Module 11: Arts and Creative Literacy 179 = Module 11: | ARTS AND CREATIVE LITERACY LEARNING OUTCOMES 1. Define arts and creative literacy 2. Identify the seven habits of highly creative People Explain eye-haind coordination and some associated disorders, interventions and developments Compare and contrast visual and verbal creativity | . Discuss aesthetics and three approaches from a philosophical perspective F . Cite ways on how to integrate arts and | creative literacy in the curriculuin . Draw relevant life lessons and'significant values froma personal experience in creating an artwork or presenting a performance critigtied by others . Analyze research abstract on creative literacy and its implications to teaching- learning process. ). Create an art work and evaluate it using self-made assessment rubric INTERACTIVE PRESENTATION Charade: This is an activity where the students guess the word acted out by a classmate as a clue. It entails critical thinking and analysis, creativity, non-verbal communication and kinesthetic skill while enhancing motivation among students to enjoy their learning. Procedure: 4. The teacher calls a student in front to act out a word (related to art and creativity). ee 2. The class guesses the word with the help of the action hint ven. 3. any student can give as many guesses until the correct one is provided. “ 4. The teacher will post all the words on the board as his/her way of presenting the lesson. 7 ° ¥' 5. The class will find time for a brief reflection on the activity. Samples of words for charade: 1. Orchestra 2. Make-up design 3. Sculpture 4, Interior design 5, Fashion design 6. Sand art180 Buta Avo Enmuancinc New Literacies ACROSS THe CuRRYCULIM P| SONCEPT EXPLORATION “ih Teachers need to be creative by all means Hecause Neat entails critical thinking and creativity not only in Sere, studonte but perhaps in all facets of instructional endeavor. Therefor pede ic creativity potential should be honed through vais * ae techniques, classroom activities and student engagement sad have to understand creative literacy deeply to guide them in assessing » their own creativity and that of their students. Vity is the process of having original ideas that have loreover, creativity is the ability to see the world in new ways. *+ Creative individuals exhibit the ability to switch between nt modes of thinking and shift their mental focus that suggests n between creativity and dynamic interactions of brain tworks (Sun, et. al, 2019). E Likewise, creativity is the act of turning new and imaginative ideas _ into reality. Henceforth, it is characterized by the ability to perceive “the in new ways, to find hidden pattems, to make connections ly unrelated phenomena, and to generate solutions, § two processes: thinking, then producing (Naiman, 2011). As such,’ creativity is a combinatorial force: the ability to tap into one’s ‘inner’ pool’ of resources, such as knowledge, insight, information, inspiration; and the fragments in the mind to combine __ them in extraordinary new ways (Popova, n.d. in Naiman, 2011). It is Iso the Process of bringing something new into being that requires ‘commitment. begins with a foundation of knowledge, learning a d mastering a way of thinking. It can be learned by iting, exploring, questioning assumptions, using imagination izing information, __The ability to generate creative and innovative ideas is not merely iting or Constructing interactive responses to see what insights emerge 014/02/1 7Wwhat-is-creativity), of the arts and creativity involves design of n be PaetvFonment, Scheduling, tati curriculum and instruction and an ue brain. Therefore, teachers should beee empowered in deve, Module 11: Arts and Creative Literacy 184 lopin vane support of the Achinistratrs pono eras th ’ and ot! Seven Habits of Highly Creative People Naiman (2014) op; practices, he/she a ned tat if'a person makes a habit of the se would help teachers attai ighly creative in his/her field. Thu hess 1. Prepare the gan fiahest Possible evel of creativity, cr relaxed state oh een Creativity requires an absorbed mind, a time and space ous 24 attention by giving the set suteient ded while lett : the pl ile letting the desir Pleasure of creative expression and inspiration ™ mong students with the her stakeholders. i s Live in the question. Ask questions, instead of trying to find immediate answers and pay attention to questions that other 4 : i i 4. Feed yout, brain. Get interested in something that later can ee le you wisdom and ideas if you leatn to make connections etween people, places and things that are not usually connected. 5. Experiment and explore. Follow your curiosity, experiment with ideas, and learn from your mistakes therefore, the quality of your creativity will improve. 6. Replenish your créative stock. You must learn to be self- nourishing and translate hobbies, talents and skills into wonderful potentials. _ 7. Liberate your creativity. Your child's play provides the clue to your creativity, potentials and passion. In general, creativity takes on many forms in business, art, design, education and science. When you express your creativity in oe domains, you have the ability to make life indeed a work of art (Naiman, 2011). : Eye-Hand Coordination In most of our creativ sare inhibit our usual bo : hand coordination as we in! wn as hand-eye coordination) i kno\ Eye-hand coordination (also t with hand movement ‘ ntrol of eye movemen F . me be pra lt Oi ase ve ee along win the use. of proprioception of hang. ree activites, such Eye-hand coordination can be ‘observed in diverse, actos, Suet ee nt of objects, handwriting, bat xn and fh : lhe Se ak reading, computer gaming: Toms sinter In RG ae part of the mechani i: tony out aired Cae Wap people WO unable to jn . Without it, ke Simnieet actions in daily life. e activities and endeavors, we integrate eye- dy functioning.att =? 