Be the Spark
Start the Fires of Innovation
Synthesizing
My favorite part of a department store as I was growing up was always the hardware section. My mind was always thinking, how can I utilize these tools and materials and create something useful? As I have gotten older things have changed. I still go to the hardware section, but now I spend more of my time in the electronics section. The knowledge of the tools and materials I bought early in my life are still needed, but new tools exist and my problems are different. I now spend the majority of my time meandering through the electronics section, brainstorming ways these new devices could be used.
My wife can tell you, I spend hours creating. The feelings I get when I am in the zone are exhilarating, a joyful rush, a high. I take pride in my ability to come up with unique economical solutions to everyday problems. I enjoy the praise I get when people recognize the thought that has gone into what I have done.
I want my students to have these same feelings when they produce something new. My students need to experience the pride and joy when others notice the value of their work. Integrating creativity into teaching others is a challenge. These seven cognitive tools should be taught in our twenty first century schools: perceiving, patterning, abstracting, embodied thinking, modeling, playing and synthesizing.
My favorite part of a department store as I was growing up was always the hardware section. My mind was always thinking, how can I utilize these tools and materials and create something useful? As I have gotten older things have changed. I still go to the hardware section, but now I spend more of my time in the electronics section. The knowledge of the tools and materials I bought early in my life are still needed, but new tools exist and my problems are different. I now spend the majority of my time meandering through the electronics section, brainstorming ways these new devices could be used.
My wife can tell you, I spend hours creating. The feelings I get when I am in the zone are exhilarating, a joyful rush, a high. I take pride in my ability to come up with unique economical solutions to everyday problems. I enjoy the praise I get when people recognize the thought that has gone into what I have done.
I want my students to have these same feelings when they produce something new. My students need to experience the pride and joy when others notice the value of their work. Integrating creativity into teaching others is a challenge. These seven cognitive tools should be taught in our twenty first century schools: perceiving, patterning, abstracting, embodied thinking, modeling, playing and synthesizing.
Perceiving
Perceiving is digging deeper into what we first notice. We must observe using all of our senses to find patterns, make analogies, create and innovate. Every person perceives this world through observation. Everyone is unique and has a different skill set. To become a more creative person, we must work to develop our skills of observation and crave knowledge.
The perceiving cognitive tool can be taught. As a classroom music teacher, I will allow my students more time to observe and reflect on what was learned so they can connect the dots and make sense of the world they live in. The more knowledge they accrue, the better they can solve the problems that are encountered in life.
Perceiving is digging deeper into what we first notice. We must observe using all of our senses to find patterns, make analogies, create and innovate. Every person perceives this world through observation. Everyone is unique and has a different skill set. To become a more creative person, we must work to develop our skills of observation and crave knowledge.
The perceiving cognitive tool can be taught. As a classroom music teacher, I will allow my students more time to observe and reflect on what was learned so they can connect the dots and make sense of the world they live in. The more knowledge they accrue, the better they can solve the problems that are encountered in life.
Patterning
After using, identifying, and practicing patterns, they become automatic. You don't need to think hard to use patterns. We can then solve larger and larger problems with little effort. I often think of this Bobby McFerrin video at the World Science Festival in 2009. People in the audience knew what pitch was next in a sequence. They had heard the intervals of the pentatonic scale so often in their lives that they knew the pattern and what pitch came next. They were not born with this ability. This pattern sequence was learned. Music is loaded with patterns. With practice, these patterns become second nature. Little thought is needed to use them. What once was difficult becomes easy.
The patterning cognitive tool can be taught. In the future I will make a point to ask more questions to lead students to find different types of patterns that exist in music. We will examine patterns and see if the class can predict what notes, musical phrase, or sound should come next.
After using, identifying, and practicing patterns, they become automatic. You don't need to think hard to use patterns. We can then solve larger and larger problems with little effort. I often think of this Bobby McFerrin video at the World Science Festival in 2009. People in the audience knew what pitch was next in a sequence. They had heard the intervals of the pentatonic scale so often in their lives that they knew the pattern and what pitch came next. They were not born with this ability. This pattern sequence was learned. Music is loaded with patterns. With practice, these patterns become second nature. Little thought is needed to use them. What once was difficult becomes easy.
