Which are the moments when arts practice inspires learning and how do we document them?

I’m interested in understanding in which ways arts practice and especially drawing, painting

and role-play in groups stimulates learning.

‘There is learning that may enable creative work and learning that may prevent creative work

from occurring.’ (Craft, Cramin and Burnard, 2008, p.15)

My experience as an art student in three different countries and art teacher in two of them

taught me that not all the ways of being involved in arts practice inspire learning, and not all

the ways of learning inspire arts practice. Starting from considering moments where arts

practice discourages learning in my practice asof artist-teacher I separate “arts practice” and

“learning” in order to understand when the first really inspires the second. In my personal

practice I observed that art making doesn’t always inspire learning: when it is experienced

completely isolated from others at any stage of the creative process; when it regards only the

art-field and excludes any other field of knowledge; when the teacher is not very passionate,

motivated or positive; when the learning becomes mainly a practical activity or a theoretical

one and is not a dynamic praxis in the world. Finally, learning is not encouraged when

reduced to a series of exercises and has only one value (for example an aesthetic value) and

it is not considered anymore for all the deeper and multiple perspective that are necessary

for the learner to make the arts practice a meaningful experience for their life.

‘Individual creativity can be affected by: ‘personality, reward and criticism’ (Berger and

Freguson, 1990; Craft Cremin and Burnard, 2008 p.12), and ‘by environmental stimuli,

including time pressure, evaluation of work by others, fear of disturbing the status quo and

political constraints’ (Amabile, 1998; Craft Cremin and Burnard, 2008 p.12).

Observing and recording two experiences of art making with two groups of people I will

document moments where arts practice inspires learning and when the learning can be

defined as creative learning. Woods (1995, p.3) seminal work suggests that during creative

learning ‘pupils have control over their own learning processes, and ownership of the

knowledge produced, which is relevant to their concerns’ Woods (1995, p.3).

  2  

This study will be useful in my role asof artist teacher researcher. Describing in which

situations the excitement for learning happens and becomes a spontaneous attitude in

individuals; I will look at effective strategies to recreate those moments in my education and

artwork. Tracking experiences of art making with two different groups of people (children and

teenagers) I’ll focus on the elements of the art making and of the relationship between

people that facilitate learning and improve the understanding of the self and of ‘the richness

of the observed world’ (Taylor and Siegesmund, 2007, p.13).

‘Everyone is talented. If he is deeply interested in his work, every healthy man has a deep

capacity for developing the creative energies in his nature. Everyone is equipped by nature to

receive and to assimilate sensory experiences.’ (Moholy-Nagy, 1947)

If ‘anyone can achieve expression in any field’ (Moholy-Nagy, 1947), and doing that

‘comprehending works already created in any field’ (Moholy-Nagy, 1947) how do we stimulate

this expression? How to inspire a deep interest in students?

Robinson (2010) underlines that when we are born we all possess the capacity of using

“divergent thinking”, the human ability to find multiple answers for one question. ‘Divergent

thinking is an essential capacity for the process of having original ideas that have value.’

(Robinson, 2010). This capacity mostly deteriorates during the process of education, which

focuses on the idea that there is ‘only one answer and it is at the back of the book’

(Robinson, 2010) which have to be read individually. As Robinson (2010) points out this

process creates a disjunction between individuals and their natural learning environment.

If we discover through creativity how to inspire learning in anyone we will have an education

system focused on the individuals, their genuine development and collective exchange and

collaboration instead of the actual one focused on a production line mentality (Robinson,

2010) and the needs of an ‘objects oriented society’ (hooks, 1994).

In my personal experience I changed my perception of the world and possibly myself

attending different communities of arts practice during ‘experiences of meaningful learning’

(Wenger, 2009 pg?). In thethese contexts (doing painting, drawing, drama therapy, art for

children, video art, creative writing, butoh dance-theatre and music) arts changed my general

  3  

attitude in life and instilled in me the will to learn. After doing a workshop of dramatherapy in

a small Italian village for a few years, I perceived the huge potential that both arts and people

have. I have been able to become more curious and ambitious and I ended up in more

complex contexts, the three universities of three different countries where I lived and studied

in the last four years of my life.

