Teacher and student perceptions of creativity in the classroom environment.

By D. S. Fleith. 2000

333 citations recorded by the source corpus.

Subfields: Education, Experimental and Cognitive Psychology, Visual Arts and Performing Arts

View Paper: https://www.semanticscholar.org/paper/ead3499db366be9638d36f70aae36cea3de5d45a

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In Education

In Experimental and Cognitive Psychology

In Visual Arts and Performing Arts

Citations in the corpus

Creative Teaching: Why it Matters and Where to Begin (2011, background): “Ill-equipped teachers, perceived time constraints, challenges to the status quo, and viewing creative practices as “extras” all lead to the exclusion of creative teaching and learning (Beghetto 2007 ; Fleith 2000 ; Kim 2008 ; Makel 2009; Schacter, Thum, and Zifkin 2006).”
Learning environments that support student creativity: Developing the SCALE (2018, background): “A teacher must be able to form good relationships and have an open form of communication with his or her students while genuinely accepting students for who they are and recognizing their individual interests (Esquivel, 1995; De Souza Fleith, 2000).”
Theoretical and Pedagogical Perspectives on Orchestrating Creativity and Collaborative Learning. (2011, background): “…groups to formulate hypotheses, provide explanations, interpret texts, conceptualise their own experiences through theory and describe observations (Arvaja, 2011; Fleith, 2000; Mercer et al., 2010; Ruiz-Primo, Briggs, Iverson, Talbot, & Shepard, 2011; Sawyer, 2004; Scardamalia & Bereiter, 2006).”
About Creativity, Giftedness, and Teaching the Creatively Gifted in the Classroom (2004, background): “Fleith (2000) found that teachers did not use students' self-evaluations and extrinsic and intrinsic rewards for promotion of creativity.”
Creating and Maintaining a Safe Space in Experiential Learning (2015, background): “…setting, instructors using experiential methods play predominant roles in creating a safe space—a space in which personal exploration, exchange, and growth become possible (Bondy, Ross, Gallingagne, & Hambacher, 2007; De Souza Fleith, 2000; Emerson, 1996; Fassinger, 1995; Holley & Steiner, 2005).”
Effects of a Creativity Training Program on Divergent Thinking Abilities and Self-Concept in Monolingual and Bilingual Classrooms (2002, background): “…conditions for developing the creative potential of students, and several studies have suggested ways to cultivate creativity in an educational environment (Daniels, 1997; Fleith, 2000; Piirto, 1992; Starko, 1995; Sternberg & Williams, 1996; Timberlake, 1982; Torrance, 1983; Westberg, 1996).”
Voice, creativity, and big five personality traits: A meta-analysis (2018, background): “Student creativity has increasingly become a popular research area that is associated with improved educational objectives, teaching strategies, administrative practices, and school environments (Fleith, 2000; Torrance, 1983).”
In Praise of Clark Kent: Creative Metacognition and the Importance of Teaching Kids When (Not) to Be Creative (2013, background): “In another study of teacher beliefs, de Souza Fleith (2000) found that although teachers did articulate how their attitudes might impact student creativity, they did not consider concepts such as self-evaluation, rewards, or intrinsic motivation.”
Teachers' Conceptions of Creativity and Creative Students. (2005, methodology): “Prior research also fails to explain the paradox between teacher suppositions regarding the importance of promoting creativity when their practices appear inconsistent with their beliefs (Fleith, 2000).”