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This paper aims to provide a theoretical framework for teaching creativity.

The approach and the model are based on a review of the prevalent theory and research on creativity.

The authors develop a process based approach and design and a four step model to teaching creativity.

The paper provides a framework from which exercises and interventions for teaching creativity may be derived on a scientific basis.

Practical implications regard teaching and conveying creativity to students.

The paper addresses scholars and practitioners concerned with research and teaching of creativity and innovation. It is to the authors' knowledge one of the first approaches that links theory and research of creativity to actual teaching efforts.

The education of creativity, innovation and entrepreneurship (CIE) has attracted the attention of the Chinese Government and universities in the past years. The Chinese Ministry of Education recently promulgated “the recommendation on promoting innovation and entrepreneurship education at universities”. However, there are still four basic questions about CIE education, namely, why to teach, what to teach, how to teach and who will teach. This paper aims to discuss the four basic questions and propose an integrated syllabus and a new teaching model.

The paper proposes a 3‐3‐3 syllabus/curriculum framework and a 7P model for teaching CIE. The 3‐3‐3 curriculum covers three steps (i.e. creativity, innovation and entrepreneurship), three new outputs (i.e. new idea, new product and new business) and three training areas (i.e creative thinking in brain, hands‐on experiences in new product development and going to society for market research). The 7P model includes project, performance, process, problem, principle, practice and presentation.

The 3‐3‐3 syllabus and the 7P model provide a practical and operational method for planning and implementing the teaching of CIE in an integrated course or program. The syllabus and the teaching model have been assessed by hundreds of students in the past years with very satisfactory feedback.

The 3‐3‐3 curriculum and 7P model have been implemented at City University of Hong Kong for over ten years and were well accepted and welcomed by students. It will be promoted to more Chinese universities under a project sponsored by China Higher Education Association. A train‐the‐trainer program is also under consideration, with the aim to train more teachers for Chinese universities.

Education of CIE as a separate course is not new. However, how to integrate the three in one course or program is very new. The model reported in this paper is perhaps a contribution in integrating CIE in education.

The paper aims to empirically investigate the effectiveness of the entrepreneurship curriculum delivered in Malaysian polytechnics.

The data were collected through survey questionnaires, in‐depth interviews, document reviews and focus group discussions. The respondents were drawn from Malaysian polytechnics – training director, centre managers, entrepreneurship instructors in the centre, and polytechnic students who were purposively selected.

The study identifies that the entrepreneurship curriculum in polytechnics is not effective. Students are not imbued with entrepreneurial knowledge, skills and attributes during their study. Teaching approaches appear to be inappropriate and polytechnic lecturers do not appear to have relevant entrepreneurial skills, knowledge or training.

The sample size was small to be wholly reliable for generalising the findings to a similar problem in other higher learning institutions. However, the insights gained are a crucial basis for further research and give some variables to be investigated on their significance in shaping entrepreneurship education, especially in a developing country like Malaysia.

The findings provide valuable insights for institutional, educators, and policy makers. Stakeholders could use this study to revisit the existing education system and to improve the teaching methodologies in the area of entrepreneurship education in the higher learning institutions.

This is one of the first comprehensive studies to explore how entrepreneurship education is delivered within Malaysian polytechnics.

This paper aims to present a novel pedagogical model that aims at bridging creativity with computational thinking (CT) and new media literacy skills at low-technology, information-rich learning environments. As creativity, problem solving and collaboration are among the targeted skills in twenty-first century, this model promotes the acquisition of these skills towards a holistic development of students in primary and secondary school settings. In this direction, teaching students to think like a computer scientist, an economist, a physicist or an artist can be achieved through CT practices, as well as media arts practices. The interface between these practices is imagination, a fundamental concept in the model. Imaginative teaching methods, computer science unplugged approach and low-technology prototyping method are used to develop creativity, CT, collaboration and new media literacy skills in students. Furthermore, cognitive, emotional, physical and social abilities are fostered. Principles and guidelines for the implementation of the model in classrooms are provided by following the design thinking process as a methodological tool, and a real example implemented in a primary school classroom is described. The added value of this paper is that it proposes a pedagogical model that can serve as a pool of pedagogical approaches implemented in various disciplines and grades, as CT curriculum frameworks for K-6 are still in their infancy. Further research is needed to define the point at which unplugged approach should be replaced or even combined with plugged-in approach and how this proposed model can be enriched.