Regarding these changes, before joining attending these communities of arts practice I was

less confident with little consciousness about myself and a limited view of the world. I was

confined by the role I was playing in society and by the few abilities that I was exercising in

the contexts of school and family. I was not too independent, always looking for the approval

and my behaviour was the of one who wants to “function well” in each context without

making mistakes, looking at the results more than the process or the people involved in it. I

was very self-critical and with a low self-esteem, thinking mostly about the future instead of

focusing and enjoying the present moment. I was an oppressed victim of the ‘banking system

of education’ (Freire, 1970) that affected all the areas of my life. After years of arts practice

(inside and outside institutions) I became more self confident, able to solve problems without

asking for approvals and not afraid of making mistakes but happy to be able to take risks

focusing on the opportunity of opening up new points of views. Jeffree (2005) indicates that

‘research foci in creative learning should be on connection-making, possibility thinking and

knowledge; playing with ideas; discussion and evaluation of options; risk-taking; the valuing

of uncertainty; and the construction of alternative solutions to problems’ (Jeffree, 2005. p.67).

Creating and expressing thoughts and feelings about life through uncommon strategies and

practices became an enriching positive experience of human exchange.

Before engaging seriously in these practices I was demotivated at school and not excited at

all about learning because it was the result of an education system that was ‘marginalizing

the things that I thought where important for me’ (Robinson, 2010).

Arts practice now inspires learning in my life especially when it involves some kind of

exchange with people of a certain community. The first community of people I joined doing

“Dramatherapy lab”, a group psychotherapy based on role-play and theatrical improvisation,

allowed me to discover things about myself through unusual creative ways to relate to others.

‘Drama therapy (written dramatherapy in the UK) is the use of theatre techniques to facilitate

  4  

personal growth and promote mental health’ (Gallo-Lopez and Lawrence C. C. Rubin, 2012,

p.100)

Dramatherapy helps in understanding how creative, logical or poetic people are, which are

the aspects of themselves they forgot or they didn’t know and discovered thorough a

dialogue with others. We remember or imagine things through the behaviours, the narratives

and the images of other people. These creative experiences are “constructed fictions” full of

strong feelings that seem to be the moments of the day where we perceived the deepest

contact with others. Dramatherapy inspired a long life learning in me because it let me know

the incredible potential of individuals that is a lot broader than the one considered and used

in the dominant discourse of contemporary society. This experience was my first serious

approach to the arts. It was the beginning of raising the consciousness that Arts practice

recognises human beings, their qualities and limits, showing their complexity, intensity,

effectiveness and shaping the values and the relationships of their lives.

Through arts practice, that I started to do outside the school system, I have been able to

make sense of the world and to become a stronger, happier, independent person able to

think more critically. I want to explore how to inspire learning focusing on ‘a person oriented

society where to promote union of body, mind and spirit’ (bell hooks, 1994, p.29). I also

investigate methods of dialogical collective art making to be ‘fully alive and present in the

current moment’ (Robinson, 2010) through aesthetic experiences.

Which are the moments when arts practice inspires learning and how we document them?

As Artist-teacher I will discuss these ideas around experiences of art making with two groups

of people:

A. A high school in South London during two workshops with 9 female teenagers in the

role of Visiting Artist (we engage in photography, movement in space, teamwork, collage and

drawing, painting, dialogue and observations on art and learning).

