英语原文共 3 页
Collaborative Creativity in STEAM- Narratives of Art Education Students#39; Experiences in Transdisciplinary Spaces
Current efforts to promote STEAM (STEM Arts) education focus predominantly on how partnering with the arts provides a range of benefits to STEM students. Here we take a different approach and focus on what art and art education students stand to gain from collaborating with STEM students. Drawing on a variety of student field texts, we present three visual-verbal, constructed narratives of art education students who, in the context of a transdisciplinary design studio, were challenged to experiment with collaborative forms of creative thinking. Their stories point to STEAM as an opportunity for art students to question the notion of the lsquo;lone artist,rsquo; reflect upon the tension between product and process, and expand disciplinary-based understandings of creative thinking. These potential benefits align with contemporary visual arts practices that strive to move beyond the individual and embrace dialogue, collaborative action, and interdisciplinarity as vital aspects of the creative process.
I like the idea of collaborationhellip;because it pushes youhellip;
It#39;s a richer experiencehellip;.
Frank Gehry (2008)
As an art educator, I am relentlessly intrigued by the idea of creativity. Both engaging in artmaking and watching others create over the years has impelled me to consider how individuals conceive of creativity, how they see themselves as creative beings and, perhaps most importantly from my perspective as an educator, the facets of what and how we teach as supporting studentsrsquo; creative development. During the fall of 2012, I was afforded the opportunity to teach, along with co-author Nicki Sochacka, a STEAM (an acronym for Science, Technology, Engineering, Art, and Mathematics)-inspired course referred to as the Transdisciplinary Design Studio at a research university in the southeastern United States. It was in the context of this formative experience that I, as both a teacher and researcher with an interest in visual-verbal methods of analysis, became attuned to the notion of collaborative creativity—how individualsrsquo; creative processes enmesh and collide as they endeavor to reach new and shared understandings. In particular, when the semester ended and I began to analyze the studentsrsquo; field texts as part of my dissertation research, I was provoked by the way the creative process, often characterized and understood as an individual pursuit, was described by many of the students as a collective action that emerged as they explored design challenges within interdisciplinary groups. Perhaps it is unsurprising that this notion was not immediately visible to Nicki and me while we taught the design studio. As Eisner (1960) pointed out, it is difficult to see the creative process “qua process” (p. 28). Instead, he wrote: “We must infer the nature of the process from what we can observe” (ibid.). In line with Eisner, it was through a post factum visual-verbal analysis of a collection of the studentsrsquo; visual-verbal artifacts from the course that Nicki and I were able to observe the studentsrsquo; narratives of creativity and the creative process. These narratives painted a unique and unexpected picture of STEAM as a space that cultivated a collaborative approach to creativity.
In this article, my co-authors and I draw on a variety of student field texts to present three visual-verbal, constructed narratives of art education students who, in the context of the Transdisciplinary Design Studio, were challenged to experiment with collaborative forms of creative thinking. This unique visual-verbal methodological approach (Guyotte, 2013) afforded us the opportunity to consider how students told stories of their interdisciplinary collaborative experiences and how those experiences impacted their perceptions of creativity. Their stories have important implications for art educators, proponents of STEAM education and, more broadly, for society where the need to find collaborative and creative solutions to complex challenges is becoming increasingly critical.
The belief that learning is a sociocultural and co-constructed activity (Vygotsky, 1978) is often cited as the impetus for fostering collaboration in the classroom. Through such collaboration, students bring together varied life experiences, knowledge, and approaches to meaning making in the shared pursuit of a learning goal often put forth by the instructor. While the notion of collaboration is not new in educational contexts, it does stand in contrast to many traditional perceptions of the visual arts in higher education. In these disciplinary experiences, students often speak of autonomy in their studio courses—retelling the longstanding narrative of the lone artist, physically or mentally isolated, deeply engaged in her/his own creative process (Thomas amp; Chan, 2013). This perception may be rooted deeply in the American ps