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Creative Assignments

Designing, Assigning, and Assessing Creativity/Creatively

Pırıl Atabay, Ph.D. & Garth Sabo, Ph.D.

Center for Integrative Studies in the Arts and Humanities

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Facilitators

Pırıl Atabay (atabaypi@msu.edu)

  • Assist. Prof. CISAH
  • Ph.D. in U.S. History
  • IAH courses:
    • The U.S. and the World
    • The Middle East and the World
    • City Cultures: NYC and Chicago 1880s-1890s
    • Cities in a Global World

Garth Sabo (sabogart@msu.edu)

  • Assist. Prof. CISAH
  • Ph.D. in American lit
  • IAH Courses:
    • Infrastructuralism
    • Climate fiction
    • Midwestern literature
    • Graffiti narratives
    • Experimental art and the riot grrrl movement
    • Medical humanities
    • Pandemic art and literature

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Participant Introductions

  • Name
  • Home unit/department(s)
  • Teaching interests
  • Any plans for the good weather this weekend?

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Workshop Goals

  1. Define “creativity” as a component of student learning
  2. Share research and best practices related to designing, assigning, and assessing students’ creative work
  3. Discuss our own successes and challenges related to this type of student learning
  4. Cultivate community based on seeing our teaching practices as incomplete and evolving

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What is a creative assignment?

  • Anything besides essay writing”:
    • short story
    • poem
    • script
    • painting
    • comic strip
    • illustrated children’s book
    • song
    • sculpture
    • video
    • graphic novel
    • magazine cover
    • advertisement
    • dance
    • animation
    • podcast
      • My favorites: Tarot cards/emotional puffer (English class)
      • 60 second public service announcement (Aiming to help stop people from making bad decisions/Cognitive Psychology Class)

Examples from Jeffrey Gandell, “The case for creative assignments in the English classroom”; Hartel, Nonone, Oh “The creative deliverable”; and Alternatives to Traditional Exams and Papers (Indiana University Bloomington)

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Building on the standard writing assignment, creatively

I asked students to start by identifying a “real-world problem” in one of the pieces of literature we read this semester. For example: we read a play called The Effect of Gamma Rays on Man-In-The-Moon Marigolds, by Paul Zindel. The play is about a small family where a single mother is emotionally abusive toward her two young daughters, one of whom finds salvation in the school’s science fair. Potential “real-world” problems include: our behaviour is often a reflection of our feelings for ourselves; children often internalize abuse they receive from their parents; the underfunding of public schools diminishes their abilities to provide transformative experiences for students, etc.

Students were then tasked with creating a “prototype” of something that the characters in the play could use to help solve the problem, or help bring awareness to it. One student proposed creating a prototype of an “emotional puffer,” similar to the puffer that asthmatics use, that can regulate a person’s emotions when in high-stakes emotional moments. Another proposed a set of tarot cards with the characters from the play on them, showing the possible outcomes of their behaviour.

Along with these prototypes, students also submitted a two-page piece of writing that explained what their creative prototype was, and why they made the choices they made. The written text linked the piece to the literature: it had to detail how this “problem” manifested itself in the story and how the characters in the story themselves might have used their prototype. Finally, there was a showcase where students presented their prototypes to the other students, and went into detail about the links between their work and the piece of literature it was based on.

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“...’creative deliverable,’ that is, an assignment that gives students the freedom to display their understanding of course material in an almost unrestricted range of alternative formats and genres, while retaining some key features of traditional scholarship.”

“As we see it, a key aspect of the creative deliverable is that while learning to communicate in novel mediums, students must engage the academic and professional mediums. The work cannot be a flight of fancy fueled by imagination and inspiration, alone.”

  • The art work must refer to substantive issues about the concept that appear in the scholarly literature
  • Accompanying artist statement

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What examples can you share of work you’ve assigned that meets these definitions of creativity?

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Design: Why assign creativity/creatively?

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Motivating

Why alternative modalities?

Motivating– for both students and prof.: How can we inspire others if we are not motivated?

“Creative assignments help students produce knowledge (rather than merely reproduce it) and make connections (helps them retain knowledge)”

“Creative assignments provide options for engagement”: igniting the learning spark/sparking student interest (in ways that traditional essays do not)

(“Case for Creative Assignments”)

Risk taking- “flexibility, acceptance of uncertainty, and the capacity to embrace change…” needed for our future now more than ever (honors students?)

(Rebels in the classroom, 2013)

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Assign: How to support creativity?

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Helpful to think about

what

you

want

to assess

University of Indiana Bloomington Center for Innovative Teaching and Learning

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“It is important to provide appropriate direction and well-defined parameters that nurture and harness the creative process. Students will be coming from diverse backgrounds and may be interested in, but unfamiliar, with artistic production.” (“The creative deliverable” 179)

  • If incorporating alternative (creative) modalities into an existing course, expect to:
    • Revise previous assignments- flexibility
      • Clarify, Specify, List (“Specific subjects to examine”)
      • Discuss, discuss, discuss… Discuss some more.
    • Different course content (build skills you want to assess)
    • Think about assessment creatively (Process? Product?)

  • Otherwise (for new courses), think: backward design
    • → decide on final outcomes, how to assess, what to teach/assign– scaffolding

Wintrol and Jerinic’s revision processes in, “Rebels in the classroom”

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Trust?

Requirements:

Student proposals/Meetings

Proposal presentations/Peer feedback/Classroom decisions (democratic in terms of equal workload and rigor across teams)

Consultation with an artist in residence

A well defined timeline: production start date, how much time brainstorming, how much time “making” (word count)

Artist statement

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  • All sections
    • End of the semester magazine project
  • IAH 210 The Middle East and the World
    • Syriana movie conversation
      • Imagine you are watching Syriana with a person or group of persons treating it as “just another action/political thriller”. Based on what you learned throughout the semester, how would you explain the significance of the movie to them in terms of representing the U.S. in the Middle East?
  • IAH 221C Cities in a Global World
    • Education team - wrote a play based on their semester long research
  • MSU Undergraduate Learning Goals/IAH course (X) intersections
    • Creative team conversation

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“[A]cross diverse content domains, from science to arts, anxiety was greater for situations that required creativity than similar situations that did not…These findings suggest that creativity anxiety may have wide-reaching impacts and distinguish creativity anxiety from anxiety about noncreative aspects of performance”

(42, emphasis added)

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How do (or might) you reduce students’ “creativity anxiety”?

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Provide multiple, varied examples of creative work

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Invite students to situate their work into course gaps

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Allow students to work in media they feel comfortable with

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Assess: How to evaluate creativity?

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One rubric for all assignments

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Sample

Alternative Modalities

Rubrics

  1. Creative thinking VALUE rubric AACU
  2. Assessing PROCESS Assessing PRODUCT
  3. CoCreating Rubrics with Students

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Spencer’s Three Key Shifts

  1. Focus on the creative process rather than the product or the person.
    1. Fixation on product actually leads to a decrease in creative risk-taking.
  2. Focus on growth and improvement rather than achievement.
  3. Empower students to self-assess instead of depending on the teacher.

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What questions/comments do you have?

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