B. Highbury and Islington area, workshops with 2 bilingual siblings (doing painting,

drawing, sculptures with clay, role-play and storytelling)

  5  

I document these experiences with different methods. With the first group of students I

decide to use an unobtrusive data collection where ‘pupils are unaware and involves more

naturalistic observational methods’ (Greene and Hogan, 2005, p.45). It is also a ‘criterion-

referenced method’, where ‘no focus is placed on comparing pupils with other pupils or on

comparing teachers with other teachers.’ (Craft, Cremin, Burnard, 2008, p.55)

The activity has been documented through writing observations about ‘thought and

knowledge, emotions and attitudes and some aspects on physical performance’ (Craft,

Cremin, Burnard, 2008, p.55)

In students. I decided to take notes just after the realization of the project in order to avoid

the intrusive presence of a camera or a notebook during the creative process of pupils.

With the second group of children, the bilingual siblings, I focus mainly on a documentation

inspired by the methods used in the project “Making learning visible”. ’The Making Learning

Visible (MLV) Project was based on collaborative research between Project Zero researchers

and educators from the Municipal Preschools of Reggio Emilia, Italy. MLV investigated how

best to understand, document, and support individual and group learning for children and

adults.’ (Making learning visible, 2014)

The documentation of the learning in MLV project shows the thoughts of the children by

transcribing their conversations, through pictures showing the way they move in the space

and using a narrative descriptive structure as final decision on how to present the research

outcome.

I document my experiences of art making with the two groups with pictures, videos, a

narrative descriptive structure of writing and, in some cases, also the transcription of the

conversations between the learners. I also use a problem solving scenario (Craft, Cremin,

Burnard, 2008, p.56), an obtrusive method where the children agreed on doing a group

drawing for research purposes and a combination of group-administered methods and

individually-administered methods (examination of individual performances and of the

interaction within a group.)

  6  

Considering the observation of bell hooks in “Teaching to transgress” about the body of the

teacher in the space, I always try to live the space with the students in a dynamic way,

relating with them without the barrier of the desk between. In this way I can build

relationships where the power that I have as a teacher has a positive influence on everyone

and is avoiding a ‘Banking concept of education’ (Freire, 1970). Paulo Freire critically

describes the “banking concept of education” saying that students become “ ‘receptacles’ ”

that are to be “ ‘filled’ ” with the “content of the teachers narration” (Freire, 1970).

For Freire, ‘The more students work at storing deposits entrusted to them, the less they

develop the critical consciousness which would result from their intervention in the world as

transformers of that world.’ (Freire, 1970).

To prevent this situation, of students losing their critical ability, Freire argues that “mutual

humanization” must happen. Learners and teachers have to share the process of critical

thinking. Freire argues that teachers should replace the ‘banking system of knowledge’, ‘with

the posing of the problems of human beings in their relations with the world” (Freire, 1970).

In which situations does the excitement for learning happen? What kills excitement and

learning? At the high school I presented my work (pic 1, 2 and 3) as a visiting artist to inspire

students in exploring the space with their bodies using photography, drawing and painting

and to create a personal view of a particular scene. They have also been encouraged to

make connections with, and develop ideas for, their current project ‘identity’. (Pic.4) The

students are a group of nine female teenagers in year 9. During the presentation of my work

they are paying attention, they ask questions about the choices that I made to create the final

image. Some of them are engaging in trying to guess which were the ideas where the

paintings come from or what are they about. In the second part of the workshop they have

been divided in groups and invited to take pictures of their bodies interacting with the space,

objects or others.

Here I tried to apply what Freire calls “praxis”, typical of the problem posing education, the

practical application of theories or concepts. Students can see how what they learnt in the

classroom and this can help them shape their world. In this way learners can be less

  7  

alienated and more practical without taking one answer for granted as the right one instead

using critical thinking through praxis. In taking the pictures interacting with the space the

students can also think about the possibility of eliminating part of the background of the

picture during the following drawing/painting activity. Deleting and modifying backgrounds of

images is an aspect of my art work that my colleague David found pedagogical, relevant to

developing new perspectives in students. At this point they are a bit rigid, trying to brainstorm

ideas. Even if my colleague and I invited them to physically move in the space and try out

different poses and pictures without being scared of making mistakes and we gave them

examples of how to do it, they kept talking without taking action. Sitting down on their chairs

the students were in a static situation and not a dynamic process.

