Thank you for your efforts.

I’m not sure if there was a misunderstanding , I am not focused on linguistics but on
how experiential learning, situated cognition in an informal setting (eg museums )
can aid learning and creativity in history in primary schools. + critical look at
behaviourist, passive learning. Please avoid focusing on history of theories but
rather look at approaches : vygotsky = collaboration / social setting, Piaget =
probability thinking , Bruner = 3 stages (physical, pictorial and abstract) and Kolbs
experiential learning cycle , reflection. Please simply mention ( Skinner advocated
the child was an empty vessel + passive learning , in comparison to KOlb, Rogers
and constructivist that believe learners can construct knowledge ) , refer to the
example literature review. The word count is small , so the information must be
concise, critical and show linking and contrasting of viewpoints briefly. Please ONLY
use articles I sent as they are current research and I can check draft alongside
them.
Criteria for literature review
1) Discuss the key themes in the main article, please use the : Associating
creativity, context, and experiential learning Catharine Dishke Hondzel
& Ron Hansen (2015) (see pdf) -Here you need to define and briefly
explain experiential learning , situated cognition and creativity and their
connection. -What is the authors view on formal and informal learning
settings ? -Briefly discuss influence of vygotsky, Piaget and Bruner ,
Kolb and Rogers. Points to consider when working with the main article
(refer to deconstructing main article pdf)
What barriers do they say the current educational system puts in the way of learning
and creativity What do current conceptions of schooling fail to take into account
when considering learning? How are learners seen?
• Discuss the Lindeman quote (1926, p.3) on page 178 In a statement that remains
as true today as it was when published, he proposed that ‘‘education conceived as
a preparation for life locks that learning within a vicious circle. Youth educated in
terms of adult ideas and taught to think of learning as a process which ends when
real life begins will make no better use of intelligence than the elders who prescribe
the system’’
• What do they mean, when discussing creativity, by the phrase – “We argue that
the cultural or environmental determinants of creative learning and thinking will
prove more helpful in defining, valuing, and understanding this exciting but elusive
concept” (p.178)?
• “evidence of a curriculum and school system designed to support creative
development is lacking” (p.179)? Do you agree? What is your experience or
evidence?
• What issues do they identify with learning that prepares children for the future
world they will inhabit? P179.
• The article make that point that schools tend to treat subjects or areas of learning
in separate silos. Instead the article suggests that, “through effective educational
practices that recognise the way cognitions are shaped both inside and outside of
the formal educational environment, students develop an appreciation of history,
scale, interactions and their own identity (Lindeman 1926, Kolb 1984; Wilson and
Myers 1999)” (p.182) What is meant here? What are your thoughts or experiences?
• How can experiential learning benefit children and what factors need to be in place
to make it work? P. 182
• What do you think of Rogers ideas (p183-184) on the role of cognitive and
experiential components of
learning and how would you relate it to your own views and experiences?
• What is the value of creativity according to the paper? P. 185
• What is the relationship between situated cognition and creativity? NB Situated
cognition suggests that thinking is inseparable from doing. All knowledge is tied to
experiences tied to social and cultural contexts
• “Formal education policy needs to comply with a culture that celebrates human
creativity”, p.187. Discuss
2) Then compare it with a subject -specific History article : John Dewey and
Adult Learning in Museums David F. Monk, MA1 (see pdf) What is
Deweys view on experiential learning? Compare and contrast themes
between (monk,2013) and (Hondzel & Ron Hansen) (2015) (see pdf)
3) Discuss the article that is critical about what “experience “ is : The
Overcoming of Experience by Margret Buchmann and John Schwille
1983 in American Journal of Education (See pdf)
Support your ideas further using ONLY the articles I have sent you
Use these Articles for specific key themes: Experiential learning: -Best
Practices in Experiential Learning Prepared by Michelle Schwartz,
Research Associate, for the Vice Provost, Academic -Experiential
learning in youth work in the UK: a return to Dewey Jon Ord To cite this
article: Jon Ord (2009) DAVID KOLB key theorist : Experiential
Learning: Experience As The Source Of Learning And Development
Book · January 1984 (some chapters)
Museums Articles : 1)Museums as Alternative Settings for Initial Teacher Education:
Implications of and Beyond the "Take One Picture" Program for Primary Art
Education Author(s): Yanyue Yuan, Philip Stephenson and Richard Hickman
Source: Visual Arts Research , Vol. 41, No. 1 (Summer 2015), pp. 27-42
History and creativity Articles : 1) Curious teachers, create curious learners and
great historians Sarah Whitehouse, Karan Vickers- Hulse & Jane Carter To cite this
article: Sarah Whitehouse, Karan Vickers-Hulse & Jane Carter (2018)
2)CREATIVITY IN HISTORY TEACHING AND LEARNING Norman Jackson , 2005
Critical issue : Narrow curriculum : Article : The humanities in English primary
schools: struggling to survive Jonathan Barnes & Stephen Scoffham (2017)
Inclusive teaching: Article : NATURE, NURTURE, KNOWLEDGE: THE PROMISE
OF EXPERIENTIAL LEARNING FOR STUDENTS WITH SPECIAL NEEDS A thesis
presented by Kara Marie Peterson , (2011)
Example (the focus is art here, your focus is History)
Hondzel and Hansen’s (2015) paper on creativity and experiential learning depicts
the benefits and limitations of how children learn in school and outside of school.
Only recently, has creativity been of importance in the school settings and with the
curriculum, as it only refers to arts, painting, dance or fashion. Even though, one of
the aims mentioned in the National Curriculum is to provide children the opportunity
to explore their creativity (DfE, 2014). However, Runco (2007) dives deeper into the
