Unpacking the Syntax of Creative Teaching through Ethnography and Neurolinguistic Programming (NLP)

Dennis Sale
Singapore Polytechnic
dennis_sale@sp.edu.sg

Editor’s Note: This article updates a paper presented at the 2004 IASCE conference in

Singapore.

In her keynote address at the 2004 IASCE international conference in Singapore, IASCE co-president Lynda Baloche explored developing creativity: http://www.iasce.net/Conference2004/Keynotes/Baloche/balochekeynote.doc. The paper I presented at the same conference offers a practical model of creative teaching that enables teaching professionals in any field or educational sector to develop their creative teaching competence: http://www.iasce.net/Conference2004/23June/Sale/IASCE%20Paper%201.doc. The current brief article summarizes and updates that work.

The objectives of my original research project were to uncover the underlying syntax of creative teaching. It was driven by the question: what do creative teachers do and how do they do it? The research model was eclectic, employing grounded theory, heuristic methodology and NLP (Neurolinguistic Programming) technologies with a wide range of teaching professionals who were observed, video-recorded and interviewed to uncover their underpinning beliefs and strategies regarding teaching and learning.

The research found that creative teachers develop their creative competence over time, just like any other form of competence is developed. In the most basic terms, creative teachers seek to be creative, continually develop the resources and strategies for creative action in their teaching, and are prepared to take the necessary risks that creativity entails. The research suggests that creative teachers are likely to become even more creative over time and develop an ‘unconscious creative competence’.

Since the presentation of the paper, I have implemented the model in a number of educational institutions in both Singapore and other Asian countries. It has been well received, and I am presently writing a book based on it.

The only change from the original presentation of the model is that the mnemonic used for resources ‘PEASHA’ is now ‘SHAPE’. SHAPE refers to:

•          Stories told to provide context, understanding and emotional anchors

•          Humour used to achieve rapport and provide novelty

•          Activities provided to integrate, apply and consolidate learning

•          Presentation style (e.g., words, tone, body language – as well as observation and listening) to provide clarity, meaning and influence student attention, beliefs and psychological states

•          Examples used to illustrate facts, concepts, principles, procedures

In observing many hours of videotape and modelling actual classroom behaviour with co-participants, it was noticeable that the skilful and creative combining of resources (SHAPE) to form effective strategies constituted much of the observed teacher behaviour. Furthermore, this is underpinned by both explicit and tacit cognitive strategies – the pedagogic syntax - that creates the learning experience at the sensory level for students.

The SHAPE framework can be effectively used in any teaching and learning context, involving any combination of methods. For example, in more traditional classrooms, teachers can be creative through the use of their presentation style, humour, stories, examples and small activities. In the cooperative learning classroom, a greater emphasis is placed on the use of cooperative learning structures, which are generic activity frames. In this learning environment, the SHAPE is more on the ‘A’ (Activities), so to speak.

However, it should be noted that effective cooperative learning also necessitates a highly effective presentation style, the use of humour, examples and stories. The key difference, as I see it, is mainly in the shape of the SHAPE. Cooperative learning will involve learners more actively in the learning process; hence the pedagogy is more activity orientated and incorporates more of the SHAPE of the learners. For example, learners may contribute more humour and presentation style to the learning relationship than in more traditional classroom environments. Additionally, learners need to develop and utilize collaborative skills to successfully interact with peers.

In terms of ‘creative cooperative learning’, this would involve teachers not simply using the range of established cooperative learning structures, but showing creative competence in their novel combination to achieve effective results in terms of student learning. Teacher creativity also manifests itself in other ways, such as how teachers seek to promote an overall cooperative atmosphere, one in which students make collaboration their first option.

I envisage refining and promoting the approach as extensively as possible in the next few years. Please feel free to contact me to question, disagree, suggest or collaborate.

Dennis Sale heads the Educational Development Section of the Department of Educational and Staff Development at Singapore Polytechnic.