The patterning cognitive tool can be taught. In the future I will make a point to ask more questions to lead students to find different types of patterns that exist in music. We will examine patterns and see if the class can predict what notes, musical phrase, or sound should come next.
Abstracting
Math educators often teach abstraction through the use concrete objects, concept maps, charts, graphs, breaking down complex subjects into simpler more easily understood concepts. When reading music, there are many mathematical terms and concepts. When you use music software and computers, mathematics becomes even more evident: tempo, volume, chord progressions I, V, IV, pitch frequency and the names of music notes themselves. So if I am going to teach music notation, students need to have a music numbers sense. Students soon realize that mathematics is important and is useful when it used outside of math class. They also become aware how useful these math skills and concepts are in everyday life.
The abstracting cognitive tool can be taught. In the future I will show how the abstractions they encounter in reading, writing, math, science, history, geography and the foreign languages have connections to the music curriculum. I will help my students have a deeper understanding of our world so they can "connect the dots".
Math educators often teach abstraction through the use concrete objects, concept maps, charts, graphs, breaking down complex subjects into simpler more easily understood concepts. When reading music, there are many mathematical terms and concepts. When you use music software and computers, mathematics becomes even more evident: tempo, volume, chord progressions I, V, IV, pitch frequency and the names of music notes themselves. So if I am going to teach music notation, students need to have a music numbers sense. Students soon realize that mathematics is important and is useful when it used outside of math class. They also become aware how useful these math skills and concepts are in everyday life.
The abstracting cognitive tool can be taught. In the future I will show how the abstractions they encounter in reading, writing, math, science, history, geography and the foreign languages have connections to the music curriculum. I will help my students have a deeper understanding of our world so they can "connect the dots".
Embodied Thinking
Embodied thinking is the process of empathizing or reimagining yourself as someone or something else in order to gain a better understanding of the subject, system, or nature of the object. Students often lack this ability to see things from a different point of view. The fine arts including music, dance, and theater can be useful to encourage embodied thinking.
Students benefit by becoming leaders of their fine arts group. A stage production requires many diverse talents. Each person is needed to do their job if there will be a successful show. This develops leaders and gives children identity. Communication is required in all aspects of a theater. Much collaboration is needed to have a successful production.
The embodied thinking cognitive tool can be taught. The fine arts are an excellent place to use embodied thinking. I will continue to promote children's involvement in music, art, dance and theater productions. In the future I will ask questions to encourage embodied thinking. Why did he write this type of song? Why do you think he felt this way? What feelings was the composer trying to communicate? How does this music make you feel? What kind of movements do you think fit this song?
Embodied thinking is the process of empathizing or reimagining yourself as someone or something else in order to gain a better understanding of the subject, system, or nature of the object. Students often lack this ability to see things from a different point of view. The fine arts including music, dance, and theater can be useful to encourage embodied thinking.
Students benefit by becoming leaders of their fine arts group. A stage production requires many diverse talents. Each person is needed to do their job if there will be a successful show. This develops leaders and gives children identity. Communication is required in all aspects of a theater. Much collaboration is needed to have a successful production.
The embodied thinking cognitive tool can be taught. The fine arts are an excellent place to use embodied thinking. I will continue to promote children's involvement in music, art, dance and theater productions. In the future I will ask questions to encourage embodied thinking. Why did he write this type of song? Why do you think he felt this way? What feelings was the composer trying to communicate? How does this music make you feel? What kind of movements do you think fit this song?
Modeling
Modeling allows people to play, manipulate, explore, discover and learn. Our brains have recently been supplemented even further by computer simulation. This extends our abilities to understand the present and predict the future accurately. The use of software such as: Geometric Sketchpad, Audacity, Excel are perfect tools for a classroom discussion. Students love to use the computer to easily create documents that can simulate "what ifs” and have immediate feed-back in many forms.
