Today’s blog post about this morning’s work with Creative Confidence is an example of my own move from fear to courage.
Was anyone else put off by the examples of failure in this chapter?
For me, the failures highlighted were those that people of privilege could afford. The venture capitalist who passed on Google did not suffer financially from the failure. He remains wealthy, perhaps not as wealthy as he could have been, but nonetheless, he has more than enough money.
How many families could bankroll the Kelley brothers’ destruction of the family piano for the sake of creativity?
Those who are privileged to be able to “bring-your-whole-self-to-work” most likely work for employers in states where components of their sociopolitical identities are protected by employment laws. Some of us are not as fortunate, thus the fear that we will lose our livelihood stops us from being our authentic selves at work.
Privilege is a safety net that makes the trapeze, acrobatic work of creativity less risky.
What I am arguing in this post is NOT that design thinking is problematic in terms of privilege; I am proposing that the authors of this book may be blind to the privilege they enjoy, and thus this text (especially this chapter) may not resonate with those of us who do not share this privilege.
Today with Creative Confidence —
I am embracing the idea that creative confidence is a “way of seeing . . . your place in the world more clearly, unclouded by anxiety and doubt.” With this way of seeing as my foundation and relying on my creative mindset of “a powerful force for looking beyond status quo,” I am now thinking about how to engage my creative energy during my summer of intentionality. During my summer of intentionality, I am laying out goals for the work I want to accomplish and tracking my progress for meeting these goals.
This approach I hope will allow me to return to school rested, without the underlying anxiety that I did not “do enough” or “think enough” about the 2018-2019 school year.
It was then invigorating to read that what keeps us from being courageous, from cultivating our creative confidence, is that there is paradoxically comfort in our uncertainty. Shaking away the uncertainty, I have decided to work through this text as my way of challenging the status quo of course/curriculum design. (And I am deliberately not researching this idea because I don’t want to feed my fixed mindset of thinking that someone has already done this — proposed how to use Design Thinking for curriculum development.)
So what happens when we thinking about DT as a curriculum design methodology? Do we combine it with the ideas of IBL and UbD?
The Kelleys see innovative programs as balancing three factors: feasibility, viability, and desirability. Finding the sweet spot in this triad is where design thinking works and finding it in curriculum design can be where students learn best. For me, when thinking about design as curriculum design methodology, I see feasibility in education as a reminder for teachers to consider what we already know and believe about child development and pedagogy. Will what we are proposing fit in what we know about how students learn? Thinking about viability in education, we remember that our courses must live within the framework define our school’s mission and norms. Will this course design support our mission and fit into our school’s culture? Finally, desirability in education connects this methodology to Inquiry-based learning as we seek to connect our design to what student passion. How do we learn what students hold as their core beliefs and how to leverage these beliefs for motivation? In learner-centered design, we look for students to engage with content and skills that they feel are critical for success. Are these the same as what we as teachers feel are necessary? And if not, do we let go of our own beliefs or do we encourage students to consider our ideas? If so, how do we encourage students to look beyond themselves?
Using design thinking within the classroom as a methodology for inquiry-based learning is an authentic way engage students in innovative, interdisciplinary problem-solving. This month I will explore how I can use design thinking within a curriculum development methodology to design a six-week course module focused on Shakespeare and Ellison’s Invisible Man.
Starting my MVIFI Summer + Learning today with Tom Kelley and David Kelley’s Creative Confidence: Unleashing the Creative Potential with Us All. Today I will start with questions, following a strategy I’ve taught students to use when tackling an unfamiliar text. Asking questions prior to starting a text leads to greater comprehension while also providing students with their own inquiry into a text. Starting with questions is also a norm at Mount Vernon Presbyterian School. What follows here is my brainstorm of initial questions I have prior to diving into the reading.
- What is the Kelleys’ definition of creativity? Does it differ from my own idea that creativity involves an aesthetic appreciation of life and its truths? (This summer I am very interested in truths.)
- What does it mean to have creative confidence? Is this a belief in your ability to make something worthwhile, something aesthetically pleasing, something meaningful?
- I am participating in Enhancing your Professional Creativity workshop at SCAD later this month, and I am wondering how this text will connect with the work I’ll do in Savannah.
- Charlie Rose is quoted on the dust jacket, praising the authors for sharing their secrets about “find[ing] out creative power.” I wonder if the authors are concerned that Rose has lost his credibility as a journalist. I wonder if this quote will appear on dust jackets printed for later editions.
- I wonder what type of work I’ll need to do while reading. Brené Brown mentions being inspired by the “real-life exercises” in the text.
- A creative way of thinking, creative mindset, asks us to empathize with users while innovating and to tell compelling stories about our innovations. My own inability to get out of my head when I am writing stymies my storytelling; I find myself clicking tabs on my browser instead of writing. Will I learn how to get out of my head and turn off the internal censor?