• Journal of Fisheries and Marine Sciences Education
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• v.26 no.5
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• pp.1096-1107
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• 2014

The purpose of this study was to investigate teachers' recognition on field practice and effectiveness of creativity and character education. This study used post tests to examine the effects of teacher training for creativity and character education on 451 teachers. The results were as follows. Firstly, the average in satisfaction of teacher training for creativity and character education was 4.65 for elementary teachers and 4.35 for secondary teachers in summer, and 4.55 for elementary teachers and 4.42 for secondary teachers in winter. Secondly, effectiveness of teacher training on creativity and character education was showed highly as more than 4.0 and was higher in winter than in summer. Thirdly, in the case of field practice and effectiveness of teacher training for creativity and character education, the average of elementary teachers(3,66) was higher in respect of educational environment than that of secondary teachers(3.20) and the averages of elementary teachers and secondary teachers were 3.85 and 3.42 in respect of subject activity, respectively. In practising creativity and character education, it was analyzed that both elementary(ave. 3.89) and secondary(ave. 3.84) teachers went through some difficulties for curriculum reconstruction, development of instructional model, program development, and human and physical supports.

• The Journal of Art Theory & Practice
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• no.1
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• pp.71-92
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• 2003

This study examined the condition of an educational discourse, relating the concept of creativity, culture, culture-centered, and critical thinking, to explore Culture-based Art Education(CBAE). In particular, art education practice was examined using interpretations of creativity and critical theory positions from the field of education. Discourse analysis was used as the research method to contextually situate and analyze the ways in which art education theory and practice of creativity and of critical studies encoded meanings. The study helped build an understanding that creativity was formed as a modernist discourse in the humanistic stance. In education, creativity became the fundamental concern for progressive educators who pursued innate ability of individuals. The way to enhance creative potential of students was to induce their motive, as was the same case in art education, while in artist training, free expression was its main method. In this way, as creativity was intimately connected with the concept of expression, in art education art making is the only course for enhancing creativity. However, because creative process cannot intelligently be regarded as logically distinct from the creative product, and creativity can only be said by product, it seems valid to think that creativity is the quality not to be achieved by teaching. Furthermore, its emphasis on art making resulted in unbalance of art making and art appreciation in art education. It was the late sixties when several alternatives for creative education were made their appearance. Critical studies in art adopted critical theory as its theoretical background has developed as an alternative of creative art education, when research and theory for creativity could not be adequate to deal with the problem of practice. Critical theory is a broad and diverse field of theory and practice drawing on aspects of the modernist perspective of the later Frankfurt School, feminism, Freirean pedagogy, postcolonial discourse as well as postmodernism to construct a practical approach to education. It is very this eclectic nature to provide the mosaic that need to experience cultures from different perspectives in a pluralistic society. Because one's personality is formed by multiple aspects of culture which is very complex and is made up of what we do and value, creativity cannot make part of educational discourse with the philosophy of culture centered. On the other hand, critical studies, as a school art program of critical theory, can perform the role of CBAE, because it would have to deal with the investigation of social and cultural issues form multiple personal, local, national, and global perspectives.

• Korean Journal of Human Ecology
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• v.20 no.1
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• pp.39-55
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• 2011

The purpose of this study was to investigate the implicit knowledge of creativity and education practice of creativity perceived by undergraduate students. Participants were 425 undergraduate students from around the greater metropolitan area of Seoul. The results of this study were as follows: (1) Most undergraduate students considered creativity as creative thinking or creative product rather than creative personality and creative environment. Undergraduate students placed originality as the most important subfactor of creativity. Scientists were ranked as the most creative people, followed by executives, and then artists. Interestingly contemporary Korean undergraduate students recognized and evaluated creativity as positive. (2) Most undergraduate students recognized the needs and importance of creativity-fostered education. These aspects of education have meaningful differences according to gender, as female students viewed creativity-fostered education more important. (3) Undergraduate students considered creative persons to be imaginative, independent, and confident. The most important part of developing undergraduate students' creativity was to make more creative environments. It has been suggested that the benefit of creative environments should be taken into consideration when developing creativity-enhancing programs and education for undergraduate students more generally.

• Journal of Engineering Education Research
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• v.13 no.2
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• pp.70-73
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• 2010

The practice named "Creative Design and Production" has been given to train the students'ability to find and solve problems. Students are expected to design and fabricate creative artifacts in the practice. The practices focusing on perfection and creativity of the products have been executed for the past few years. We have reviewed the relationships between these abilities and the qualities of products of the students in the practices. It seems that the products lacks of originality and creativity when focused on the perfection. And on the contrary, the perfection of the products is low when focused on the creativity. We have employed the new three trials in order to solve these problems in the practice. Among trials, the cooperation with veterans has been the most useful for students through "Creative Design and Production".

• Journal of Engineering Education Research
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• v.15 no.2
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• pp.30-37
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• 2012

There have been various educational approaches to foster students' creativity in engineering colleges, but little has been conducted based on empirical study results of students' perception on creativity education. This study aims to explore the students' perception on creativity in engineering such as characteristics of creative engineers, the level of individual or group creativity and creative education in engineering colleges. According to the survey results of 538 respondents, engineering students considered three factors such as 'innovative driven', 'eager for high intellectuality', 'activity expression' as characteristics of creative engineer. They evaluated both of individual or group creativity levels as subnormal. They perceived the importance of creativity education, but were not satisfied with current creativity educational experiences. They pointed out 'limited supports of nation or organization', 'credit system decided by the paper-based exam', 'non-systematized creativity classes' as impending factors for creativity in engineering education. Students suggested 'securing the budget for practice and field participation', 'changing of perception on creativity education itself', 'developing the creativity classes combined with engineering subjects' as fostering factors in creativity education. This studdy suggests several implications of educational approaches to creativity education in engineering colleges.

