Creativity, a transversal skill for lifelong learning : an overview of existing concepts and practices : final report, annex II : inventory of initiatives.
Date: 2020-12-16
Institutions: Joint Research Centre
Subjects: EU research policy, continuing education, digital literacy, learning, open innovation, professional qualifications

Creativity – a transversal skill for lifelong 
learning. An overview of existing concepts 
and practices 

Final report – Annex II 
Inventory of initiatives 

Authors: Milda Venckutė, Iselin Berg Mulvik and 
Bill Lucas 

Editors: Margherita Bacigalupo, Romina Cachia, 
Panagiotis Kampylis 

2020 

 
 
 
 
 
 
 
 
This publication is a report by the Joint Research Centre (JRC), the European Commission's science and knowledge service. It aims to 
provide evidence-based scientific support to the European policymaking process. The scientific output expressed does not imply a policy 
position of the European Commission. Neither the European Commission nor any person acting on behalf of the Commission is 
responsible for the use that might be made of this publication. For information on the methodology and quality underlying the data used 
in this publication for which the source is neither Eurostat nor other Commission services, users should contact the referenced source. The 
designations employed and the presentation of material on the maps do not imply the expression of any opinion whatsoever on the part 
of the European Union concerning the legal status of any country, territory, city or area or of its authorities, or concerning the delimitation 
of its frontiers or boundaries. 

This report was prepared as part of the study' Creativity – a transversal skill. An overview of existing concepts and practices', which was 
commissioned by the European Commission's Joint Research Centre and conducted by PPMI and prof. Bill Lucas. 

Contact information 
Name: Margherita Bacigalupo 
Email: margherita.bacigalupo@ec.europa.eu 

EU Science Hub 
https://ec.europa.eu/jrc 

JRC122016 

PDF 

ISBN 978-92-76-27448-3 

doi:10.2760/51132 

Luxembourg: Publications Office of the European Union, 2020 

© European Union, 2020 

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How to cite this report: Venckutė, M., Berg Mulvik, I., Lucas, B., Creativity – a transversal skill for lifelong learning. An overview of existing 
concepts and practices. Final report, Annex II (Bacigalupo, M., Cachia, R., Kampylis, P., Eds.), EUR  30479 EN, Publications Office of the 
European Union, Luxembourg, 2020, ISBN 978-92-76-27448-3, doi:10.2760/51132, JRC122016. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Contents 

List of abbreviations ............................................................................................................................................................................................................................. 4 

Introduction ................................................................................................................................................................................................................................................ 5 

Play, creativity and learning ............................................................................................................................................................................................................. 7 

Creative Ireland Programme ......................................................................................................................................................................................................... 10 

Paul Hamlyn Foundation: Teacher Development Fund (TDF) ...................................................................................................................................... 13 

IDEO's Creative Difference tool ................................................................................................................................................................................................... 16 

Creative work with information ................................................................................................................................................................................................... 19 

Lead Creative Schools …………………………………………………………………………………………………………………………………………………………………………22  

Study Strategy of the University of Zagreb .......................................................................................................................................................................... 25 

High-performance cycles (ETHAZI) ............................................................................................................................................................................................ 29 

Denkmotor ............................................................................................................................................................................................................................................... 36 

Kaospilot (Chaos Pilot) and the Enterprising Leadership programme as an example ................................................................................. 39 

Creative Problem-Solving Institute ............................................................................................................................................................................................ 43 

CREUS: Developing and Nurturing the Transversal Skills of Disadvantaged Young People through Creative, Non-Formal 
Learning in Unconventional Spaces .......................................................................................................................................................................................... 46 

Creative Thinking in Youth Work ................................................................................................................................................................................................. 50 

Bullying: I don't stay! Yes to friendship. .................................................................................................................................................................................. 56 

Design Thinking in Higher Education for Promoting Human-Centered Innovation in Business and Society (Design IT) ........... 59 

Experiential Live Initiative Enhancement ............................................................................................................................................................................... 63 

Sustainable Consumption and Production in Social Life ............................................................................................................................................... 66 

Arts & Humanities Entrepreneurship Hub .............................................................................................................................................................................. 69 

Assessment of transversal skills 2020 (ATS2020) .......................................................................................................................................................... 72 

Tinkering: Contemporary Education for Innovators of Tomorrow ............................................................................................................................ 76 

Ontario Technology and Learning Fund (TLF) ...................................................................................................................................................................... 80 

The Creative Lion ................................................................................................................................................................................................................................. 84 

Victorian curriculum and assessment of critical and creative thinking (CCT) as described in F-10 ..................................................... 87 

Towards a More Innovative Workplace ................................................................................................................................................................................... 90 

Mobile Learning in VET towards 2020 .................................................................................................................................................................................... 93 

Vocational Cooperative Learning Triangles (VoCOL) ....................................................................................................................................................... 96 

Sustainable Entrepreneurship: A Game-Based Exploration for Lower Secondary Schools (SUSEN) .................................................... 99 

Creative Minds.................................................................................................................................................................................................................................... 102 

TECRINO: Teaching Creativity in Engineering .................................................................................................................................................................... 105 

Institute Vasco de Creatividad Aplicado (IDEATK) .......................................................................................................................................................... 109 

KC-MEM: Acquiring Key Competences through Local Memories in Non-Formal Adult Learning ......................................................... 113 

Creative Partnerships as implemented in Lithuania ('Kūrybinės partnerystės') ............................................................................................ 117 

Innovation Laboratories for the quality assurance of vocational education and training (i-Labs) .................................................... 121 

PROACTIVE: Fostering Teachers’ Creativity through Game-Based Learning ................................................................................................... 124 

3 

 
List of abbreviations 

CPSI  

CCT  

Creative problem-solving institute 

Critical and creative thinking 

DeSeCo 

Definition and selection of competencies 

DigComp  

The European Digital Competence Framework for Citizens 

ECEC  

Early childhood education and care 

EntreComp  

The European Entrepreneurship Competence Framework 

ERI-Net 

Asia-Pacific Education Research Institutes Networks 

EU 

ICT  

JRC  

HE 

European union 

Information and communication technology 

Joint Research Centre 

Higher education 

LifeComp 

The European Framework for the Personal, Social, and Learning to Learn Key Competence 