Many changes are interdependent upon each other. Students learn that changing one thing, affects another. For example, if you increase tempo in Audacity, your composition will proportionally be shorter in length of time. If you slow down the speed of your track, your pitch will drop. Creative software allow for the user to try ideas out. If it does not work, they can choose undo and try something else. This easily allows one to explore until you get it to work the way you want.
The modeling cognitive tool can be taught. In the future more classroom time will be provided for students to play, manipulate, explore, discover and learn using models. I will ask more 'Show me" and "What if" questions.
Modeling allows people to play, manipulate, explore, discover and learn. Our brains have recently been supplemented even further by computer simulation. This extends our abilities to understand the present and predict the future accurately. The use of software such as: Geometric Sketchpad, Audacity, Excel are perfect tools for a classroom discussion. Students love to use the computer to easily create documents that can simulate "what ifs” and have immediate feed-back in many forms.
Many changes are interdependent upon each other. Students learn that changing one thing, affects another. For example, if you increase tempo in Audacity, your composition will proportionally be shorter in length of time. If you slow down the speed of your track, your pitch will drop. Creative software allow for the user to try ideas out. If it does not work, they can choose undo and try something else. This easily allows one to explore until you get it to work the way you want.
The modeling cognitive tool can be taught. In the future more classroom time will be provided for students to play, manipulate, explore, discover and learn using models. I will ask more 'Show me" and "What if" questions.
Playing
My students really enjoyed this divergent thinking activity. This assignment encouraged many novice "Pen Beaters" to explore sounds and rhythms at home. This activity allowed me to get to know many children better. Sanaya and others went well beyond the assignment given. Sanaya is a new student at NES. When you have 800 students, it is nice to learn something about each and every one of them. Her lyrics speak of territory and not being scared. The next time I see her, we can talk about those lyrics. Sanaya benefited from this activity in many ways. She is now considered a leader and someone special at our school. Her music composition is posted online at the Netzaberg Elementary School music website.
The playing cognitive tool can be taught. My class will include more divergent music activities with assignments that require music improvisation. Students' creative works will continue to be featured with performances in music programs and on the school website. I will encourage my students to discover, explore and create their own musical compositions.
My students really enjoyed this divergent thinking activity. This assignment encouraged many novice "Pen Beaters" to explore sounds and rhythms at home. This activity allowed me to get to know many children better. Sanaya and others went well beyond the assignment given. Sanaya is a new student at NES. When you have 800 students, it is nice to learn something about each and every one of them. Her lyrics speak of territory and not being scared. The next time I see her, we can talk about those lyrics. Sanaya benefited from this activity in many ways. She is now considered a leader and someone special at our school. Her music composition is posted online at the Netzaberg Elementary School music website.
The playing cognitive tool can be taught. My class will include more divergent music activities with assignments that require music improvisation. Students' creative works will continue to be featured with performances in music programs and on the school website. I will encourage my students to discover, explore and create their own musical compositions.
Synthesizing
We desperately need synthetic minds. No major problem facing the world today can be boxed neatly within a single discipline or approached effectively by analysis, emotion, or tradition alone. Innovation is always transdisciplinary and multimodal. The future will depend upon our ability to create synthetic understanding by integrating all ways of knowing. (Root-Bernstein, p 315).
It is not what we teach, but how we teach it. A person does not become creative by reading a book or memorizing facts, just as a soldier does not become a soldier by reading a book. A person will become a good soldier by the rigors of boot camp. The same is true in the classroom. Students must have experiences that prepare them to be creative problem solvers in life. We must give them the opportunities to properly apply the knowledge they have learned.
The synthesizing cognitive tool can be taught! I must have a classroom environment that inspires students to explore, manipulate, discover, create, innovate, and learn. My students must have the opportunity to develop a relentless attitude to persevere until their problems are solved and know it is OK to fail.
Summary
Creativity can be taught. A curriculum based on the seven cognitive tools of perceiving, patterning, abstracting, embodied thinking, modeling, playing, and synthesizing is needed in our twenty-first century schools. The "real world" is not departmentalized. The problems our children will face are multi-faceted. Children need to be proficient practitioners of the seven cognitive tools to solve the problems of the future. Innovation is needed. All teachers should be implementing the seven cognitive tools. How we teach today will benefit tomorrow.
