Group 2: Artistic and Creativity Literacy

GROUP 2
Artistic and
Creativity
Literacy
AYAO, BUERA, ELLEVA, MEDALLA, NARVAEZ, NAVAREZ
•Artistic literacy is defined in the
National Core Arts Standards: A
conceptual Framework for Arts
ARTISTIC Learning (2014) as the knowledge
LITERACY and understanding required to
participate authentically in the
arts. While individuals can learn
about dance, media, music,
theatre, and visual arts through
reading print texts.

•Artistic literacy requires that they
engage in artistic creation
ARTISTIC processes directly through the
LITERACY
use of materials ( charcoal or
paint or clay, musical instruments
or scores) and in specific spaces
(concert halls, stages, dance
rehearsal spaces, arts studios,
and computer lab

•Researchers have recognized
that there are significant benefits
of arts learning and engagement
in schooling (Eisner,2002; Menc ,
ARTISTIC 1996; Perso, Nutton, Fraeser,
LITERACY
Silburn, & Tait, 2011) . The arts
have been shown to create
environments and conditions that
result in improved academic,
social, and behavioural outcomes
for students, from early childhood
through the early and later years
of schooling.
•However, due to the range of art
forms and the diversity and
complexity of programs and
ARTISTIC research that have been
LITERACY implemented, it is difficult to
generalize findings concerning
the strength of the relationship
between the arts and learning
and the causal mechanisms
underpinning these associations

•THE FLEXIBILITY OF THE FORMS COMPRISING THE
ARTS POSITIONS STUDENTS TO EMBODY A RANGE
OF LITERATURE PRACTICES TO:
•Use their minds in verbal and nonverbal ways;
•Communicate complex ideas in a variety of forms;
•Understand words, sounds, or images;
• Imagine new possibilities; and
• Persevere to reach goals and make them happen.

ELLIOT EISNER POSITED VALUABLE LESSONS OR
BENEFITS THAT EDUCATION CAN LEARN FROM ARTS .
1. Form and content cannot be separated.
2. Everything interacts; there is no content without form and no form without
content.
3. Nuance Matters (subtle distinction or variation)
4. No surprise, no discovery, no discovery, no progress.
5. Slowing down perception is the most promising way to see what is actually
there
6. The limit of language are not the limits of cognition
7. . Somatic experience is one of the most important indicators that someone
has gotten it right..
8. Open- ended tasks permit the exercise of imagination, and an exercise of
the imagination is one of the most important human aptitudes

CHARACTERIZING ARTISTICALLY
LITERATE INDIVIDUALS
•Use a variety of artistic media, symbols, and metaphors to communicate
their own ideas and respond to the artistic communications of others
•Develop creative personal realization in at least one art form in which
they continue active involvement as an adult
•Cultivate culture, history, and other connection through diverse forms and
genres of artwork
•Find joy, inspiration, peace, intellectual stimulation, and meaning when
they participate in the arts
•Seek artistic experiences and support the arts in their communities.

Creative literacy
CREATIVE LITERACY
•Creative literacy is a concept that looks
beyond sitting with a book. It is a “holistic”
approach, in that it incorporates activities
that can strengthen reading skills, but are
more focused on broader learning. Holding
crayons helps develop fine motor skills later
used for writing

CREATIVITY
•Creativity is the process of having original ideas that
have value. Moreover, creativity is the ability to see the
world in new ways. Therefore, creative individuals
exhibit the ability to switch between different modes of
thinking and shift their mental focus that suggests a
connection between creativity and dynamic
interactions of brain networks (Sun, et al, 2019)

•Creativity begins with a foundation of
knowledge, learning a discipline, and
mastering a way of thinking. It can be
learned by experiencing , exploring,
questioning assumptions, using imagination
and synthesizing information.

ISSUES IN TEACHING CREATIVITY
ACCORDING TO SIR KEN ROBINSON
(2013)
•1. Stressed paradigm in the educati0on system that
hamper the development of creative capacity among
learners.
•2. School stigmatize mistakes which primarily prevents
students from trying and coming up with original ideas.
•3. The hierarchy of system. Most useful subject subjects
such as Mathematics and languages for work are at the
top while arts are at the bottom .

ISSUES IN TEACHING CREATIVITY
ACCORDING TO SIR KEN ROBINSON
(2013)
•4. Academic ability has come to dominate our view of
intelligence.
•5. Curriculum competencies, classroom experiences, and
assessment are geared toward the development of
academic ability.
• 6. Students are schooled in order to pass entrance exam
in colleges and universities

ROBINSON CHALLENGED
EDUCATORS TO:
• Educate the well-being of learners and shift from the conventional
learning toward academic ability alone;
•Give equal weight to the arts, the humanities, and to physical
education.
• Facilitate learning and work toward stimulating curiosity among
learners.
• Awaken and develop powers of creativity among learners.
• View intelligence as diverse, dynamic, and distinct, contrary to
common belief that it should be academic ability-geared

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GROUP 2

National Core Arts Standards: A

conceptual Framework for Arts

ARTISTIC Learning (2014) as the knowledge

LITERACY and understanding required to

participate authentically in the

arts. While individuals can learn

about dance, media, music,

theatre, and visual arts through

reading print texts.

engage in artistic creation

ARTISTIC processes directly through the

paint or clay, musical instruments

or scores) and in specific spaces

(concert halls, stages, dance

rehearsal spaces, arts studios,

and computer lab

that there are significant benefits

of arts learning and engagement

in schooling (Eisner,2002; Menc ,

ARTISTIC 1996; Perso, Nutton, Fraeser,

have been shown to create

environments and conditions that

result in improved academic,

social, and behavioural outcomes

for students, from early childhood

through the early and later years

forms and the diversity and

complexity of programs and

ARTISTIC research that have been

LITERACY implemented, it is difficult to

generalize findings concerning

the strength of the relationship

between the arts and learning

and the causal mechanisms

underpinning these associations

•Use their minds in verbal and nonverbal ways;

•Communicate complex ideas in a variety of forms;

•Understand words, sounds, or images;

• Imagine new possibilities; and

• Persevere to reach goals and make them happen.

2. Everything interacts; there is no content without form and no form without

3. Nuance Matters (subtle distinction or variation)

4. No surprise, no discovery, no discovery, no progress.

6. The limit of language are not the limits of cognition

7. . Somatic experience is one of the most important indicators that someone

has gotten it right..

8. Open- ended tasks permit the exercise of imagination, and an exercise of

the imagination is one of the most important human aptitudes

their own ideas and respond to the artistic communications of others

•Develop creative personal realization in at least one art form in which

they continue active involvement as an adult

•Find joy, inspiration, peace, intellectual stimulation, and meaning when

they participate in the arts

•Seek artistic experiences and support the arts in their communities.

•Creative literacy is a concept that looks

beyond sitting with a book. It is a “holistic”

approach, in that it incorporates activities