182 BUuone ANo Enwunone New Literacies Across tHe CunricuLUM Eye-hand coordination therefore, is the ability of the vision oem to coordinate the information received through the eyes to eee guide, and direct the hands in the accomplishment of a henel i It * IS also a complex cognitive ability as it unites visual and mo} i ills, allowing the hand to be guided by the visual stimulation that the eyes Teceive. It is the ability to do activities that require simuttaneous use of hands and eyes, like an activity that uses the information that eyes Perceive (visual spatial perception) to guide the hands in carrying out a movement. Hand-eye coordination is important for child development and academic success, which is equally important among adults to use in / countless aetivities on a daily basis. Most activities in day-to-day life | use some degree of eye-hand coordination, the reason why it is really important to develop it as possible. Obviously, visual information is used to correct an inappropriate behavior in a situation. We use our eyes to direct attention to a stimulus and help the brain understand where the body is located in space (self-perception). Reciprocally, we use our hands to simultaneously carry out a determined task’ based on the visual information that our eyes receive (https:/www.cognifit.con/science/cognitive-skills/eye-hand-coordination). Examples of eye-hand coordination 1. Jn writing. When making lines, the eyes send visual -information to the brain to tell where the hand is Placed and if handwriting is legible. : 2. Typing on a keyboard, Although the types of movement are different, but visual information is used to tell the brain how to guide the hand or if a mistake needs to be corrected. 3. When driving. It uses visual information to move the hands on the wheel, keeping the car in the middle of the lane and avoiding accidents. 4. In sports. In any sports, the eyes usually coordinate with the movement of some parts of the body called “motor coordination”. Depending on the Sport, either hand-eye Coordination (basketball, tennis, football,” etc.) or fookeye coordiriation (soccer, track, etc.) will be more dominant. (https: wwe cognitcom/science/cogntive-skils/eye-hand-coordination). Problems and disorders related to poor coordination. Hand-eye coordination can also work person's eyes and vision are not affected and if skills work properly. It is possible for someone with have hand-eye coordination problems that will only use both the visual and motor systems together, \ Any alteration to the visual or motor g affect hand-eye coordination, like visual or as strabismus (crossed eyes), amblyopia, eye-hand Poorly even if the their motor control @ perfect vision to manifest when they ystems can significantly Muscular problems, such muscle hypotonia, balance pate eet aeee ea ee Module 11: Arts and Creative Literacy 183 problems, or crossed laterali Parceptive areas may Seren Brain damage to the motor areas or Pood nandayes toca luse eye-hand coordination problems. to developmental disorders, los Se ee nea Wing and playing spors) Mi learning disorders (related to reading, ike notes, poor han raat cademics (making mistakes when they oor assembling ob} 9, poor attention), professional areas (in typi ate 2 j jects), and problems with daily activities. , and-eye it i put the following are as eee can have variety of causes, 1 nation, ditions for inadequate hand-eye 1 Vision dae meer It is a loss of vision that makes it hard oF aptations ede eae daly tasks without specialized s loss of visual acuity, in which thi does not see objects as clearly as usual. Ys ne 2 Moverront disorders. These are characterized by impaired oot tanta caused by variety of causes, such as ataxia, ich is characterized by lack of coordination while performing voluntary movements; and hypertonia, a condition marked by an abnormal increase in muscle tension and a reduced ability of a muscle to stretch. https:/www.cognifit.com/science/cognitive-skills/ ‘eye-hand-coordination. Hand-eye coordination development stages. Hand-eye coordination development milestones are as follows: ‘Between birth and three years 4. Between birth and three years of age, the following skills and can: 4.1. start to develop vision that allows them to follow slowly moving objects with their eyes; 4.2 begin to develop basic hand-eye skills, such as reaching, grasping objects, feeding, dressing; 41.3 begin to recognize concepts of place and direction, such as up, down, in; and ; 4.4 develop the ability to manipulate obje’ skills. infants can accomplish cts with fine motor Between three and five years : pa 2. Between three and five years of age, little children ee 2.1 continue to develop hand-eye coordination skills an a‘ for left or right handes ness; ee d use concepts of place