MENA 

Middle East and North-Africa 

MOOC  

Massive open online course 

NGO 

OECD  

Non-governmental organisation 

Organisation for Economic Co-operation and Development 

O*NET  

Occupational Information Network 

P21 

PISA  

STEM 

TTCT  

Partnership for the 21st Century Learning 

Programme for International Student Assessment 

Science, technology, engineering and mathematics 

Torrance tests of creative thinking 

UNICEF 

United Nations Children's Fund 

UNESCO 

United Nations Educational, Scientific and Cultural Organization 

VET 

WEF 

Vocational education and training 

World Economic Forum 

4 

 
 
 
Introduction 

The purpose of the inventory was to reveal practices that had been used to promote creativity as a transversal skill. These 
include initiatives that vary in terms of design, conceptualisation of creativity and methodological approach. 

To identify relevant practices, an online survey of experts and educators was carried out, and a comprehensive desk research 
was conducted. As a result, 34 practices were selected for a more detailed review. The selection process was guided by the 
principles outlined below: 

- 

- 

- 

- 

- 

- 

Focusing on initiatives that have been adopted since 2010; 

Focusing on initiatives that have been implemented in Europe; 

Focusing  on  initiatives  implemented  in  vocational  education  and  training,  higher  education  and/or  non-
formal learning (e.g. adult education and training) sectors; 

Including initiatives that link creativity with the digital, entrepreneurship and/or life key competences; 

Including initiatives launched in the fields of social action, youth work and/or sustainability; 

Including initiatives which are well documented. 

For each selected initiative, information was gathered on such aspects as objectives, timeframe, target group(s), geographical 
scope, sector(s), level(s) and settings of education and training covered, level of implementation, key actors involved and their 
roles, funding arrangements, key activities/measures, definition of creativity, pedagogical approaches and methods promoted, 
assessment approaches and methods promoted, outputs, outcomes, impacts, and lessons learned. 

As a final step, 34 factsheets were prepared and are presented below 

The inventory was compiled based on the structure agreed upon in the kick-off meeting with the JRC. Key strands include the 
design of the policy or initiative, conceptualisation and promotion of creativity, performance of the policy or initiative, and the 
sources. Strands comprise variables, all of which are presented in the figure below. 

Source: Compiled by the authors. 

• Name
• Objectives
• Timeframe
• Target group(s)
• Geographical scope
• Sector(s) covered
• Level(s) covered
• Settings covered
• Level of implementation
• Key actors involved and their roles
• Funding arrangements

• Conceptualisation of creativity:
• Definition
• Dimensions, elements and components
• Key activities/measures
• Pedagogical approaches and methods promoted
• Assessment approaches and methods promoted

• Results:
• Outputs
• Outcomes
• Impacts
• Lessons learned

• Links to sources

Figure 1. Row descriptors 

Design of the 
policy/initiative

Conceptualisation 
and promotion of 
creativity

Performance of the 
policy/initiative

Sources

While most of these variables are straightforward, some require an additional explanation. For this inventory: 

- 

Sectors covered can be formal, non-formal or both. 

5 

 
 
 
- 

- 

- 

- 

Levels  covered  can  be  (primary  and/or  secondary)  school  education,  vocational  education  and  training 
(VET), higher education (HE) and adult learning. 

Settings covered can be institutional, workplace, community, distance learning, etc. 

Key activities/measures refer to the main project activities, not only the ones which are directly linked to 
the promotion of creativity. 

Pedagogical and assessment approaches and methods are described only if they are directly linked to the 
promotion of creativity or other transversal skills. Project methodologies which are not related to these, 
are not described. 

6 

 
 
 
 
 
Play, creativity and learning 

Objectives 

Research had shown that play was only sporadically featured in the Diploma modules on offer in 
Social Education (around 60% of professionals working in Danish day-care settings for 0 to 5 year-
olds  hold  a  bachelor’s  degree  in  this  field).  However,  Section  7  of  the  amended  Danish  Daycare 
Facilities  Act  (Dagtilbudsloven)  of  2018  stipulates:  'Early  childhood  education  and  care  must 
support children’s well-being, learning, development and formation through safe and pedagogical 
learning environments in which play is an essential element and which are based on a children’s 
perspective'. In this context, the module was launched to promote play as a didactic tool among 
professionals working in the early childhood education and care (ECEC) sector. More specifically, the 
objective  is  to  help  pedagogues  acquire  both  theoretical  knowledge  about  and  practical 
competences in how adults can facilitate and position themselves in play situations, in their work 
with children's well-being, formation, development, and learning. 

Timeframe 

2018-present 

Target group(s) 

In-service ECEC professionals 

Level of 
implementation 

Geographical 
scope 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

Key activities/ 
measures 

Local (municipality) 

Denmark, municipalities of Billund and Esbjerg (although the module has been nationally accredited 
and approved for offering by all university colleges in Denmark) 

Adult learning (continuing and further education and training), institutional settings 

Central to the initiative was the municipality of Billund, University College Lillebælt and the LEGO 
Foundation  partnered  to  develop  a  continuing  and  further  education  and  training  programme 
targeted  at  in-service  ECEC  professionals,  which  resulted  in  the  creation  of  the  Diploma  module 
'Play, creativity and learning'. University College Lillebælt offers the course. Municipality of Esbjerg 
was invited to participate in the competence development programme 'Play, creativity and learning' 
by the LEGO Foundation. 

