could be said for free play on the playground and experimentation with new ideas in the classroom. \u003ca href=\"http://ww2.kqed.org/mindshift/2013/02/how-free-play-can-define-kids-success/\" target=\"_blank\">Unprogrammed time is necessary\u003c/a> for students to practice using their creativity.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In recent years \u003ca href=\"http://ww2.kqed.org/mindshift/2012/05/are-we-wringing-the-creativity-out-of-kids/\" target=\"_blank\">many schools have cut their art programs as non-essential subjects\u003c/a>. At the same time, leaders are crying for more creative thinking in students. “We tend to look at education of creative aspects of children as something that happens incidentally and that is entertainment-based,” Limb said. But that misses the connection between creativity and the idea generation necessary for strong problem solving skills. “Art may be one of the best ways to train the brain to have this kind of creative fluency,” Limb said. He believes art is as central to education as math and reading, especially when created in collaborative environments like band or orchestra.\u003c/p>\n\u003cp>Limb is working to set up an experiment testing his theory with kids who have never had drawing or music lessons before. He’d like to see what’s going on in their brains when first allowed to improvise. Capturing the brain as it begins to create could help deepen an understanding of how to support creative growth.\u003c/p>\n\u003cp>Creativity may even be hardwired into human brains, an essential feature that has allowed the species to adapt repeatedly over the course of history. “Very early on there’s this need for the brain to be able to come up with something that it didn't know before, that’s not being taught to it, but to find a way to figure something out that’s creative,” Limb said. “That’s always been essential for human survival.”\u003c/p>\n\u003cp>Creating is core to the human experience throughout time, Limb says. “The brain has been hard wired to seek creative or artistic endeavors forever,” he said. “We don’t need it to survive, you wouldn’t think, and yet the brain wants it and seeks it.”\u003c/p>\n\u003cp>Interestingly, the creating brain looks a lot like the dreaming brain, one of the most creative states humans can enter, but one associated with unconsciousness. Similar to what Limb observed in jazz musicians, when people dream the self-monitoring part of the brain is suppressed and the default network in the brain takes over. This is the introspective part of the brain, as well as the autobiographical part. That’s why dreams feel so personal, pulling from experiences or recent worries. “The brain is an organ and some of its functions are geared toward generation of unpredictable ideas,” Limb said. That’s just how it’s meant to function.\u003c/p>\n\u003cp>Listen to a \u003ca href=\"http://www.sciencefriday.com/segment/02/28/2014/your-brain-on-jazz.html\" target=\"_blank\">Science Friday interview\u003c/a> with Charles Limb for even more about his interesting research.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/143916388&color=ff5500&auto_play=false&hide_related=false&show_artwork=true\" frameborder=\"no\" scrolling=\"no\" width=\"100%\" height=\"166\">\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Can Any School Foster Pure Creativity? ",
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"content": "\u003cfigure id=\"attachment_34489\" class=\"wp-caption center\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-34489\" src=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2014/03/81266776-e1395099542318.jpg\" alt=\"81266776\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/23/2014/03/81266776-e1395099542318.jpg 640w, https://ww2.kqed.org/app/uploads/sites/23/2014/03/81266776-e1395099542318-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/23/2014/03/81266776-e1395099542318-320x180.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\"> \u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>By Cevin Soling\u003c/strong>\u003c/p>\n\u003cp class=\"dropcap-serif\">How do we promote creativity in schools? This is one of the prevailing concerns of many progressive education reformers. From a long-term fiscal perspective, creativity can lead to innovation, and for the U.S. to have a competitive edge in the global economy, minds capable of identifying problems and imagining new possibilities are a necessity. At the same time, we sense that there's something ethically wrong with suppressing creativity in children. The correlation between creativity and self-actualization seems implicit. Presumably, children’s aspirations include a meaningful personal engagement with whatever it is they want to achieve.