This paper presents a pedagogical model that aims at bridging creativity with CT, collaboration and new media literacy skills.

The proposed model follows a pedagogy-driven approach rather a technology-driven one as the authors suggest its implementation in low-tech, information-rich learning environments without computers. The added value of this paper is that it proposes a novel pedagogical model that can serve as a pool of pedagogical approaches and as a framework implemented in various disciplines and grades. A CT curriculum framework for K-6 is an area of research that is still in its infancy (Angeli et al., 2016), so this model is intended to provide a holistic perspective over this area by focusing how to approach the convergence among CT, collaboration and creativity skills in practice rather than what to teach. Based on literature, the authors explained how multiple moments impact on CT, creativity and collaboration development and presented the linkages among them. Successful implementation of CT requires not only computer science and mathematics but also imaginative capacities involving innovation and curiosity (The College Board, 2012). It is necessary to understand the CT implications for teaching and learning beyond the traditional applications on computer science and mathematics (Kotsopoulos et al., 2017) and start paying more attention to CT implications on social sciences and non-cognitive skills. Though the presented example (case study) seems to exploit the proposed multiple moments model at optimal level, empirical evidence is needed to show its practical applicability in a variety of contexts and not only in primary school settings. Future studies can extend, enrich or even alter some of its elements through experimental applications on how all these macro/micromoments work in practice in terms of easiness in implementation, flexibility, social orientation and skills improvement.

The added value of this paper is that it joins learning theories, pedagogical methods and necessary skills acquisition in an integrated manner by proposing a pedagogical model that can orient activities and educational scenarios by giving principles and guidelines for teaching practice.

The study aims to investigate the effect of the dialogue embedded synectics model of teaching on the creative thinking of students.

The research design of the study was a nonequivalent control group design of quasi experimental research. This study collected data from 80 students in the seventh grade from two different government schools in Bathinda, Punjab, India, which were selected using a random method. The subjects of experimental group were taught by the investigator using the dialogue embedded synectics model of teaching and the subjects of control group were taught by their teacher using the traditional teaching method, i.e. the Herbartian method. The data collections were done using the creative thinking test developed by Baqer Mehdi (1995). The data analysis techniques used t-test.

Key finding indicates that the dialogue embedded synectics model of teaching is effective in enhancing the creative thinking of students as compared to the traditional method.

The present work is unique in terms of development of an innovative pedagogy, i.e. the dialogue embedded synectics model of teaching, which has the potential to encourage students' creative thinking, a key concern for society in the 21st century. Therefore, it is suggested to conduct similar type of studies on this innovative pedagogy and this model of teaching may be used by teachers for enhancing creative thinking of seventh class students.

The purpose of this paper is to call into question the most longstanding pedagogical practices in academia while analyzing their potential to foster student creativity and innovation in the classroom. While some suggestions advanced in this paper may not have the same importance in other fields and disciplines, they are highly relevant in the applied, interdisciplinary, and very fast moving field of Library and Information Science (LIS).

Positioning creativity as a teachable skill and relying on the learner-centered pedagogy of Carl Rogers, the paper presents a model that can serve as a litmus test for the creative potential of graduate-level assignments in LIS programs. The model is called “Walls,” “Doors,” and “Fences” (WalDorF); these terms refer to specific statements in graduate assignment descriptions that are necessary (“Walls”); conducive to creative expression (“Doors”); or unjustifiably restrictive (“Fences”). The paper uses a sample assignment from a “Foundations of LIS” course to illustrate the model; it also provides several examples of the WalDorF model application in other LIS courses.