The Diploma module forms part of a full Pedagogical Diploma Programme, which is a qualification 
for in-service professionals rated at 60 ECTS points, equivalent to one year of full-time study. Each 
module (10 ECTS) is typically organised into 40 hours of face-to-face teaching over the course of 
7-20 weeks. In addition, Diploma students receive guidance on assignment writing, and can engage 
in group work, reading, observations in the field, and action learning through peer work and video-
based feedback. The module is concluded with an exam. Participants gain new theoretical insights 
into play and  its importance while being able to practise what they  learn  between  the individual 
lessons. They are then asked to analyse their practice and reflect on it together. It is argued that 
after completing the module, students can: 

- 

- 

- 

Assume  responsibility  for  facilitating  children’s  formation  through  participation, 
play, creative expression and the creation of communities of children; 

Collaborate on strengthening children’s play based on the children’s perspective; 

In collaboration with colleagues, develop and implement a pedagogical approach 
that supports children’s play, learning, curiosity, experimentation and creativity; 

7 

 
 
 
-  Develop a pedagogical practice based on a research-informed fundamental view 

of children and children’s play; 

- 

- 

Analyse and assess the importance of play to children’s formation, development 
and participation; 

Explain and use didactic thinking to support children’s play and creative processes. 

They also have: 

- 

- 

Fundamental knowledge about creativity, children’s play and play culture as well 
as insight into the importance of play in an educational and learning perspective; 

Knowledge of and the ability to reflect on the importance of professional input in 
interaction with the institutional framework, facilities and conditions. 

Funding 
arrangements 

Sponsored by the LEGO foundation 

Conceptualisation 
of creativity 

Not applicable 

Pedagogical 
approaches and 
methods 
promoted 

Assessment 
approaches and 
methods 
promoted 

Results 

The module centres on play (to avoid getting ready for school at the expense of creativity) and is 
deeply rooted in the thinking behind the bolstered pedagogical curriculum. It is argued that: 

- 

- 

- 

- 

Pedagogues  are  supposed  to  let  go  of  their  own  agenda  and,  instead,  allow 
children to take the lead (i.e. it is crucial to involve the children's perspective). 

A priority should be given to games initiated by children rather than adults. 

Balancing  on  the  edge  of  what  they  are  used  to  can  be  a  highly  formative 
experience  for  children  because  it  helps  them  test  their  limits.  Adults  can  offer 
new  aspects  and  perspectives  to  children's  play  activities  that  the  children 
themselves  do  not  see,  but  it  is  important  how  they  position  themselves  (e.g. 
player-coach or fellow player, instructor or spectator). 

Pedagogues  must  be  careful  not  simply  to  let  the  most  dominant  children  take 
the lead. It may leave quieter children on the side-line. 

Not applicable 

The key output was the Diploma model 'Play, creativity and learning' delivered to in-service ECEC 
professionals working in municipalities of Billund and Esbjerg. 

Outcomes in the Municipality of Billund were: 

- 

- 

Around 125 pedagogues in the municipality are planned to take part (last group 
will complete the exam in summer 2020); 

Pedagogues  are  very  enthusiastic  about  their  participation  and  argue  it  has 
boosted their professional competences. 

In the Municipality of Esbjerg: 

- 

- 

50 pedagogues are doing the module; 

Pedagogues  argue  the  model  has  been  a  collective  eye-opener  -  helped  to  gain 
new perspectives on their own practice. 

In the Municipality of Billund, the model: 

- 

Contributed to strengthening interdisciplinary collaboration across the municipality 
(all  pedagogues  do  the  course,  regardless  of  their  professional  position  and 

8 

 
tasks); 

- 

Improved job satisfaction; 

-  Helped pedagogues become better at giving priority to child-initiated games; 

-  Helped  to  move  away  from  the  institutional  logics  and  question  own  habits, 
traditions and modus operandi, let go of daily routines and instead focus more on 
following the children's perspectives; 

- 

Contributed  to  creating  a  new  focus  on  what  constitutes  learning  environments: 
the group has become more aware that many day-to-day activities involve both 
educative  and  formative  aspects;  this  has  contributed  to  changing  their  view  of 
what happens in, for example, the cloakroom; 

-  Helped  pedagogues  become  more  reflective  when  it  comes  to  the  children’s 
perspective,  the  concept  of  formation,  learning  environments  and  each  other  as 
colleagues; it has provided them with new knowledge and new tools that they can 
use  in  their  future  work  to  support  the  children’s  development,  formation  and 
learning through play. 

In the Municipality of Esbjerg, the model: 

-  Gave  pedagogues  a  legitimacy  in  relation  to  focusing  much  more  on  a  playful 

learning approach; 

-  Helped  pedagogues  gain  new  theoretical  knowledge  about  play,  creativity  and 

learning, enabling them to argue more convincingly for their practice; 

- 

Contributed  to  raising  awareness  of  the  institutional  logics  at  play  in  the 
institutions,  and  the  importance  of  such  logics  to  children's  play,  creativity  and 
learning; 

-  Overall, boosted professional strength, pride and improved job satisfaction. 

Lessons learned 

In the Municipality of Billund: 

- 

- 

- 

- 

The main strength of the module is  that all the municipality's pedagogues must 
participate  in  it,  i.e.  all  pedagogues  gain  and  take  back  to  their  institutions  the 
same theoretical knowledge and insights, which makes it easier to subsequently 
implement new approaches and methods in their day-to-day work. 

Practice-oriented teaching makes it easier to translate new knowledge into action 
in day-to-day work. 

The  success  of  the  initiative  is  also  down  to  the  strong  political  support  and  a 
strategic approach. 

Role  of  the  ECEC  managers  is  important.  Doing  the  module  comes  with  certain 
obligations.  Each  participant  is  responsible  for  contributing  to  developing  their 
pedagogical  practice  in  the  direction  decided  by  the  Municipality  of  Billund.  This 
means  that  the  managers  are  responsible  for  ensuring  that  the  pedagogical 
practice  is  aligned  with  the  Danish  Day-care  Facilities  Act  (Dagtilbudsloven),  the 
bolstered  curriculum  and  the  political  objectives  set  out  in  the  Municipality  of 
Billund’s early childhood education and care policy. 