\u003c/p>\n\u003cp>Creativity can be broadly defined as the phenomenon of developing new processes, constructs, or ideas. But can creativity be measured? Just as with measuring intelligence, the challenge of measuring creativity is complicated by lots of different factors, including the current temperament on any given day of the child whose creativity is being measured. That's why it's important to understand how data is used in tests that are designed to quantify creativity as a single number. Measuring creativity typically involves evaluating the quantity and originality of responses to prompts that do not demand a specific answer. For instance, a child could be asked to come up with as many original or unusual functions as he can conceive for a toy airplane, or ways he would want to alter it to make it more fun.\u003c/p>\n\u003caside class=\"pullquote alignleft\">The idea of teaching creativity in an environment that requires assessment, evaluation, and grading seems unlikely, if not impossible.\u003c/aside>\n\u003cp>With regards to research involving creativity and children, two recent studies are of particular note. One \u003ca href=\"http://www.creativitypost.com/education/yes_there_is_a_creativity_crisis\" target=\"_blank\">study\u003c/a> reveals that since 1990,\u003ca href=\"http://ststesting.com/2005giftttct.html\" target=\"_blank\"> Torrance test scores\u003c/a>, which are designed to measure six components of creative thinking, have marginally declined each year. This test measures the quantity, originality, intensity, and degree of detail of novel ideas, as well as the individual’s capacity to consider a range of possible solutions. And when output requires a title, the title’s degree of novelty is evaluated.\u003c/p>\n\u003cp>While this research broadly examines a trend in American culture, another \u003ca href=\"http://psycnet.apa.org/index.cfm?fa=search.displayRecord&UID=1969-14129-001\">study\u003c/a> investigated specific individuals over time and revealed that self-reported conceptions of creativity markedly decline after second grade. Whereas 95 percent of second-graders self-reported being creative, \u003ca href=\"http://ww2.kqed.org/mindshift/2012/05/are-we-wringing-the-creativity-out-of-kids/\" target=\"_blank\">only 5 percent of high school seniors believe they are creative\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The most readily apparent inference to be drawn is the significant role that schools play in this reported decline. The hows and whys are evident. Creativity is based on thinking unconventionally, having time to \u003ca href=\"http://ww2.kqed.org/mindshift/2012/06/why-daydreaming-isnt-a-waste-of-time/\">daydream\u003c/a> or simply reflect, understanding that there is no \u003ca href=\"http://ww2.kqed.org/mindshift/2012/10/for-students-why-the-question-is-more-important-than-the-answer/\" target=\"_blank\">single right answer\u003c/a>, and appreciating and \u003ca href=\"http://ww2.kqed.org/mindshift/2012/11/struggle-means-learning-difference-in-eastern-and-western-cultures/\" target=\"_blank\">valuing failure\u003c/a>. All of these experiences run counter to what's measured, and thus valued, in the public school system. This conflict is precisely what reformers seek to resolve, although the strategies have been somewhat vague.\u003c/p>\n\u003cp>Because schools must work with large numbers of students, they're perpetually bound by the limitations of bureaucratic efficiency. Discipline, order, and obedience must be maintained, and while the degree of enforcement varies among schools, this level of order defines the institution. Curricula may have dramatically changed since the inception of compulsory schooling, but the autocratic design remains unchanged.\u003c/p>\n\u003cp>Because of the emphasis on maintaining order in a compulsory school environment, teachers are compelled to adopt policies that adhere to the rigid requirements of the institution. And in turn, students who embrace conformity and deference to authority are better-suited in these environments. For teachers to engage with an entire classroom of students, everyone must be acquiescent. The inevitable outcome, as \u003ca href=\"http://itari.in/categories/Creativity/19.pdf\" target=\"_blank\">studies consistently show\u003c/a>, is a widespread aversion to traits associated with creativity in the public school environment.\u003c/p>\n\u003cp>Even more disturbing is that characteristics associated with creativity, such as being impulsive and taking risks, are closely aligned with what the American Psychiatric Association considers to be \u003ca href=\"http://www.cdc.gov/ncbddd/adhd/diagnosis.html\" target=\"_blank\">symptoms of ADHD\u003c/a>. In the school environment, creativity can be considered pathological behavior as opposed to the compliant traits of being reliable, sincere, good-natured, responsible, tolerant, and peaceable -- the qualities \u003ca href=\"http://itari.in/categories/Creativity/19.pdf\" target=\"_blank\">associated with the lowest levels of creativity\u003c/a>. Further discordance between school structure and creative displays is revealed by the finding that \u003ca href=\"http://hbswk.hbs.edu/item/6613.html\" target=\"_blank\">creative students tend to cheat more\u003c/a> than their less creative classmates.