meaning in this paper and defines creativity as an individualised trait that allows us
to familiarise ourselves to adapt to changing conditions and our ability to develop
our ideas (Hondzel and Hansen, 2015).
Within this paper, they discover the importance and the impact of experiential
learning as well as some issues that goes against it. It also explains how life
experiences outside of school can be educational which fosters children’s creativity
(Hondzel and Hansen, 2015). This can be supported by Art and Design within the
educational curriculum through Haanstra’s (2010) findings that children have the
freedom to produce art in the comfort of their own homes as there are no
boundaries or limitations. Unlike in schools, where they are expected to follow a
certain structure and they are producing art work as a task or assignment. It
explains that art produced at school is based on ‘formal learning’, meaning that
there is a dedicated place and time for learning that is intentional. On the other
hand, ‘non-intentional learning’ is informal which promotes self-initiated art
(Haanstra, 2010: 277). Folkert Haanstra (2010: 273) wrote an article titled
‘Self-Initiated Art Work and School Art’ where he interviewed 52 Dutch students all
from different schools to fully understand the four main types of self- initiated art
work: ‘applied art, popular visual culture, personal experience and traditional art.’ In
view of this, Twigg (2010) dedicated an article expressing the difficulty of the
classroom environment limiting children as artistic learners, suggesting that art and
design should have an active role within the curriculum. Based on Rogers research
of experiential learning, he differentiates two kinds of learning, cognitive and
experiential. Cognitive learning is the understanding of facts, historical dates or
algebra. Whereas, experiential learning uses the information in a self-initiated
manner (Hondzel and Hansen, 2015). In relation to the Haanstra (2010) article, the
cognitive learning takes place in an art classroom where children are told how to
draw and what is expected of them, while experiential learning occurs at home
where the children are use what they learnt at school and make it their own. As
children experiment with mark making, they are able to communicate and used as
form of expression (Watts, 2010). Due to this, the experience becomes of value as
the learning that occurred outside of school is directly connected to the learning that
is happening in the classroom, therefore, it benefits the children’s understanding
within the educational curriculum (Ofsted, 2008). This implies that children’s
learning should not be confined within the walls of the classroom where the teacher
is situated at the front with students sitting shoulder to shoulder and taking notes
(Hondzel and Hansen, 2015). Instead, focusing on the learning that children can
develop through experiences such as museums and galleries where they can truly
interact, observe and interpret the physical art work (Ogier, 2017). Research has
identified several benefits of experiential learning such as ‘individual growth and
improvements in social skills, impacts on attitudes, beliefs and self-perceptions,
and, to a lesser extent, the development of general and specific academic skills’
(Kendall et al., 2006: 2). Environments that promote creativity, allow children to think
critically and independently learn through problem solving which will encourage
‘self-initiated learning’ (Hondzel and Hansen, 2015). This relates to self-initiated art
that is
produced at home where the resources are limited, however, the children are able
to use what they have like pencil and felt-tip produce creative art work by learning
independently or with friends and
family as social learning (Haanstra, 2010). With this, Vygotsky stresses on the
significance of having first-hand experiences for the children to develop their own
personal understanding to support their learning (Ogier, 2017). The confidence that
the teacher has, is a crucial aspect of teaching art and design as it reflects on the
 quality of the children’s work. Suggesting that, if the teacher is unsure and insecure
about drawing, it limits children’s opportunities to explore and develop their skills
(Watts, 2010). Due to the school system is created to teach children to test them,
teachers are pressured and limited to the kinds of activities they can conduct which
might not revolve around creativity and exploring their imagination as it should be
(Hondzel and Hansen, 2015). One way of solving this ongoing issue is to implement
outdoor learning be it activities within the grounds of the school or trips to art
galleries to provide children with a wide range of quality experiences and
opportunities (Kendall, 2006). There is a misconception that learning should be
conducted in formal and institutionalised environments like the classroom, however,
Linderman (1926) disagrees with this system as he believes that this manner of
education does not prepare youth for the future and real-life situations (Hondzel and
Hansen, 2015). However, an Ofsted report suggests that outdoor learning plays a
big part in children’s future, preparing them for the next chapter of their lives as it
improves their ‘personal, social and emotional development’ (Ofsted, 2008: 5).
Seefeldt (2002) understands that children’s artwork is a representation of their
personal development and is made with an emotional purpose (Twigg, 2010). One
of Haanstra’s four main categories of self-initiated art work agrees with Seefeldt’s
idea is, ‘personal experience’ as children express their feelings and emotions into
their art pieces (Haanstra, 2010). Within the educational curriculum, Art and Design
is seen as minor, as core subjects such as English, Maths and Science are
essential and all topics should be covered. Due to this, Elliot Eisner developed the
idea of art and design in school as discipline-based art education (DBAE) that the
subject should be mandatory and treated the same as all the other subjects (Twigg,
2010). Therefore, he explains how visual literacy is of great importance as it is
language used to ‘read’ something we are looking at which allows children to
engage with art and life itself. (Ogier, 2017).
Example reference list
Word count: 1053 (our literature anlysis is
less =750 words)