In the Municipality of Esbjerg: 

- 

It is important to have an open dialogue among staff members on how they can 
break  with  their  institutional  logics.  Everybody  must  support  the  process  of 
change – otherwise there is a risk that it will cause division in the staff group. 

Sources of 
information 

Kabel,  S.  (n.d.).  Playful  learning  in  Danish  municipalities:  Professional  journeys  of  change  in  early 
from 
Retrieved 
childhood 
https://www.legofoundation.com/media/2816/playful-learning-in-danish-
municipalities.pdf 

September, 

education 

2020, 

care. 

and 

12 

9 

 
Creative Ireland Programme 

Objectives 

Creative  Ireland  is  a  culture-based  programme  designed  to  promote  individual,  community  and 
national wellbeing. The core proposition is that participation in cultural activity drives personal and 
collective  creativity,  with  significant  implications  for  individual  and  societal  wellbeing  and 
achievement. The Programme builds on five pillars: 

- 

- 

- 

- 

Enabling the creative potential of every child; 

Enabling creativity in every community; 

Investing in our creative and cultural infrastructure; 

Ireland as a centre of excellence in audio-visual production; 

-  Unifying our global reputation. 

Timeframe 

The initiative was launched in 2017 and will run until 2022.  

Target group(s) 

General public 

Level of 
implementation 

National 

Geographical 
scope 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

Ireland 

All 

Creative  Ireland  Programme  is  overseen  by  the  Department  of  the  Taoiseach  and  led  by  the 
Minister of Culture, Heritage and the Gaeltacht. The national programme office is based within the 
Department of Culture, Heritage and the Gaeltacht in Dublin. 

- 

- 

- 

Creative Communities is supported by a Culture and Creativity Team within each 
local  authority,  under  the  guidance  and  leadership  of  a  local  Creative  Ireland 
coordinator. 

Creative  Youth  is  supported  by  a  working  group  of  officials  from  the  Creative 
Ireland  Programme  office,  the  Department  of  Education  and  Skills,  the 
Department of Children and Youth Affairs and the Arts Council. An Expert Advisory 
group  of  arts  and  education  experts  and  policymakers  guide  and  oversee  the 
implementation of the Creative Youth Plan. 

Implementation  of  the  Audio-visual  Action  Plan  is  overseen  by  a  working  group 
chaired  by  the  Department  of  Culture  with  representatives  from  Screen  Ireland, 
Department  of  Business  Enterprise  and 
Innovation,  the  Department  of 
Communications,  IDA,  Department  of  Finance,  Department  of  Education  and  the 
BAI. 

Key activities/ 
measures 

The Programme is built around key themes: Creative Youth, Creative Communities, Creative Places, 
and Creative Nation: 

- 

Creative Youth creates opportunities for children and young people to realise their 
creative potential. Working within and outside of the formal education system, the 
Programme  supports  their  learning,  self-expression  and  personal  development 

10 

 
through participation in cultural and creative activities. 

- 

- 

- 

Creative  Communities  is  a  local  authority-led  initiative  which  pioneers  and 
supports creative collaborations and local cross-sectoral projects in arts, heritage, 
local history, STEM and the creative industries. 

Creative Places will see a capital investment of €1.2bn in cultural infrastructure in 
Ireland  over  ten  years,  as  part  of  Project  Ireland  2040.  Investing  in  Culture, 
Language and Heritage 2018 – 2027 was announced under the Creative Ireland 
Programme  in  April  2018  at  the  newly  refurbished  Shaw  Room  at  the  National 
Gallery, Dublin. 

Creative Nation recognises and values the unique contribution of Irish culture and 
creativity  to  the  country's  global  reputation  and  influence  in  the  world.  The 
Programme  supports  and  contributes  to  cross-agency  collaboration  which  seeks 
to position culture and creativity at the centre of our international relations. 

Moreover, in the first year of the Programme, Creative Ireland identified the audio-visual sector as 
a priority for strategic investment. Following the publication of the government’s first Audio-Visual 
Action Plan in June 2018, an additional €200 million in funds for Screen Ireland was announced 
over the next 10 years. 

Funding 
arrangements 

Funded  by  the  Government  of  Ireland.  In  2019,  the  total  budget  was  €6,827,349,  in  2018  - 
€5,336,349, in 2017 - €4,950,524. 

Conceptualisation 
of creativity 

Creative  Ireland  defines  creativity  as  a  set  of  innate  abilities  and  learned  skills:  the  capacity  of 
individuals  and  organisations  to  transcend  accepted  ideas  and  norms  and  by  drawing  on 
imagination to create new ideas that bring additional value to human activity. 

Pedagogical 
approaches and 
methods 
promoted 

Assessment 
approaches and 
methods 
promoted 

Results 

three  essential  operating  principles  for  Creative 

There  are 
Ireland:  collaboration  and 
communication,  community  empowerment,  and  internationalisation.  Following  these  general 
principles,  different  approaches  and  methods  are  employed  and/or  promoted  within  individual 
initiatives, actions and projects. 

Not applicable 

A  very  wide  range  of  initiatives  is  implemented  under  the  Programme.  Some  of  the  key/most 
relevant ones include: 

- 

- 

- 

- 

Creative  Youth  Plan,  setting  four  strategic  objectives:  supporting  collaboration 
between formal and non-formal approaches to creativity in education, extending 
the range of creative activities for young people, embedding the creative process, 
and  continuing  professional  development  for  teachers  in  schools  (a  number  of 
actions comprise this plan, e.g. Creative Schools, 'Voice of the child' training, Local 
Creative  Youth  Partnerships,  and  Cruinniú  na  nÓg  -  Ireland's  national  day  of 
creativity for children and young people, and Creative Clusters); 

Culture  and  Creativity  Plans/Strategies  for  each  of  the  31  local  communities; 
around 3,172 creative projects had been implemented in 2017-2019, and these 
included  art  projects,  awards, 
festivals, 
performances/shows, events, and talks/storytelling - just to name a few types; 

cultural  projects,  exhibition, 

Capital  Investment  Plan  and  investments  in  creative  and  cultural  infrastructure 
(e.g. the National Gallery of Ireland); 

Audio-visual  Action  Plan,  the  first  results  of  which  include  legislative  change, 
increased  funding  to  Screen  Ireland,  developments  to  reform  TV  licence  fee 
model, and introduction of the Regional Film Development Uplift; 

11 

 
Lessons learned 

-  National Creativity  Fund to add value and/or  scale to the  implementation of the 
Programme  and  to  help  inform  policy  and/or  cross-sectoral  development  in  the 
area of culture, creativity and wellbeing. 

