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    Experiental Learning

    The design of our training curricula is based on Kolb’s experiential learning theory. Kolb’s theory is typically represented by a four-stage cycle in which the learner ‘touches all the bases’:

    Concrete Experience – (a new experience of situation is encountered, or a reinterpretation of existing experience).
    Reflective Observation (of the new experience – of particular importance are any inconsistencies between experience and understanding).
    Abstract Conceptualization (Reflection gives rise to a new idea, or a modification of an existing abstract concept).
    Active Experimentation (the learner applies them to the world around them to see what results).

    Effective learning is achieved through (1) having a concrete experience followed by (2) observation of and reflection on that experience which leads to (3) the formation of abstract concepts (analysis) and generalizations (conclusions) which are then (4) used to test hypothesis in future situations, resulting in new experiences. Applying this methodology secures a learning experience not just for the learners and target groups, but as well for the staff of the partners.

    Creativity isn’t the sole dominion of artists and geniuses. It shouldn’t be confined to certain subjects in the curriculum, creativity in science is different to creativity in drama but is valuable to both.

    Creativity is enhanced through subject knowledge. We’re advocating for learners to be given the chance to deepen their subject understanding and build on this through creativity. An enriching experience for teachers and students alike.

    According to the World Economic Forum’s The Future of Jobs Report, ‘creativity’ will be one of the top three skills required to thrive in 2020. This is a profound prediction when understanding why the creative arts are important in education.

    The Future Jobs Report ranks creativity at third place of the Top 10 skills required by 2020, behind complex problem solving and critical thinking. For the education sector, this is a wake-up call. As recently as the last decade, the creative arts have not had a significant bearing on curriculum requirements. In many cases, they have been designated to the realm of co-curricular activities. Quite clearly, this needs to change. Fast.

    Teaching for creativity should be practised across the curriculum and accessed by all. It should not be confined to certain subjects; creativity in science is different to creativity in drama, but is valuable in both.

    Through engaging in opportunities for creative learning, grounded in subject-knowledge and understanding, students’ creative capacity will be nurtured, and their personal, social and academic development greatly enriched.
    With these advantages leaners will navigate in society and the world of work able to think and work creatively across disciplines and sectors.
    (https://www.artscouncil.org.uk)

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