\u003c/p>\n\u003cp>\u003cstrong>TURNING SCHOOL UPSIDE DOWN\u003c/strong>\u003c/p>\n\u003cp>Promoting creativity would require an entirely new conception of public schooling. Teachers would have to be transformed into mentors whose mission would be to support the individual interests of each child and introduce them to new ideas and possibilities, which the student may or may not opt to embrace. Traditional testing would have to be eliminated -- tests implicitly teach that failure is bad and that there is only one right answer. Creative learning would be more effectively promoted by having students actively engage in their creative pursuits as opposed to being confined to a classroom.\u003c/p>\n\u003cp>[contextly_sidebar id=\"7bc1bd5554a5bb4225766d938c9d8eff\"]\u003c/p>\n\u003cp>It's worth noting that \u003ca href=\"http://ww2.kqed.org/mindshift/2013/10/harnessing-childrens-natural-ways-of-learning/\" target=\"_blank\">learning environments with these features already exist\u003c/a>. For example, democratic schools such as Sudbury Valley and Summerhill provide environments where students are responsible for deciding what and how they learn, who they associate with, and what activities they want to pursue. The staff acts as mentors to support students as opposed to directing their thoughts and behavior. Roughly thirty democratic schools exist in the U.S. and while this may not be appropriate for every child, \u003ca href=\"http://www.jstor.org/discover/10.2307/1084948?uid=3739696&uid=2&uid=4&uid=3739256&sid=21103457902313\" target=\"_blank\">studies have shown\u003c/a> that this climate promotes creative traits.\u003c/p>\n\u003cp>Given these circumstances, the idea of teaching creativity in an environment that requires assessment, evaluation, and grading seems unlikely, if not impossible. Even where opportunities to show creativity might be devised, students may be inclined to self-censoring: A student who wants a good grade may not feel completely free to produce something that might be offensive.\u003c/p>\n\u003cp>So what’s the result? Creativity scores decline, and school administrators wonder why their efforts towards boosting creativity have failed. What’s more, the paradox of expecting students to exhibit creativity in an environment that suppresses such displays becomes a breeding ground for neurotic children.\u003c/p>\n\u003cp>Barring a much-needed reinvention of the education system, there are steps that can be taken to promote creativity within the existing paradigm. Teachers can learn to recognize and respect that the child who cannot cope with the classroom environment might not be belligerent or have a mental disorder, but rather may simply have a creative disposition. Educators can also explain honestly to their students that the work they’re doing in school may not foster creativity, but that they do believe in every students’ innate capacity to be truly creative.\u003c/p>\n\u003cp>That kind of honesty will go a long way in enabling students to appreciate their innate creativity and provide them with greater fortitude and resources when engaging in creative pursuits outside of school.\u003c/p>\n\u003cp>\u003cem>Cevin Soling is the director of the documentary \u003ca title=\"The War on Kids\" href=\"http://en.wikipedia.org/wiki/The_War_on_Kids\" target=\"_blank\">The War on Kids.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "How do we promote creativity in schools? This is one of the prevailing concerns of many progressive education reformers. From a long-term fiscal perspective, creativity can lead to innovation, and for the U.S. to have a competitive edge in the global economy, minds capable of identifying problems and imagining new possibilities are a necessity. But given the constructs of public schools, can creativity truly be valued? ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_34489\" class=\"wp-caption center\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-34489\" src=\"http://ww2.kqed.org/mindshift/wp-content/uploads/sites/23/2014/03/81266776-e1395099542318.jpg\" alt=\"81266776\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/23/2014/03/81266776-e1395099542318.jpg 640w, https://ww2.kqed.org/app/uploads/sites/23/2014/03/81266776-e1395099542318-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/23/2014/03/81266776-e1395099542318-320x180.