Following the launch of the Creative Ireland Programme, the Creative Ireland team held 39 public 
consultations  and  some  hundreds  of  meetings  with  individuals  and  organisations  involved  in  the 
arts, arts education and other creative activities for young people. Among the many insights gained 
were that greater collaboration is required to support the development of a creative ecosystem – 
collaboration within national and local government policymaking and administration, between art 
forms,  between  professionals  such  as  artists  and  teachers,  and  between  the  myriad  arts  and 
community activists all around the country. Developing deeper and more widespread collaborative 
networks is now a key task for the Creative Ireland Programme. 

Sources of 
information 

(2020).  Progress  Report  April  2020.  Retrieved  12  September,  2020, 

CIP. 
https://www.creativeireland.gov.ie/app/uploads/2020/03/Creative-Ireland-Progress-
Report-April-2020-1.pdf  

from 

CIP.  (2019a).  Creative  Ireland  Programme:  2017-22.  Retrieved  12  September,  2020,  from 
https://www.creativeireland.gov.ie/app/uploads/2019/12/Creative-Ireland-
Programme.pdf  

(2019b). 

CIP. 
https://www.creativeireland.gov.ie/app/uploads/2019/12/CI_ChildrensPlan_Screen_1.pd
f 

September, 

Retrieved 

Creative 

Youth. 

2020, 

12 

from 

CIP.  (2017).  The  Creative  Ireland  Programme:  End  of  Year  Report  2017.  Retrieved  12  September, 
2020, 
from  https://www.creativeireland.gov.ie/app/uploads/2019/12/Creative-Ireland-
Programme-End-of-Year-Report-2017.pdf  

CIP.  (2018).  The  Creative  Ireland  Programme:  End  of  Year  Report  2017.  Retrieved  12  September, 
2020, 
https://www.creativeireland.gov.ie/app/uploads/2019/12/End-of-Year-
Report-2018.pdf  

from 

(n.d.a).  Creative 

CIP. 
https://www.creativeireland.gov.ie/en/about/  

Ireland 

Programme.  Retrieved  12  September,  2020, 

from 

12 

 
 
 
Paul  Hamlyn  Foundation:  Teacher 
Development Fund (TDF) 

Objectives 

The  purpose  of  the  TDF  is  to  support  the  delivery  of  effective  arts-based  teaching  and  learning 
opportunities in the primary classroom, and to embed learning through the arts in the curriculum. It 
aims  to  do  this  through  supporting  teachers  and  school  leaders  to  develop  the  necessary  skills, 
knowledge, confidence and experience. 

Priority areas are the following: 

- 

- 

- 

Supporting the needs of pupils experiencing disadvantage; 

Embedding learning through the arts in the curriculum; 

Strong partnerships between arts/cultural organisations and schools. 

Timeframe 

2016-present (the pilot ran for two years from September 2016 to July 2018) 

Target group(s) 

Primary school teachers and leaders 

Level of 
implementation 

National 

Geographical 
scope 

United Kingdom 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

Adult  learning  (continuing  professional  development  and  learning  (CPDL)),  institutional  settings 
(focus on primary schools) 

Paul Hamlyn Foundation set up and has been managing TDF. It is one of the largest independent 
grant-making  foundations  in  the  UK,  with  a  mission  to  help  people  overcome  disadvantage  and 
lack of opportunity, so that they can realise their potential and enjoy fulfilling and creative lives. 
The  Foundation  has  a  particular  interest  in  supporting  young  people  and  a  strong  belief  in  the 
importance of arts. 

Partnerships  of  arts/cultural  organisations  and  five  to  ten  primary  schools  implement  projects. 
Hence,  applicants  may  include  charities,  community  organisations,  social  enterprises  and  no-for-
profits companies active in the arts; primary schools and academies operating in the state sector. 

Pilot projects were led by the British Council Wales, Creative Scotland, Hotspur Primary School, Into 
Film,  Royal  Shakespeare  Company,  RSA,  and  Bath  Cultural  Education  Partnership.  PHF  Grant 
Managers, the Centre for the Use of Research and Evidence in Education, TDF Advisory Group, and 
Cohort Learning Days supported the pilot projects." 

Key activities/ 
measures 

Projects  are  implemented  by  partnerships  of  arts/cultural  organisations  and  five  to  ten  primary 
schools. Each partnership works together for two academic years. The focus is on: 

- 

- 

- 

- 

- 

Supporting children and young people experiencing disadvantage; 

Approaches which involve learning through the arts; 

Long-term, 
development and learning; 

inquiry-based  projects  which  support 

teachers’  professional 

Promoting effective and equitable partnerships between schools and arts/cultural 
organisations and artist practitioners; 

The  contributions  of  school  leaders  and  artist  practitioners  as  both  professional 

13 

 
learners  and  as  supporters  of  embedding  learning  through  the  arts  in  the 
curriculum; 

- 

Approaches which involve any of the following art forms: crafts; creative writing, 
including  poetry;  dance;  design;  film;  music;  opera;  photography;  digital  arts  and 
media; theatre and drama; the visual arts; and cross-arts practices. 