At the end one group has been able to take a picture of one girl sitting on a chair like a

doll/robot in a very unnatural position. (Pic.4 a)

This gesture resonated in me because it reflects exactly how the education system wants

them to be. She was rigid, waiting to be filled with information or instructions. Her posture

was the one of a passive receiver, looking at the ground with the whole body. Freire (1940)

underlines that students are considered empty bank accounts that should remain open to

deposits made by the teacher. They are not suppose to bring their lives into the classroom or

as bell hooks hopes, to feel fully alive during experiences in which their bodies are involved

together with mind and spirit.

The current system of education is described by Robinson as a place where ‘education is

modelled on the interests of industrialization and in the image of it’. (Robinson, 2010). In this

space that ‘is organized on factory lines’ (Robinson, 2010) where students are the final

products, Robinson believes that if you are interested in the model of education (and in

learning) you don’t start from production line mentality. As Wenger (2009) shows in ‘A social

theory of learning’ most of the meaningful learning happens outside the school system as it

happened to me doing dramatherapy and it still happens with painting and drawing practices.

  8  

The second group of teenagers spent most of the time dressing up a manikin (Pic.5a),

avoiding interaction with each other or being at the centre of the picture. This group created a

witch, standing around it in a very symbolic way. The picture they took is soaked with a

mystical atmosphere. (Pic.5)

The students were quite active and thoughtful during the presentation of the art works and

during the final observations at the end of the class but they didn’t feel comfortable with the

camera and were not excited about the activity when they where physically involved in it and

too self conscious. It has been perceived like something they were obliged to do and distant

from them. I have seen them more excited when chatting with each other than when making

something with their hands and bodies. This made me wonder about how much space is

given to them for dialogue during the other classes and also about the fact that the education

system focuses more on the mind than on the body, and more on the left brain than the right

one (Robinson, 2010). I think that as long as is not too frustrating for the students, a different

focus needs to be addressed during art classes. It is necessary for the students to be able to

build their own identity through an exploration of the reality with the body, with their right

brain and taking these experiences back in the school and in the other subjects to be critical

about them and empower them through a direct experiential learning and autonomous

choices.

The experience of the workshop was generally a positive one. Students were questioning,

collaborating and having a dialogue which brought up different topics and let them take

choices during their praxis. In some moments I could see that arts practice inspired learning,

but in a few it didn’t. When I asked the students in which ways they will use something that

they learnt today, they have been able to answer, bringing the knowledge acquired beyond

the activity itself and using imagination applying it to other contexts.

Students were This art practice didn’t inspire learning when the students where under the

pressure of time having to make quick decisions. Also they where not too active and

interactive at the end of the workshop and they all looked tired after six hours spent in the

school.

  9  

In two interesting moments the initial situation was transformed. One student asked for my

help when she was stuck. Standing with the drawing in my hands far away from her I gave

her the chance to find new possibilities of evolution for that image. As it often happens during

the visual arts practice, she was too close to her drawing and she couldn’t see it anymore. By

changing her perspective she has been able to find new solutions and feel more confortable

with the result of the drawing, improving her self-esteem and motivation. Another student

was having a competitive, provocative and sometimes disrespectful attitude showing a

defensive behaviour. Using my sense of humour and underlying the comic potential of her

point of view, exaggerating it and giving my sincere support in her disruptive idea, I have

been able to change her mood, laughing together. This strategy was helpful in building a

sense of trust and collaboration between us and from that moment she had a more positive

attitude and respectful behaviour.

I had the feeling that in the first stage of the process, when they had to take pictures divided

in groups, they hesitated because they were not too self-confident.

This reflects the current system as Robinson says, where students too often consider

themselves not capable of brilliant things, lacking of high human abilities. To fight this

injustice, oppression and the creation of a distorted perception of individuals and of their

power of action in the world they live in, it’s useful to investigate collaboration, creativity,

dialogue through a ‘dialectical pedagogy’ (Freire, 1970 p.87age?) and collective practices.