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\"> \u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>By Cevin Soling\u003c/strong>\u003c/p>\n\u003cp class=\"dropcap-serif\">How do we promote creativity in schools? This is one of the prevailing concerns of many progressive education reformers. From a long-term fiscal perspective, creativity can lead to innovation, and for the U.S. to have a competitive edge in the global economy, minds capable of identifying problems and imagining new possibilities are a necessity. At the same time, we sense that there's something ethically wrong with suppressing creativity in children. The correlation between creativity and self-actualization seems implicit. Presumably, children’s aspirations include a meaningful personal engagement with whatever it is they want to achieve.\u003c/p>\n\u003cp>Creativity can be broadly defined as the phenomenon of developing new processes, constructs, or ideas. But can creativity be measured? Just as with measuring intelligence, the challenge of measuring creativity is complicated by lots of different factors, including the current temperament on any given day of the child whose creativity is being measured. That's why it's important to understand how data is used in tests that are designed to quantify creativity as a single number. Measuring creativity typically involves evaluating the quantity and originality of responses to prompts that do not demand a specific answer. For instance, a child could be asked to come up with as many original or unusual functions as he can conceive for a toy airplane, or ways he would want to alter it to make it more fun.\u003c/p>\n\u003caside class=\"pullquote alignleft\">The idea of teaching creativity in an environment that requires assessment, evaluation, and grading seems unlikely, if not impossible.\u003c/aside>\n\u003cp>With regards to research involving creativity and children, two recent studies are of particular note. One \u003ca href=\"http://www.creativitypost.com/education/yes_there_is_a_creativity_crisis\" target=\"_blank\">study\u003c/a> reveals that since 1990,\u003ca href=\"http://ststesting.com/2005giftttct.html\" target=\"_blank\"> Torrance test scores\u003c/a>, which are designed to measure six components of creative thinking, have marginally declined each year. This test measures the quantity, originality, intensity, and degree of detail of novel ideas, as well as the individual’s capacity to consider a range of possible solutions. And when output requires a title, the title’s degree of novelty is evaluated.\u003c/p>\n\u003cp>While this research broadly examines a trend in American culture, another \u003ca href=\"http://psycnet.apa.org/index.cfm?fa=search.displayRecord&UID=1969-14129-001\">study\u003c/a> investigated specific individuals over time and revealed that self-reported conceptions of creativity markedly decline after second grade. Whereas 95 percent of second-graders self-reported being creative, \u003ca href=\"http://ww2.kqed.org/mindshift/2012/05/are-we-wringing-the-creativity-out-of-kids/\" target=\"_blank\">only 5 percent of high school seniors believe they are creative\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The most readily apparent inference to be drawn is the significant role that schools play in this reported decline. The hows and whys are evident. Creativity is based on thinking unconventionally, having time to \u003ca href=\"http://ww2.kqed.org/mindshift/2012/06/why-daydreaming-isnt-a-waste-of-time/\">daydream\u003c/a> or simply reflect, understanding that there is no \u003ca href=\"http://ww2.kqed.org/mindshift/2012/10/for-students-why-the-question-is-more-important-than-the-answer/\" target=\"_blank\">single right answer\u003c/a>, and appreciating and \u003ca href=\"http://ww2.kqed.org/mindshift/2012/11/struggle-means-learning-difference-in-eastern-and-western-cultures/\" target=\"_blank\">valuing failure\u003c/a>. All of these experiences run counter to what's measured, and thus valued, in the public school system. This conflict is precisely what reformers seek to resolve, although the strategies have been somewhat vague.\u003c/p>\n\u003cp>Because schools must work with large numbers of students, they're perpetually bound by the limitations of bureaucratic efficiency. Discipline, order, and obedience must be maintained, and while the degree of enforcement varies among schools, this level of order defines the institution. Curricula may have dramatically changed since the inception of compulsory schooling, but the autocratic design remains unchanged.