• Journal of Engineering Education Research
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• v.26 no.1
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• pp.45-57
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• 2023

The aim of this paper is to find directions for improving creativity education in a research-oriented college of engineering. As a method, we interviewed 17 professors and 7 students from a research-oriented college of engineering in Seoul, South Korea and learned about their experiences related to creativity education. As a result, we were able to identify 6 topics on which the interviewees' opinions vary. We found that most professors we interviewed did not think creativity was important in their classrooms as they thought passing on engineering knowledge was more important in foundational engineering education, and creativity is hard to define. However, their evaluation method in class showed that they valued creativity, and were trying to teach creativity with little success. Also, while the professors thought they needed more communication with the students to improve creativity education, the students thought they needed more autonomy. In consideration of our findings, we proposed 4 directions for improving creativity education in a research-oriented college of engineering. First, shift perspective on the foundational education for engineering. Second, connect basic curriculum and extracurricular activities. Third, actively connect basic curriculum with the industry. Finally, provide appropriate facilities that enable different types of interactions between professors and students.

• Journal of Korean Home Economics Education Association
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• v.17 no.1 s.35
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• pp.29-53
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• 2005

The purpose of this study is to investigate the education practice of creativity perceived by adolescents and secondary teachers. The subjects in this study are 305 secondary students and 133 secondary school teachers, who have completed questionnaires of 'Education Practice of Creativity' and 'Creativity Fostering Teacher Behavior', The results of this study are as follows: (1) It is found that most adolescents and teachers recognized the need and importance of creativity-fostered education in school. However. the degree of adolescents' and teacher's understanding and satisfaction of creativity-fostered education in school is low. Half of the adolescents have received creativity-fostered education for over three years but half of the teachers have not performed or started to perform creativity-fostered education. Main obstacles of creativity-fostered education in school are lack of understanding creativity-fostered education, lack of teaching methods. teaching materials and teaching time. Antecedents for developing creativity-fostered education are building school climate for creativity-fostered education and selecting and applying various teaching contents. (2) Adolescents' satisfaction of creativity-fostered education have meaningful differences with gender. Also, adolescents' necessity, satisfaction, importance of creativity-fostering education. and creativity-fostered teacher behavior have meaningful differences with grade. (3) There are significant differences in the necessity, importance, interest, and understanding of creativity-fostered education according to a teacher's gender. Also. there are significant differences in the necessity and the understanding of creativity-fostered education according to a teacher's age. (4) There are significant differences between adolescents and teachers in the necessity, satisfaction, importance, interest and understanding of creativity-fostered education and creativity-fostered teacher behavior. (5) There are significant correlations among the necessity, satisfaction, importance, interest of creativity-fostered education and the creativity-fostered teacher behavior.

• Journal of Fisheries and Marine Sciences Education
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• v.26 no.6
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• pp.1342-1351
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• 2014

The purpose of this study was to analyze qualitatively perception on creativity and character education of teachers who participated in winter training and workshop which the Southeast Regional Center for Creativity and Character Education arranged. The results are as follows. Firstly, it was shown that teachers perceived close corelation between creativity and character and competency necessary for students who will make a living for future society. Secondary, Teachers perceived that creativity and character education will benefit students in their cognitive, emotive, and affective aspects. Lastly, teachers thought that an administrative assistant and financial help such as securing classroom had to be supported so that they were able to freely conduct creativity and character education and teaching materials provided by the Regional Center for Creativity and Character Center were helpful in establishing a whole foundation when they started to conduct creativity and character education.

• Journal of Fisheries and Marine Sciences Education
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• v.26 no.6
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• pp.1306-1314
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• 2014

The purpose of this study was to analyze qualitatively implementation in schools through perception on creativity and character education of teachers who participated in winter training and workshop which the Southeast Regional Center for Creativity and Character Education arranged. The results are as follows. Firstly, teachers responded that they used most often a variety of students' experiential and participant activities associated with the subject in practising creativity and character education. Secondary, they showed a wide variety of responses from 'not to able to measure' to 'to practice in every class' for how often to apply to and practise creativity and character education in class. Thirdly, for the question of 'How do you think environment for creativity and character education in your school', while parts of them responded 'sufficient educational environment', some of them did 'poor or not completely supported environment'. Lastly, most of them utilized teaching materials for creativity and character education periodically or in reconstructing according to instructional form in their class.

• Journal of Korean Elementary Science Education
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• v.33 no.2
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• pp.242-257
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• 2014

Researchers have employed a diversity of definitions and measurement methods for creativity. As a result, creativity research is underrepresented in the literature and the findings of different studies often prove difficult to draw into a coherent body of understanding. With regard to assessment, there are some important problems both in creativity research and practice, such as originality bias and Big-C creativity bias in teachers' perceptions about creativity and creative thinking, and additive rather than multiplicative scoring systems of creativity assessment. Drawing upon most widely accepted conceptions of the creativity construct, I defined 'student's scientific creativity' as the ability to make a product both original and useful to the student in terms of little-c creativity, and 'scientist's scientific creativity' as the ability to come up with a product both original and useful to the science community in terms of Big-C creativity. In this study, an 'Assessment Formula for Scientific Creativity' was developed, which is consisted of the multiplication of originality and usefulness scores rather than the sum of the two scores, and then, with scores calculated from the assessment formula, the scientific explanations generated by children were categorized into four types: routine, useful, original, and creative types. The assessment formula was revealed to be both valid and reliable. The implications of the assessment formula for scientific creativity are examined. The new assessment formula may contribute to the comprehensive understanding of scientific creativity to guide future research and the appropriate interpretation of previous studies.