Pilot projects were Listening to Language /Cerdd Iaith (teaching modern foreign languages through 
sound  components  such  as  pitch,  shyme,  repetition  and  rhythm),  and  embedding  these  within 
music), Art of Learning (supporting teachers to embed a range of arts-based practices which allow 
pupils to develop executive functions and creativity skills), Concordia (increasing the confidence of 
teachers  to  lead  signing  with  children  so  that  they  can  successfully  transform  the  learning 
environment of their schools), Full Steam Ahead (increasing teacher confidence in using film and 
film  making  as  an  aid  to  raising  pupil  attainment  in  literacy,  numeracy  and  information, 
communication  and  technology),  RSC  Rehearsal  Room  Techniques  (usinh  rehearsal  room 
approaches  and  theatre-making  to  teach  Shakespeare  at  primary  level),  Performing  Pedagogy 
(building  the  skills,  confidence  and  capacity  for  innovation  amongst  primary  teachers  and 
supporting their use of drama and theatre to improve students' literacy, language development and 
storytelling  abilities)  and  School  Without  Walls  (transposing  school  into  an  arts  environment  or 
cultural setting, inviting teachers and children to interrogate and reshape teaching and learning in 
and through the arts). 

Funding 
arrangements 

Paul Hamlyn Foundation is a registered charity with substantial investment assets that finance its 
grant-making activities, including TDF. 

Each  year,  around  five  grants  of  up  to  £150,000  are  awarded  to  partnerships  of  arts/cultural 
organisations  and  schools.  TDF  grants  support  both  activity  costs  and  core  organisational  costs 
which relate to the project. It is expected that participating schools make a contribution (e.g. cash, 
teacher cover, school leaders’ time or other). 

Conceptualisation 
of creativity 

Not applicable 

Pedagogical 
approaches and 
methods 
promoted 

Teachers  and  school  leaders  engage  in  inquiry-based  continuing  professional  development  and 
learning, facilitated by artist practitioners. 

Applicants are asked to demonstrate the effectiveness of the CPDL models proposed. TDF defines 
effectiveness as the use of CPDL approaches which are consistent with the evidence about what 
makes  a  difference  for  pupils,  as  well  as  educators.  Developing  Great  Teaching  (by  Teacher 
Development  Trust)  and  Standard  for  teachers'  professional  development  (Department  for 
Education) are referred to as sources for more information. 

Also, TDF gives specific attention to: 

- 

- 

- 

- 

Involvement of school leaders (not only headteachers but also others influencing 
curriculum planning as subject leads or phase leads); 

Relationship between schools (especially teachers) and artist practitioners (in TDF 
projects,  the  role  of  artist  practitioners  is  to  facilitate  CPDL  for  teachers  and 
school leaders, supporting them to become autonomous in their delivery of arts-
based  learning  and  to  achieve  a  sustainable  approach  to  embedding  learning 
through the arts in the curriculum); 

Reflective practice embedded in the CPDL process; 

Evaluation of and learning from project results. 

Assessment 
approaches and 
methods 
promoted 

All TDF partnerships are expected to undertake a detailed evaluation of their work for two years, 
looking to examine, evidence and understand the effectiveness of the CPDL and the impact of the 
project on teachers’ practice and outcomes for pupils’ learning. Each partnership can decide on how 
to approach this requirement/task. 

14 

 
Results 

Seven  grants  were  awarded  as  part  of  the  pilot  programme  (£1,258,000  in  total).  Over  400 
teachers and school leaders engaged in enquiry-based CPDL in 2016-2018. Over 4,000 pupils were 
involved in the pilot projects. 

Many partners began to experiment with different CPDL processes for identifying and overcoming 
barriers to learning through the arts for pupils experiencing disadvantage. 

In general, within each initiative there was a range in the extent to which learning through the arts 
became embedded in the wider curriculum. At one end of the range were four schools, which made 
extensive  progress  in  embedding  learning  through  the  arts  in  every  aspect  of  school  life.  At  the 
other  end  was  a  small  number  of  schools  that  chose  to  withdraw,  either  because  of  external 
challenges or because they felt they had accomplished all that was appropriate for their context 
and/or goals. 

Lessons learned 

Evidence from the pilot suggests that: 

- 

- 

The  greatest  impact  is  achieved  when  school  leaders  are  positioned  as  lead 
learners and closely involved in planning, delivery and reflection activities. 

It is crucial to have a defined process through which all partners, both separately 
and  together,  reflect  on  the  effectiveness  of  the  CPD  input,  how  the  work  is 
impacting on teachers’ practice and the outcomes for pupils’ learning. 

Characteristics of schools that progressed the most in the pilot include: 

- 

- 

- 

- 

- 

Prior knowledge, skills, capacity and roles related to embedding learning through 
the arts; 

Alignment with a pre-existing, sophisticated professional learning environment; 

Capacity to draw skilfully on specialist support; 

Pre-existing reflection and enquiry skills; 

Alignment between the TDF goals and the school’s existing model of teaching and 
learning (prioritisation of risk-taking and creativity). 

Sources of 
information 

Paul Hamlyn Foundation. (2020). Teacher Development Fund. Retrieved 12 September, 2020, from 
https://www.phf.org.uk/funds/tdf 

Centre for the Use of Research and Evidence in Education. (2016). Teacher Development Fund pilot 
programme 
from 
2020, 
Retrieved 
https://www.phf.org.uk/publications/teacher-development-fund-pilot-programme-2016-18-
evaluation/ 

September, 

evaluation. 

2016–18 

12 

15 

 
 
 
IDEO's Creative Difference tool 

Objectives 

Creative Difference was designed to help organisations understand their creative capabilities and 
then to guide the growth of these capabilities with tailored focus areas and tools. More specifically, 
the tool aims to help leaders assess, track and guide the development of innovative, and adaptive 
teams; to identify strengths and blind spots and help develop a strategy and focused plan of action 
to take an organisation to the next level and help it become highly effective at creative problem-
solving. 

Timeframe 

2016-present 

Target group(s) 

Organisations (including for-profit companies, government departments and NGOs) 

Level of 
implementation 

Local (organisation)  

Geographical 
scope 

Global  

Adult learning, workplace settings 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

IDEO  has  developed  and  offers  the  tool.  It  helps  organisations  identify  business  units  that  they 
would  like  to  participate  with,  prepares  custom  surveys  and  email  templates,  analyses  findings, 
delivers  them  in  an  interactive  dashboard,  and  offers  a  consultative  review  of  it  to  help 
organisations interpret insights and prioritise future actions. 