These ways of learning are opposed to the dominant one that is based on standardization

(Robinson, 2010).

‘We have a major problem with our education systems, not just in America, but in

many of the old, industrialized countries. If you have a system as in the United States

where there's a 30% high school dropout rate—in the African American/Latino

communities it's over 50%, and in some of the Native American communities it's

nearly 80%—you can't just blame the kids for it. With that amount of waste, there's

something wrong with the system— with impersonal forms of education, with people

  10  

sitting in rows and not discovering the things that impassion them or invigorate them

or turn them on. That is increasingly the case with this culture of standardized testing.

It is totally counterproductive.’ (Azzam, 2009, p.22-26 )

During the conference ‘Learning Without Frontiers Conference, London, 26th January 2012’

Robinson explains why we should be ‘leading a learning revolution’ and the reasons why

standardized tests are encouraging passivity and in this way killing creativity and creative

learning.

‘Schools are often encouraged to stop the world so it can be taught. And it cannot be

stopped. We have to engage with knowledge and the evolution of understanding. We

need forms of curricula which are open and dynamic. Active learning always trumps

passive reception of information. ‘ (Robinson, 2012)

‘The emphasis on standardized testing is tending to encourage passivity and not

activity. We have to see assessment as moving from judgement to description.

Everything we know about teaching and learning is that we achieve best when our

expectations are raised and when we are encouraged and supported. If people are

branded, if stereotyped, we tend to play unwittingly to the stereotype. So we need

forms of assessment which are descriptive and not judgemental. We need form of

assessment that are empowering rather that disenfranchising. What that really

means, I think, is having forms of assessments that focus on the complexity of

learning rather than trying to reduce them to a single number or grade.’ (Robinson,

2012)

Thus it is important to understand how to document and reproduce moments where arts

practice inspires learning: to promote activity, freedom, understanding and knowledge in their

complexity to be able to develop the abilities of every human being. ‘A teacher’s job is to

actualize the abilities inherent in each individual rather than discovering talent’ (Epstein,

1940, p.75)

In the experience with the other group of people I worked with, two children of 4 and 7 years

old, the elements causing their excitement for learning are more easily recognisable.

  11  

Doing painting, drawing, role-play and storytelling with them, after school in the domestic

context, I have been able to identify specific moments where they were excited about putting

into practice their valuable original ideas. For example, this happens when their thoughts are

provoked further to stimulate personal questions and they are shaped in different physical

form of inquiry through art making. (pic 6.)

Using a problem solving scenario, I orally ‘present them with a hypothetical situation and ask

them to compose a solution’. (Craft, Cremin and Bournard, 2008, p.56)

As Giroux (2004) and hooks (1994) do, to inspire learning, I start from the interest of the

children developing together ideas for our practice. They want to draw the characters we

acted in the previous role-play. I ask the children who are the people they want to create,

how old they are, how is their personality, which kind of clothes they are wearing and so on.

Starting from these simple questions the two children spontaneously write the names of the

characters on the drawings, they give them a specific identity like “the giant”, “the girlfriend”,

“the king”.

We collaborated in each drawing and the final pieces all have joint authorship.

C., the older sibling, spontaneously tries to colour the drawing putting the marker in her

mouth, taking risks and becoming independent end excited during the creative process.

(pic.7)

S., the four year old, fills the face of one character with invented words instead of colours,

pretending to be able to write properly even if she is not and giving the subject of the drawing

her voice. (pic.8)

These drawings are coming from the desire to give faces and names to characters previously

present in their lives during role-play. It’s really important ‘to connect learning with life

experiences’ (hooks, 1994, p.52) because it’s the way to give value to what is relevant in the

life of the learner and that will also motivate him in the next step of the learning process. It’s

also important to break the institutionalized boundaries between subjects, typical of the

‘factory lines’ (Robinson, 2010) on which the educational system is based. Part of the

  12  

spontaneous learning process happens in fact because children have the possibility to shift

from an activity to another being flexible between role-play, drawing, writing, speaking and

dancing.