\u003c/p>\n\u003cp>Because of the emphasis on maintaining order in a compulsory school environment, teachers are compelled to adopt policies that adhere to the rigid requirements of the institution. And in turn, students who embrace conformity and deference to authority are better-suited in these environments. For teachers to engage with an entire classroom of students, everyone must be acquiescent. The inevitable outcome, as \u003ca href=\"http://itari.in/categories/Creativity/19.pdf\" target=\"_blank\">studies consistently show\u003c/a>, is a widespread aversion to traits associated with creativity in the public school environment.\u003c/p>\n\u003cp>Even more disturbing is that characteristics associated with creativity, such as being impulsive and taking risks, are closely aligned with what the American Psychiatric Association considers to be \u003ca href=\"http://www.cdc.gov/ncbddd/adhd/diagnosis.html\" target=\"_blank\">symptoms of ADHD\u003c/a>. In the school environment, creativity can be considered pathological behavior as opposed to the compliant traits of being reliable, sincere, good-natured, responsible, tolerant, and peaceable -- the qualities \u003ca href=\"http://itari.in/categories/Creativity/19.pdf\" target=\"_blank\">associated with the lowest levels of creativity\u003c/a>. Further discordance between school structure and creative displays is revealed by the finding that \u003ca href=\"http://hbswk.hbs.edu/item/6613.html\" target=\"_blank\">creative students tend to cheat more\u003c/a> than their less creative classmates.\u003c/p>\n\u003cp>\u003cstrong>TURNING SCHOOL UPSIDE DOWN\u003c/strong>\u003c/p>\n\u003cp>Promoting creativity would require an entirely new conception of public schooling. Teachers would have to be transformed into mentors whose mission would be to support the individual interests of each child and introduce them to new ideas and possibilities, which the student may or may not opt to embrace. Traditional testing would have to be eliminated -- tests implicitly teach that failure is bad and that there is only one right answer. Creative learning would be more effectively promoted by having students actively engage in their creative pursuits as opposed to being confined to a classroom.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It's worth noting that \u003ca href=\"http://ww2.kqed.org/mindshift/2013/10/harnessing-childrens-natural-ways-of-learning/\" target=\"_blank\">learning environments with these features already exist\u003c/a>. For example, democratic schools such as Sudbury Valley and Summerhill provide environments where students are responsible for deciding what and how they learn, who they associate with, and what activities they want to pursue. The staff acts as mentors to support students as opposed to directing their thoughts and behavior. Roughly thirty democratic schools exist in the U.S. and while this may not be appropriate for every child, \u003ca href=\"http://www.jstor.org/discover/10.2307/1084948?uid=3739696&uid=2&uid=4&uid=3739256&sid=21103457902313\" target=\"_blank\">studies have shown\u003c/a> that this climate promotes creative traits.\u003c/p>\n\u003cp>Given these circumstances, the idea of teaching creativity in an environment that requires assessment, evaluation, and grading seems unlikely, if not impossible. Even where opportunities to show creativity might be devised, students may be inclined to self-censoring: A student who wants a good grade may not feel completely free to produce something that might be offensive.\u003c/p>\n\u003cp>So what’s the result? Creativity scores decline, and school administrators wonder why their efforts towards boosting creativity have failed. What’s more, the paradox of expecting students to exhibit creativity in an environment that suppresses such displays becomes a breeding ground for neurotic children.\u003c/p>\n\u003cp>Barring a much-needed reinvention of the education system, there are steps that can be taken to promote creativity within the existing paradigm. Teachers can learn to recognize and respect that the child who cannot cope with the classroom environment might not be belligerent or have a mental disorder, but rather may simply have a creative disposition. Educators can also explain honestly to their students that the work they’re doing in school may not foster creativity, but that they do believe in every students’ innate capacity to be truly creative.\u003c/p>\n\u003cp>That kind of honesty will go a long way in enabling students to appreciate their innate creativity and provide them with greater fortitude and resources when engaging in creative pursuits outside of school.\u003c/p>\n\u003cp>\u003cem>Cevin Soling is the director of the documentary \u003ca title=\"The War on Kids\" href=\"http://en.wikipedia.org/wiki/The_War_on_Kids\" target=\"_blank\">The War on Kids.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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},
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"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
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