and 2.2 continue to understand and irecti , down, under beside; : ie i such as UP; eee mee .3 develop the ability to climb, balan 9 push and pull, and take stairs one at a time; and184 BuLoWa mo Eunice New Lehacis ACROSS He CURRICULM 2.4 develop eye/hand/body coordination, eye teaming, ang depth perception. Five to seven years 3. Children between five and seven years.old can: 3.1 improve fine motor skills, such as handling writing tools, using scissors, etc.; 3.2 continue to develop climbing, balancing, running, galloping and jumping abilities; 3.3 continue to improve hand-eye coordination ang handedness preference; and 3.4 leam to focus vision on school work for hours every day, (http://www. healthofchildren.com/G-H/Hand-Eye-Coordination.htmittixzz5xFc4rsqG) Visual Literacy In the advent of the Intemet, students must develop the necessary visual literacy skills to navigate the image-intense world. Therefore, visual literacy refers to interpreting and creating visual images and usually about communication and interaction. » Visual literacy is the ability to read, write and create visual images. It is a concept that relates to art and design and has much wider applications. {t is© about language, communication and ‘interaction. Visual media is a linguistic tool, with which we communicate, exchange ideas and navigate our highly visual digital world, The term was first coined in 1969 by John Debes, who was the founder of the Intemational Visual Literacy Association Debes explains: “Visual literacy «refers to a group of vision-competencies a human being can develop by seeing, having and integrating other sensory experiences.” According to Oxford Research Encyclopedia, visual literacy is the ability to interpret, negotiate and, make meaning from information presented in the form of an image, extending the meaning of literacy, which commonly signifies interpretation of a written or printed text. It is therefore, based on the idea that pictures can be read and the meaning can be through a process of reading. Serafini (2017) asserted that visual literacy is a set of visual competencies or cognitive skills and strategies one needs to make sense of visual images. These visual competencies were seen 8 universal cognitive abilities that were used for understanding visual images regardless of the contexts of production, reception, and dissemination. More contemporary definitions stress that visual literaoy is a contextualized, social practice @s much as an individualized cognitively based a of competencies. It is also a. process 0 generating meanings in ransection with multimodal ensembles that include written text, visual images, and design elements from a varel!Modile 11: Arts and Creative Li 185 : fal , sociocultural, semioti are potential of the visu speetives to understand the me: iit tha environments (Serafini, 2 17). verbal ensembles encountered in soll our understanding ty 2017). Digital technology has aces with tablets and as Visual literacy as we now see chines impacted visual teracy instincts rmsoc nt SPPERTS to be highly develoved 3 'sualiteracytoday org/what-is-visual-iteracy y) Verbal Creativity In view of the rapidly i ‘i ' is more important Sw hy na eer complexity of the world, creativity a useful and effective ‘bo cid before and is even considered as allows the individual to flexbiy respond none since it conditions around (Runco, 2004 poe the continuously changing (1969) in Hasan (2017) recount i ink, et. al, 2015). Torrance, development of a ful ecognized creativity as important for the ‘ ly functioning, mentally healthy, well-educated and vocationally successful individual, it is because of growing recognition of the importance of creative functioning and there is sufficient evidence of the universality of creativity. : Scott, et. al (2004) cited that creativity-related skills can be improved by providing specific rules, techniques or strategies to develop appropriate cognitive skills for the domain at hand. This could be realized through creative ideation trainings or divergent thinking exercises (Coskun, 2005; Benedek, et. al, 2006), which aim at'stimulating effective search, retrieval, and integration/combination of remote associations related to a given stimulus word. Divergent thinking is a useful concept for identifying, supporting and measuring creativity as a process to actualize ‘one’s self, manipulate internal and external symbols as creation of illustrative ideas based on his! her knowledge senses regarding people and objects to produce on (Hasan, 2017). The four major components of vero thinking eee flexibility, originality and elaboration, which are very ASB ee ort Fluency refers to the total number ot — options and solutions generated for an open-ended problem: Samy is the umber of conceptual categories; originality is the sepa Crested or Invented worksvand is about statistical inregusrcy, © responses related to the task compared with ofcine 1 Or, elaboration is the ability to expand on an idea wit “bility to create an intricate plan. niin thigh Fink, et, al (2012) explained that cognitive Sn oving ei ‘common or moderately creative ideas was ono a vaiso apparent and most imporiarhy. stimulation repread creativty-related at the the brain. As such, ral gyri along Fey eee vmtudes left middle and superior temporal ayn186 BULoIG aNo Ennis New Literacies