Teachers, how we teach is important. One should ask,” Am I a creator or just a consumer? I often ask my class, "Are we tigers in the jungle or tigers in the zoo?" They answer, "We are tigers in the jungle". They know tigers in a zoo are restricted, caged, fed by others, and bored in life. Tigers in the jungle roam where they want, fend for themselves, make their own decisions, take chances, and have exciting lives. Implementing the seven cognitive tools will encourage students to be tigers in the jungle.
Twenty-first century teachers must ignite the flame to show the path for others to follow. Our students need to have exciting, productive lives filled with choices where they can experience the joyful rush of creativity.
Synthesizing
We desperately need synthetic minds. No major problem facing the world today can be boxed neatly within a single discipline or approached effectively by analysis, emotion, or tradition alone. Innovation is always transdisciplinary and multimodal. The future will depend upon our ability to create synthetic understanding by integrating all ways of knowing. (Root-Bernstein, p 315).
It is not what we teach, but how we teach it. A person does not become creative by reading a book or memorizing facts, just as a soldier does not become a soldier by reading a book. A person will become a good soldier by the rigors of boot camp. The same is true in the classroom. Students must have experiences that prepare them to be creative problem solvers in life. We must give them the opportunities to properly apply the knowledge they have learned.
The synthesizing cognitive tool can be taught! I must have a classroom environment that inspires students to explore, manipulate, discover, create, innovate, and learn. My students must have the opportunity to develop a relentless attitude to persevere until their problems are solved and know it is OK to fail.
Summary
Creativity can be taught. A curriculum based on the seven cognitive tools of perceiving, patterning, abstracting, embodied thinking, modeling, playing, and synthesizing is needed in our twenty-first century schools. The "real world" is not departmentalized. The problems our children will face are multi-faceted. Children need to be proficient practitioners of the seven cognitive tools to solve the problems of the future. Innovation is needed. All teachers should be implementing the seven cognitive tools. How we teach today will benefit tomorrow.
Teachers, how we teach is important. One should ask,” Am I a creator or just a consumer? I often ask my class, "Are we tigers in the jungle or tigers in the zoo?" They answer, "We are tigers in the jungle". They know tigers in a zoo are restricted, caged, fed by others, and bored in life. Tigers in the jungle roam where they want, fend for themselves, make their own decisions, take chances, and have exciting lives. Implementing the seven cognitive tools will encourage students to be tigers in the jungle.
Twenty-first century teachers must ignite the flame to show the path for others to follow. Our students need to have exciting, productive lives filled with choices where they can experience the joyful rush of creativity.
Teachers
This is our opportunity to lead the way.
Together we will produce the "sparks" that spread the fires of creativity throughout the world!
This is our opportunity to lead the way.
Together we will produce the "sparks" that spread the fires of creativity throughout the world!
Click image below to hear my Elevator Pitch
"Give Your Class A Fighting Chance"
"Give Your Class A Fighting Chance"
Twitter Posts
Mishra, P., Cain, W., Sawaya, S., Henriksen, D. & the Deep-Play Research Group (2013). A Room of their own. Tech Trends, (57) 4. p. 5-9.
Mishra, P., Henriksen, D., & the Deep-Play Research Group (2013). A NEW approach to defining and measuring creativity. Tech Trends (57) 5, p. 5-13.
Henriksen, D., Mishra, P., & the Deep-Play research group (2014). Twisting knobs and connecting things: Rethinking Technology & Creativity in the 21st Century. Tech Trends, (58)1, P. 15-19
"Ken Robinson Says Schools Kill Creativity." TED: Ideas worth Spreading. N.p., n.d. Web. 12 Dec. 2015.
Root-Bernstein, R., & Root-Bernstein, M. (1999). Sparks of genius: The thirteen thinking tools of the world’s most creative people. Boston, Mass.: Houghton Mifflin.
"The Power of the Pentatonic Scale (HD)"2009 World Science Festival. YouTube. Web.12 Dec. 2015
"Rocky Balboa - Theme Song (HD)" NP.YouTube. Web.12 Dec. 2015