Key activities/ 
measures 

Funding 
arrangements 

Conceptualisation 
of creativity 

Key steps of employing Creative Difference are: 

- 

- 

- 

- 

- 

An organisation assigns someone to lead the process; 

An  organisation  works  with  IDEO  to  identify  business  units  it  would  like  to 
participate with; 

IDEO  prepares  custom  surveys  and  email  templates  to  deploy  within  an 
organisation; 

Participants spend 15-20 minutes each to complete the survey; 

IDEO delivers results to an organisation (not only scores but also a custom guide 
surfacing  strengths,  improvement  areas,  relevant  case  studies,  as  well  as  tools 
and resources to enable quick action based on priorities). 

Organisations can purchase the product for a certain price. 

IDEO argues that 'sometimes the word 'creativity' can throw business leaders off. They think of art, 
poetry  and  music,  or  at  best  traditional  'creative'  business  functions  like  graphic  design  or 
advertising.  Sometimes  it's  good  to  level  set  and  establish  a  common  language  within  the 
organisation  of  what  creativity  is,  or  what  alternative  word  the  organisation  will  use.  Some 
common terms are innovation, adaptability, change, business design, and design thinking. Very few 
would argue against the fact that people within an organisation should be able to effectively drive 
change,  whether  that  is  to  modernise  operations,  evolve  offerings,  or  innovate  to  create  new 
products.  All  of  these  are  by  nature  'creative',  even  though  many  business  people  are 
uncomfortable with that framing.' 

Six  qualities  of  a  creative  organisation  that  help  it  become  more  innovative  and  adaptive  are 

16 

 
defined as follows: 

- 

- 

- 

- 

- 

- 

Purpose:  a  clear,  inspiring  reason  for  a  company  to  exist  -  beyond  just  making 
money; 

Looking  out:  moving  beyond  the  walls  of  your  organisation  to  understand 
customers, technologies, and cultural shifts; 

Experimentation:  trying  out  new  ideas  and  making  evidence-based  decisions  for 
how to move those ideas forward; 

Collaboration:  working  across  business  functions  to  approach  opportunities  from 
all angles, including a diversity of perspectives; 

Empowerment:  providing  paths  to  create  change  in  all  corners  by  reducing 
unnecessary constraints; 

Refinement: elegantly bridging both strategic vision and tactical execution, moving 
concepts from idea to reality. 

Together with the dashboard, organisations that employ Creative Difference receive access to the 
method  library  -  tools  and  resources  developed  by  a  wider  IDEO  community.  These  are  built  on 
beliefs that everyone is creative, creative organisations are more agile, complex problems are best 
solved collaboratively, innovation starts with people, technology moves fast, human needs change 
slowly, and venturing is R&D. IDEO builds on design thinking, which is described by the company's 
Executive Chair as 'a human-centred approach to innovation that draws from the designer’s toolkit 
to integrate the needs of people, the possibilities of technology, and the requirements for business 
success.'  In  IDEO's  resource,  design  thinking  is  also  described  as  a  methodology  used  to  solve 
complex problems, and find desirable solutions. It is said to involve a solution-focused mindset and 
action oriented towards creating a preferred future. Design thinking draws upon logic, imagination, 
intuition, and systematic reasoning, to explore possibilities of what could be, and to create desired 
outcomes that benefit the end user. 

Pedagogical 
approaches and 
methods 
promoted 

Assessment 
approaches and 
methods 
promoted 

The survey helps to answer three questions: 

-  How does the organisation score on the six qualities of a creative company? 

-  How do the employees view the company's culture? 

-  What type of a creative company is the organisation? 

Results 

The  assessment  consists  of  questions  that  measure  the  conditions  and  behaviours  influencing 
team  capabilities  across  the  six  creative  qualities  and  sub-qualities.  It  helps  to  uncover  a 
teams/ways of working, and provides language to describe certain behaviours and mindsets. 

The  Creative  Difference  dashboard  delivers  team-level  scores  with  benchmarks  by  industry  or 
team.  It  also  tells  organisations  how  to  prioritise  their  efforts  to  achieve  the  largest  impact  and 
gives  them  an  action  plan  that  outlines  the  specific  steps  they  should  take  to  make  their 
organisation more innovative, right down to what to do for different teams within the company." 

Since the launch of the Creative Difference, it has been rum with more than 54,000 respondents at 
600+  organisations  across  every  industry  category,  including  non-profits  and  government 
departments. 

Regarding results, it is argued that Creative Difference helps to develop a common language for 
innovation,  where  employees  across  the  organisation  can  actively  participate  in  the  growth  and 
improvement  of  it.  Creative  Difference  offers  a  baseline  from  which  teams  can  improve  and 
validate  their  progress  over  time.  Most  importantly,  Creative  Difference  provides  methods,  case 
studies, and a collaborative space to enable improvements in the organisation's tangible ability to 
drive change. 

An  example:  Intercorp  (an  economic  group  of  more  than  30  companies  spanning  banks,  malls, 
cinemas, schools, and more, accounts for 2.5% of Peru’s gross domestic product): Having started in 
2017 without any digital capability, Intercorp companies launched five new digital services in 2018. 
Casa  Andina  hotels,  using  human-centred  design  practices  increased  its  NPS  by  more  than  10 
points in 1 year. Innova Schools achieved more than 3x annual growth over projections. All thanks 

17 

 
to  identified  strengths  and  improvement  areas,  and  newfound  skills.  Chief  Innovation  Officer  of 
Intercorp argues 'Creative Difference is our master tool to maximise the creativity of our 58,000 
employees, and track how our 29 companies evolve year after year. It is measurable, scalable, and 
extremely  actionable'.  Director  of  Innovation  in  Innova  Schools  says  'Creative  Difference  has 
allowed us to tackle our problems one by one, making it easier to develop our innovation skills and 
culture as a whole organisation'." 

