By Paul McIntosh, Digby Warren

This quantity contests the present larger academic paradigm of utilizing targets and results as how you can degree studying. as an alternative, the participants suggest ways to studying that draw upon the inventive arts and arts, together with cinema, literature, dance, drama, and visible paintings. Such ways, they argue, can foster deeper studying, even in matters now not in general linked to those sorts of creativity. Drawing all alone sensible adventure in constructing new academic tools, the participants include a fresh replacement point of view on educating, studying, and assessment.

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2002). However, increasingly, medical students are being given opportunities to engage in their own creative process (arts-based inquiry) – sometimes this is led purely by artists such as the Performing Medicine group (de la Croix et al. 2011), other times by clinicians with an interest in literature (Charon 2006) or film (Memel et al. 2009) or more generally the creative process (Shapiro et al. 2006). Arts-based inquiry is a fairly new field within medical education that expands the concept of medical humanities, taking students beyond ‘being consumers of the artistic output of others’ and creating space for them to ‘become artistic creators themselves’ (Weisz and Albury 2010: 172).

For the last eight years I have been exploring the use of the arts and creativity as a vehicle for practitioner development. Borrowing the term ‘arts-based inquiry’ from Liamputtong and Rumbold (2008: 10) in the research literature, I have applied it to this form of medical education. I use the term to mean medical student practical engagement with any art form – poetry, photography, painting, narrative, sculpture, dance, music, etc. – as they reflect on their experiences. Figure 1. Creativity in the Classroom My journey into this field began with a Student Selected Component (SSC) that I developed in 2003 called ‘Exploring the Creative Arts in Health and Illness’ and have continued to deliver and develop annually.

19 Creativity in the Classroom Our understanding of others’ perspectives is enabled by our active participation in webs of interpersonal interactivity, not from mental feats of ‘mind-reading’. (Martin et al. 2008: 313) An aspirational view of the students’ experiences underpins the teaching and learning intentions. Instead of using the concept of education as transformation, the notion of ‘iterative reframing’ is used in its place to highlight the potential for reframing ideas and perspectives, a process to encourage students to review their own ideas, concepts and beliefs in the light of those of others and that of their own learning.

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