ACROSS THE CURRICULUM with right parietal cortex being sensitive to cognitive stimulation. Aesthetics Britanica defines aesthetics,. also spelled esthetics, as the Philosophical study of beauty and taste. It is closely related to the Philosophy concemed with the nature of art and the concepts of which individual works of art are interpreted and evaluated. In perspective, it is an interesting and puzzling realm of experience: the realm of the beautiful, the ugly, the sublime and the elegant; of taste, criticism and fine art; and of contemplation, sensuous enjoyment and charm. In all these phenomena, similar principles Operate and similar interests are engaged. The nature and scope of Aesthetics. Aesthetics deals not only with the nature and value of arts but also with those responses to natural objects that find expression in the language of the beautiful and the ugly. The terms beautiful and ugly are too vague in application and too subjective in meaning. Everything on earth may be perceived as beautiful by someone from his/her point of view while different people may-use the word differently that often may have little or nothing in common but all are simply, based on judgment. It may also be that the term beautiful has no sense except as the expression of an attitude, which in turn, people may associate it to different matters. Moreover, in spite of the emphasis of philosophers on the terms beautiful and ugly, aesthetics becomes an insignificant issue for discussion in the description of what appeals in nature. Just like when appreciating a poem, it can be described as ironic, moving, expressive, balanced and harmonious. Likewise, in characterizing a favorite stretch of countryside, it can be noted as peaceful, soft, atmospheric, harsh, and evocative, rather than beautiful. Three Approaches to Aesthetics Britanica laid down three approaches to aesthetics as follows: 1. It is the study of aesthetic concepts or the analysis of “language of criticism,” in which particular judgments are singled out and their logic and justification are presented. 2. It is a philosophical study of certain states of mind, responses, attitudes and emotions that are -involved in aesthetic experience. 3. It is the philosophical study of the aesthetic object that reflects the view that problems of aesthetics exist because the world contains special objects toward which people react selectively as described in aesthetic terms, (https:/rww-.britannica,comtopic/aesthetics)| Integrating Arts ang ¢, The followin, and creative liter; 1 10. Teal a tivity Literacy into the Curriculum + re strategie: Physical cy in the curri envir« support creativity een, Design a physical environment to well-architecturall ich as castle-designed school buildi creative, wlutally designed edifice, roots and ceilings, blocks and aS, eeaulful garden landscape, colortul structured rnusio- dnd. bn the math and science gerden, erwhithisaeee s studio, an atelier, student lounge, iB and dninient : ein initiatives in embedding arts Emotional environment ~ climate of respect, ot Tak time to create and maintain a making mistakes. 19 and support to someone when Project-based | i space and Oppel ote — Provide students time, emotions and insights th press themselves ~ their ideas, Hoeen ete rough arts. Design and plan any motivation, eigadenedl aid went and real-world to attain Teach creative thinkin aig oe “metacognition” or “minig abet ele int ate ote little ones through the proc eeceneatics ie compari process of brainstorming, reasoning, aring and contrasting, problem-solving, concept mapping, analyzing, evaluating and more. Alternative assessments > Instead of just a worksheet or an’ assignment, provide different authentic assessment like performance, systems design, product/output making, visual arts creation, task-based, project-based, portfolio and others provided with rubrics and other forms of metrics. Scheduling- Project-based curriculum and performance- based assessment need ample time and ‘proper scheduling in either structured or unstructured manner. Student-centered and personalized learning — Provide students freedom to choose on what they will learn, how they will learn it and how they will demonstrate what they have learned. Incorporate art: and dance into ~ Integrate seamlessly music, art, drama the curriculum to develop creativity. fe fe to create Integration of technologies — Encourage students’ ind” utilize blogs and websites, Glogster, aice hve, student publishing, video game design, coding, filmmaking, photography, global collaborative classroom projects using Google Hangouts, etc. in for cre Preparing the body and brain fc that induce body-mind integration, suc! zumba, calisthenics, . tivity - Create activities +h as yoga, ballet, jazz, etc. Module 11: Arts and Creative Literacy 187—_—_—>—————SEE———————— Buitpinc ano EnHancine New Literacies Across THE CURRICULUM QUESTIONS FOR DISCUSSION 1. What do you mean by arts and creative literacy? 2. What are the seven habits of highly creative people? Provide examples. 3. Explain eye-hand coordination-associated disorders, assessment interventions and developments. 4, Compare and contrast visual and verbal creativity. 5. Discuss aesthetics as a philosophical perspective and the three approaches. 6. How can arts and creative literacy be integrated in the curriculum?