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The purpose of this study is to investigate the effect of using mobile devices as an instructional tool on teachers' creativity and to promote their usage as instructional tools in educational settings. The research also studies the perceptions of teachers on the effect of using mobile devices as an instructional tool on their creativity and what features of mobile devices are believed to help in terms of enhancing their creativity.

This qualitative inquiry used an interpretive phenomenological analysis (IPA) method for inspecting the professional capabilities of Pakistan's primary and secondary school teachers. Data were gathered from nine individuals through interviews. Three themes regarding creativity emerged from the study data.

It is found that the use of mobile devices as a teaching tool significantly increases teachers' creativity by enabling them to manifest their creativity and explore different pedagogical vistas in which they can use a wide variety of instructional resources and tools. Using mobile devices as a teaching tool improved three skills: motivation, self-confidence and communication skills. Mobile applications, cameras and portability of these devices are among the features that teachers considered to have encouraged their creativity.

Finding the obstacles and difficulties teachers have while utilizing these tools to demonstrate their creativity may be valuable for future studies. First, because respondents were teachers from elementary and secondary classes, the population was not entirely homogenous, even though they had adequate help. Second, only semi-structured interviews were utilized for data gathering in this study. Further data collection methods, including observational research or participant-written reflective diaries, are thought to have been preferred.

For future research, it may be interesting to determine whether the results of this study can be applied to other demographic groups. Based on this study, it is also recommended to conduct a quantitative study to know teachers' perceptions of the impact of these devices on creativity, since these studies can have promising results for teachers.

Through the use of various materials, tools and activities, these devices provide several distinctive teaching alternatives. Because of this, using it as a teaching tool gives teachers the ability to tailor courses to a range of learner types. Additionally, having easy access to a multitude of online resources and the capacity to interact with others helped in ideation. The teachers experienced feelings of motivation, self-confidence and a desire to impart information, all of which are traits of creative teachers. Based on the findings of this study, we may now think about using mobile devices in the classroom to encourage teachers' creativity.

The outcomes of this research indicated that teachers' creativity is strongly influenced by their use of mobile devices as instructional tools. This paper advances the understanding of teachers’ creativity by highlighting their lived experiences. This study is novel because it highlights how these devices have the potential to be used as instructional tools, which has not been highlighted by any study so far.

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 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.

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.

This paper aims to highlight for the first time, creativity's vital role in a new approach in the higher education world which can improve the current university instructional strategies post financial crisis.

The paper offers a theoretical framework which has emerged from literature review and personal business and educational experiences of the authors. It seeks to provide synthetically some answers/“solutions”, focusing on a three dimensional framework: where to play the game of creativity; how to deliver creativity to business students, meaning by what structures and methods; and how to win in implementing this game.

Many researchers appeared to focus on making their findings applicable to the entire education system paying little attention to issues specific to the business education sector. Succinctly, the focus of the papers is on “how to do it” part, which provides several realistic insights on how to connect communities into the game of creativity. Other methods required relate to: balancing creativity with core essentials; promoting excellence and sustainability; networking between students; faculty, management and community; improving learning environment; developing staff; teaching; learning competencies and programme curricula under an integrated service vision; anticipating educational future trends in networking; and building creative climates and partnerships.

The paper's conclusions and recommendations present a practical set of good practices through the explicit and implicit identification of core characteristics for creativity in higher education. Eventually, the first mission in wanting to be creative is to really comprehend the problem, knowing all ways to approach it.

The purpose of this paper is to identify the position of creativity within Australian public relations courses and explore how academics embed what is often identified by industry as a core skill for future and current practitioners.

The study consists of semi-structured interviews with 15 public relations academics to examine their views on the value and delivery of creativity in the public relations curriculum.

The findings of this exploratory study indicate creativity is addressed implicitly by educators who rely on personal and internalised knowledge rather than the application of a specific theory or body of knowledge pertaining to creativity. In addition, it identifies a series of challenges educators face including students' lack of confidence when required to be creative and a lack of clarity on how to successfully evaluate creativity in assessment tasks.

Creativity has been identified as a vital future workplace skill and highlighted as an important capability in global best practice frameworks for public relations professionals. However, the successes and barriers experienced by educators who are responsible for building and evaluating students’ creative abilities have yet to be specifically explored. In response, this study considers educators' perceptions of their practice with regard to this prominent professional attribute and applies this knowledge to argue for theory-led pedagogies, particularly the use of models that emphasise the social nature of creativity, to demystify creativity and enhance students' work readiness as future practitioners.

As demonstrated in the literature, teachers’ knowledge sharing, self-efficacy and creativity display certain levels of cause-and-effect and correlational connections from different perspectives. Nonetheless, few studies, if any, have been reported on the interplay of these three concepts in the context of the language classroom. As such, this study aims to test a structural model of English as a foreign language (EFL) teachers’ knowledge sharing, self-efficacy and creativity and specifically to examine the hypothesis that creativity mediates the relationship between EFL teachers’ knowledge sharing and self-efficacy.