"Our institutions, to the extent that they address issues of learning explicitly, are

largely based on the assumption that learning is an individual process, that it has a

beginning and an end, that it is best separated from the rest of our activities, and that

it is the result of teaching. Hence we arrange classrooms where students – free from

the distractions of their participation in the outside world – can pay attention to a

teacher or focus on exercises.” (Wenger, 2009, p.210) ‘So, what if we adopted a

different perspective, one that placed learning in the context of our lived experience of

participation in the world? What if we assumed that learning is as much a part of our

human nature as eating or sleeping, that it is both life-sustaining and inevitable, and

that – given a chance – we are quite good at it? And what if, in addition, we assumed

that learning is, in its essence, a fundamentally social phenomenon, reflecting our

own deeply social nature as human beings capable of knowing?’ (Wenger, 2009,

p.210)

Another moment of excitement in the art making that leads to learning in this context is the

desire of these children to do what a person who is enjoying art-making close to them is

doing. They tend to emulate the actions of this person trying to feel the same happiness and

achieve similar results. In doing this there is a lot of excitement in children but it often

changes quickly into frustration because of some difficulties too hard to face by themselves.

It is their spontaneous idea at this point to to work on each others drawings that makes this

step very interesting. Even when the drawing is mine, the subject of the drawing has been

chosen by the children. (pic.9 and 10)

During these actions I noticed that as Blatner (1997) says, an atmosphere of collaboration is

created during our practice, instead of one of competition. They also pay attention to how the

problem has been solved by the other member of the group, learning from him or her with an

  13  

harmonious balance between challenge and skills, increasing their self-esteem without losing

interest of feeling incapable of success.

‘The excitement of learning comes from the effort of the group’ (hooks, 1994, p.35) which is

why I decide to choose a collective art practice and is really visible in children when our

drawings and paintings are finished and we hang them on the wall. They keep working on

them adding words to the subjects, transforming the drawings into comics. (pic.11)

Furthermore, the younger child S. followed the older one C. scribbling words inside circles on

the drawings hung to the wall. Being focused in the present moment and fully alive, children

where close to the concept of ‘autotelic experiences’ or ‘flow experience’, ‘those moments

when lives reach peaks of involvement that produce intense feelings of enjoyment and

creativity’ (Csikszentmihalyi, 1988, p.15).

The next day I found both he children staring at the wall full of their art works. (Pic.12)

They were observing the results of their effort, enjoying the final display and the fact that they

got better at it with the time and experimentation. When the teacher realizes that in art and

so ‘in experiments there are no mistakes, only unexpected outcomes’ (Smith, 2010), it

follows that students are more likely to perceive that experience with the same attitude. As

Charles Limbs (2010) demonstrates in ‘your brain on improvisation’ is this a book?

discovering the unknown through experimentation, the flow of oxygen in the brain is higher

than the one in situations that are already been experienced which is why it has a greater

activity and lets us feel fully alive.

During another activity of art making with the twos siblings called ‘Good sitting’, a

collaborative big drawing (pic.12),

I noticed that children were losing interest when I was forcing them to work on a topic that I

was interested in (their school) and when I have been to intrusive taking a picture in a wrong

  14  

moment inhibiting them. Moments of excitement took place when I supported the children

giving value to their ideas and choices, appreciating them, when I was involving body

language and laughs and encouraging digressions expressing thoughts on personal life. This

last element has been relevant because reinforced the sense of trust and the sense

belonging in the group.