Using the WalDorF model, the paper revisits and challenges some of the most common pedagogical practices in graduate LIS teaching, including the prevalence of written papers as course assignments; the implications of equating “research” with an overview of secondary literature; the need for professors’ approvals of research topics; the meaning of the “quality of writing;” the imperative of “academic” writing as opposed to other types of writing; the word/page limit; the use of standardized reference styles; the class participation requirement; and the late assignment policies, among others.

The real change in education is foundational and goes beyond cosmetic improvements. If we want to develop learning experiences that tap into students’ creative potential, the very core of our approaches needs to be scrutinized and questioned, even the centuries-old staples of academic teaching. At the end of the day, we may decide that changing things is not in the best interests of learning. However, a complete critical analytical work must be done to convince and reassure ourselves that tried-and-true methods are the best way to go. The proposed WalDorF model presents one possible frame for critical revision.

This study aims to investigate the structural relationships between pedagogy methods, creativity and entrepreneurial intentions. This study theorizes that work-integrated and active learning methods positively influence personal creativity, which in turn positively influences entrepreneurial intention. Moreover, entrepreneurial inspiration moderates the impact of creativity on entrepreneurial intentions.

A sample of 701 valid questionnaires from university students is used to investigate the proposed research model empirically. As the methodological approach, structural equation modelling with multigroup analysis is used.

The statistical results confirm the positive impacts of work-integrated and active learning methods on individual perceived creativity and of creativity on entrepreneurial intentions. Further, inspiration towards entrepreneurship moderates the link between individual creativity and entrepreneurial intentions.

This research fills the gap in the realm of examining the structural relationship among learning methods, creativity and entrepreneurial intentions in an emerging economy context. Specifically, this study confirms experiential teaching methods as important predictors of the development of students’ creativity capability and the moderating role of entrepreneurial inspiration in the relationship between perceived creativity and entrepreneurial intention. These results add to the academic literature on entrepreneurial intentions in emerging economies and provide new insights into how universities in emerging economies can foster the entrepreneurial intentions of their students.

The paper aims to study the effects of the combination of synchronous Web-based teaching with visually creative teaching on art students’ creativity. The twenty-first century is the society of information technology and knowledge-based economy. To cope with the information society, teaching methods would be changed. Traditional chalk and talk can no longer adapt to the changing society. In addition to passing down the tradition, new ideas should also be introduced. In the informational age, the internet becomes an essential living element and synchronous Web-based teaching breaks through the obstacle of space, provides instant and multiple communication channels and creates alternative creativity learning environment.

With experimental design, totally, 208 students in Fujian University of Technology, as the research objects, were led to a 15-week (3 hours per week for total 45 hours) experimental teaching. The study uses analysis of variance for discussing the effect of synchronous Web-based teaching on art students’ creativity and further understanding the effect of the combination of synchronous Web-based teaching with visually creative teaching on art students’ creativity.

The research results show significant effects of synchronous Web-based teaching on creativity, visually creative teaching on creativity and the combination of synchronous Web-based teaching with visually creative teaching on the promotion of creativity.

First, the sample size taken in this study was not large enough to fully reflect the results of the study. The survey sample didn’t cover all the major cities in China, which had a small coverage and couldn’t reflect the research situation of the whole country. Second, the evaluation criteria for artistic students’ creativity were too broad. More specific evaluation rules should be set and the creativity standards should be graded to better guide the implementation of art courses and the cultivation of students’ creativity.

The synchronous Web-based learning environment provides favorable individual thinking space to effectively reduce disturbance among classmates. Synchronous Web-based teaching shares sound, pictures and even films with each other to enrich the learning media. What is more, teachers would be more convenient and fast to deal with materials or handouts or rapidly updating materials and avoiding the loss of handouts.

This paper studied the effects of the combination of synchronous Web-based teaching with visually creative teaching on art students’ creativity, which was a meaningful and innovative topic. And this study can provide more enlightenment and reference for future education.