The participants were 384 EFL teachers from different language institutes across Iran. The EFL teachers were selected based on random stratified sampling method. To verify the research hypotheses, a quantitative correlational design was used in the present study. The quantitative data was collected using three questionnaires, and then descriptive and inferential statistics were used to analyze the data. Therefore, we used the EFL teachers’ creativity questionnaire developed by Khany and Boghayeri (2014), knowledge sharing behavior scale by Ramayah et al. (2014) and teachers’ self-efficacy questionnaire by Tschannen-Moran and Hoy (2001). To analyze the data, Pearson correlation and multiple regression were run.

The findings revealed the hypothesized model of relationships among the study variables. The results also confirmed the mediator role of creativity. The implications of the findings in relation to creativity, knowledge sharing and self-efficacy are discussed.

The bulk of research on teacher self-efficacy has concentrated fairly adequately on its relationship with factors such as teachers’ reflective practice, critical thinking, emotional intelligence, personality and student achievement. What seems to be rather missing in this line of research has to do with the exploration of the possible links among knowledge sharing, self-efficacy and creativity as interacting variables, especially in the context of Iran where teachers’ knowledge sharing is lower than expected. More importantly, no previous investigation has tapped into the mediating effect of creativity on the connection between English teachers’ knowledge sharing and self-efficacy.

Higher education institutions (HEIs) frequently overlook the importance of encouraging creative thinking in students. A review of the prevailing practices in a fully online tertiary distance education (DE) institution revealed a lack of learning activities that foster creativity. The study aims to find out whether the creative collaborative group project is a feasible, effective and acceptable learning activity for fostering creativity in students of a fully online graduate-level DE course.

Seven groups of five to six graduate students each had five weeks to conceptualize, prepare and deliver a creative collaborative group project on lifelong learning using key concepts learned from the course.

All groups submitted well-crafted creative projects within the given time frame. Reflections on their experience positively correlated with known outcomes associated with creative skills. Students valued the experience and had a better understanding of the concepts. These support the feasibility, effectiveness and acceptability of the project for fostering creativity in a fully online DE institution.

The feasibility, effectiveness and acceptability may vary in different contexts; future iterations in the same and/or other courses are recommended.

The creative collaborative group project is a feasible, effective and acceptable strategy for fostering creativity in online distance education.

Creativity can be enhanced through appropriate online collaborative learning activities.

The study adds to the body of literature on the use of creative collaborative group projects to foster creativity in HEIs.

The purpose of this paper is to explore emerging themes in which creativity, or creative pedagogy (CP), is aligned with the practices of higher education instruction. The componential theory of creativity (Amabile, 2012) was used as the lens for examining CP of the study’s participants.

Using an exploratory case study of institutionally recognized effective teachers at a flagship university in the upper mid-western region of the USA, researchers sought to see which themes emerge and align with the four components of CP. Researchers used semi-structured interviews, document analysis, and artifact data to support thematic development.

Four themes emerge from the study to align with CP: administrative support; praxis and environment; content learning; and student independence. Of the four themes, praxis and environment are found to be most dominant in the study. Within each theme, surrounding environment and creative-relevant components of CP emerge as the most dominant. In all, it can be concluded that effective teachers position themselves toward themes and components that offer the most impact for students.

Applying Amabile’s (2012) components of creativity to analyze the pedagogical practices of institutionally recognized teachers of excellence encourages deeper observation of pedagogical practices on higher education faculty and institutional impact on pedagogy. Recommendations are offered for both institutions of higher education and its faculty.

The purpose of this paper is to construct a means of assessing the feasibility of implementing innovation and entrepreneurial education (IEE) in schools. The study focuses on teaching IEE in middle school (Grades 5–7).

Data were collected from six middle school teachers in three Icelandic compulsory schools through on-site observations and semi-structured interviews with teachers and principals. Data including documentary evidence were subjected to the method of constant comparison. A model of nested systems provided concepts to create categories for a general rubric of feasible IEE development, the Social ecology rubrics for innovation and entrepreneurship in schools (SERIES).

Profiles of the six IEE teachers emerged during data collection. Teachers found some IEE methods challenging, especially “standing back” allowing students freedom and agency. Implementation was fragile when IEE developed without support from neighboring systems. In all three schools the weakest connections were with the exosystem (general views in society).

The range of knowledge, skills and competences that emerged in the data could be discussed with teachers as a source of professional development. The application of the SERIES approach can benefit policy, research and practice and developing similar rubrics can provide a valuable assessment approach in other curriculum areas.

An advantage of the rubric is that it is descriptive rather than prescriptive, giving schools an opportunity to develop their own standards. Any professional group can produce their own profile, with categories of levels and systems that reflect their own practice and development.