I would say that during my practice of artist teacher researcher I discovered that some of the

elements that discourage learning during the arts practice are:

• The static posture of the teacher or the learner

• An approach to teaching or learning drawn on the model of the ‘banking system of

education’ described by Freire

• Forcing to work on something that is interesting for the teacher but not necessary for

the learner

• Documenting the experience in an intrusive way

• Being to attached to a structure or scaffolding that is preclusive for a fluid group

dynamic

• Working when the learners are too tired

• Putting to much pressure on the learner (time, outcome…)

• Judging instead of describing the art making process or the outcome

Aspects that inspire learning during the art making are:

• Collaboration that encourages deeper thinking and questioning

• The presence of an experienced person who is pleased by making an aesthetic

experience

• The dynamic presence of the teacher in space

• Improvisation

• The positive effort of the group, provoking collective enjoyment

  15  

• Learning from elders

• Display the outcome

• To encourage and support the learner

• The evident improvement that comes with the experience

• To balance skills and tasks motivating without frustrating students

• Positive attitude of the teacher

• Starting from children interests

• Active engagement with learners and teacher in the space

• Don’t put boundaries between subjects or between the arts

• Using problem solving scenarios

• Let the learner take risks and choices without judging him or choosing for him

• Mutual exchange focused on humanization and dialogue where we help each other to

take action in the world and make sense of it

• Using sense of humour to reinforce sense of trust and belonging

• Encourage digressions, dialogue and mistakes

• Encourage risk taking

• Playful attitude

• Assessment as a description and not as a judgement

• Collaboration, helping creating and transmitting culture and value

Reference List:

  16  

Amy M. Azzam (2009) Teaching for the 21st Century Pages, Why Creativity Now? A

Conversation with Sir Ken Robinson. Available at:

http://www.ascd.org/publications/educational-leadership/sept09/vol67/num01/Why-Creativity-

Now%C2%A2-A-Conversation-with-Sir-Ken-Robinson.aspx (Accessed on: 15/04/2015)

Cahnmann-T and Siegesmund R. (2008) “Arts based research in education”, New York:

Routledge

Craft A., Cremin T. and Burnard P., 2005, Creative learning and how to document it,

Trentham: Trentham Books Ltd

Friere P., (1970) Pedagogy of the oppressed, New York: The Continuum International

Publishing Group

Giroux A.: Public Pedagogy. Culture as a space for the production of meaning and for social

interaction, Cultural Studies, Public Pedagogy, and the Responsibility of Intellectuals (2004)

Ney York, Routlesde

Gallo-Lopez, C. C. Rubin (2012) Play-Based Interventions for Children and Adolescents with

autism spectrum disorders, London: Routledge

hooks b. (1994) teaching to transgress, New York: Routledge

Learning Without Frontiers Conference, 26th January 2012’, Leading a learning revolution,

(2012) London. Available at: http://sirkenrobinson.com/leading-a-learning-revolution/

(Accessed on: 15/04/2015)

Limbs, 2010, your brain on improvisation, 2010, Available at:

http://www.ted.com/talks/charles_limb_your_brain_on_improv (Accessed on 15/04/2015)

  17  

Moholy- Nagy L., Wittenborn G.(1938) Inc. From The New Vision, New York: W.W.Norton &

Company

Reggio Emilia and Project Zero, Making learning visible, (2014) Available at

http://www.pz.gse.harvard.edu/making_learning_visible.php (Accessed on: 20/04/2015)

Robinson K. (2006) How school kills creativity, Ted talks. Available at

http://www.ted.com/talks/ken_robinson_says_schools_kill_creativity?language=en

(Accessed on: 19/04/2015)

Robinson, K. (2010) Changing Education Paradigms, Ted talks. Available at

http://www.ted.com/talks/ken_robinson_changing_education_paradigms (Accessed on:

20/04/2015)

Smith K. (2010), Mess, the manual of accident and mistakes, Perigee Books

Wegner E. (2009) Social theory of learning, contemporary theories of learning, New York:

Routledge

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Appendix:

Picture 1, 2 and 3

  19  

Picture 4

Picture 4 a

  20  

Picture 5

Picture 5 a

  21  

Picture 6

Picture 7

  22  

Picture 8

Picture 9, 10

  23  

Picture 11

Picture 12

Picture 13