Referenc
es:

Department for Education (2014) The National Curriculum in England:

Framework Document. UK. Available at:
https://assets.publishing.service.gov.uk/
government/uploads/system/uploads/attachment_data/file/3813441 Master final
national curriculum 28 Nov.pdf (Accessed: 11 th April 2019).

Haanstra, F. (2010) Self-Initiated Art Work and School Art.

International Journal of Art & Design Education. 29(3) pp. 271-283.
Available at: https:// content.ebscohost.com/ContentServer.asp?
EbscoContent=dGJYMMvl7ESep7M4v%2BbwOLCmr1Gep7dSsKa487CWXWXS
&C
ontentCustomer=dGJYMPGusoi1rk9JuePfgeyx43zx1d%2B15w
AA&T=P&P=AN&S =R&D=aph&K=54451408 (Accessed: 16th April
2019).

Hondzel, C. D. and Hansen, R. (2015) Associating Creativity,

Context, and Experiential Learning. Education Inquiry. 6(2) pp. 177-190.
Available at: https:// doi.org/10.3402/edui.v6.23403 (Accessed: 11th April
2019).

Kendall, S., Murfield, J., Dillon, J. and Wilkin, A. (2006)

Education Outside the Classroom: Research to Identify What Training is
Offered by Initial Teacher Training Institutions. Nottingham: Department for
Education and Skills. Available at:
https://www.nfer.ac.uk/publications/EOTO1/EOT01.pdf (Accessed: 11th
April 2019).

Kolb, D.A. (2015) Experiential Learning: Experience as the Source of

Learning and Development. (2nd edn.) Upper Saddle River, New
Jersey: Pearson Education Inc.

Ofsted (2008) Learning outside the classroom. UK. Available

at: http://
www.lotc.org.uk/wp-content/uploads/2010/12/Ofsted-Rep
ort-Oct-2008.pdf (Acceseed: 16th April 2019).

Ogier, S. (2017) Teaching Primary Art and Design. Los

Angeles: Learning Matters.

Twigg, D. (2010) Exploring Art in Early Childhood Education.

The International Journal of the Arts in Society. 5(2) pp. 193-204.
Available at: https://
moodle.roehampton.ac.uk/pluginfile.php/916422/mod_resource/content/1/
Twigg%20Exploring%20Art%20in%20Early%20Childhood%20Education.p
df (Accessed: 11th April 2019).

Watts, R. (2010) Responding to Children's Drawings. In: Education 3-13. 38(2)

pp. 137-153. DOI: 10.1080/03004270903107877 Available at:
http://dx.doi.org/ 10.1080/03004270903107877 (Accessed: 16th
April 2019).