Lessons learned 

Data from Creative Difference shows that creativity or the ability to effectively solve challenges in 
new, meaningful ways is essential to compete in modern markets: 

- 

- 

- 

3.4  times  more  successful  launches  when  teams  practice  even  the  most  basic 
forms of the behaviours measured by Creative Difference; 

180% more likely to achieve business goals when teams understand their market, 
the users they serve, and what relevant technologies exist; 

50%  higher  rate  of  successful  ideas  when  teams  test  and  iterate  with  five  or 
more ideas, rather than anchoring on a single idea too early in their process. 

Sources of 
information 

IDEO. (2020a). About IDEO. Retrieved from https://www.ideo.com/about  

IDEO. (2020b). Tools. Retrieved from https://www.ideo.com/tools  

IDEO. 
https://designthinking.ideo.com/resources/creative-difference  

Difference. 

Creative 

(n.d.). 

Retrieved 

from 

Interview with the representatives of IDEO. 

18 

 
 
 
Creative work with information 

Objectives 

The objectives of the course are to help students: 

-  Define the goals and possibilities of their education; 

- 

Introduce various concepts and procedures of learning, e.g. learn to learn; 

-  Master the method of creative writing and get rid of creative blocks; 

-  Master the methods of effective and critical reading; 

- 

Learn to use mind maps in common study and work situations; 

-  Master a variety of creative techniques; 

- 

Acquire  principles  and  competences  for  visualisation  and  presentation  of  ideas 
and information. 

Timeframe 

2016-present 

Target group(s) 

University students 

Level of 
implementation 

Local (university) 

Geographical 
scope 

Czech Republic 

Higher education, institutional settings 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

The  course  is  held  at  the  Masaryk  University  where  it  is  situated  at  the  Cabinet  of  Information 
Studies and Librarianship. It was developed by Prof. Michale Cerny, an expert on how we learn and 
what  we  need  creativity  for  in  this  activity.  He  developed  the  course  and  has  two  students  as 
assistants in running and tutoring it. 

Key activities/ 
measures 

The  main  activity  is  tutoring  on  how  to  work  with  information  in  a  creative  way.  The  course  is 
divided into: 

- 

- 

- 

- 

Creativity and learning: finding your own educational path and learning methods 
and creativity; 

Reading and writing: creative writing, effective and critical reading; 

Creativity: mind maps and creative techniques; 

Revelation: visualisation and presentation of information. 

Within each activity, students go through the following: 

- 

- 

- 

Finding  your  own  educational  path:  self-management  and  motivation;  personal 
learning  environment;  time  and  task  management;  portfolio;  learning  through 
networks; MOOCs; 

Learning  methods  and  creativity:  drilling;  continuous  learning;  do  not  learn  by 
yourself; creativity; mindfulness; 

Effective  and  critical  reading:  reading  and  writing  for  critical  thinking;  slow 
reading; fast reading; write reviews; 

-  Mind maps: what are mind maps; how to create mind maps; history; mind maps 

19 

 
when searching for a topic; reading with a mind map; 

- 

- 

- 

Creative techniques: brainstorming and brainwriting; six coloured hats; clustering; 
collage methods; memory methods; 

Visualisation  and  presentation  of  information:  infographics;  presentation;  sketch 
noting; SWOT analysis; own website; video; 

Creative  writing:  what  is  creative  writing;  automatic  writing  and  rhythm  writing; 
blogs; daily; photo diary. 

Funding 
arrangements 

Publicly funded 

Conceptualisation 
of creativity 

Creativity is defined as the ability to create and state of mind or process - rather than a permanent 
disposition. 

Approaches to creativity developed by the following theorists are taught to the students: 

-  Marie König; 

- 

- 

Theresa Amabile; 

Joy Paul Guildford. 

Creativity first of all links to problem-solving and creative problems that are: 

-  New - their solution does not exist yet; 

- 

Socially  important  -  the  problem  needs  to  be  socially  recognised,  at  least  have 
such potential (for example, no one needs to see it yet); 

-  Open - these are often broadly and vaguely defined problems; 

-  Have more correct answers or ways to get them than one. 

In  line  with  the  path  set  out  by  the  definition  of  creativity  as  a  combination  of  discipline  and  a 
child's spirit, the course documentation relates creativity to skills that are close to the discipline on 
the one hand and close to playfulness on the other: 

- 

- 

- 

- 

Self-care and management; 

Reflective thinking; 

Perseverance; 

Critical thinking; 

-  Mindfulness; 

-  Motivation; 

-  Openness. 

Pedagogical 
approaches and 
methods 
promoted 

The pedagogical methods applied and promoted during the course are: 

- 

- 

- 

- 

Personalised  learning  environments  (rather  than  having  a  coursebook,  the 
approach  is  to  collect  and  present  various  approaches  and  resources  and  self-
learning tools that students can use); 

Continuous learning for lifelong learning (in order to be able to learn continuously, 
it is necessary to be able to manage time and tasks, plan them and follow up); 

Reflective learning (the creative diary is one of the key methods of the course; it 
is applied to foster reflective and creative thinking; 

Collaborative  and  virtual  learning  (pairing  students  to  talk  about  their  learning, 
progression, issues, ask each other questions and review each other's work). 

Writing and working with information regularly is central to the course. Writing forces one to work 
with  words,  associations,  sentences  and  transfer  the  mind  to  the  paper.  Creative  diaries  and 

20 

 
morning warm-ups are preferred because writing about a similar topic over and over again forces 
one to look at it from a different angle while adding an element of perseverance. 

Assessment 
approaches and 
methods 
promoted 

Assessment is conducted formatively through continuous mandatory quizzes, but with no minimum 
number  of  points.  The  students  are  expected  to  read  through  course  material  and  videos.  The 
individual texts are designed to show the breadth of the topics covered in the course, but also to 
refer to the various approaches, articles and resources that relate to the topic of creativity. 

To successfully complete the course, it is necessary to: 

- 

- 

- 

- 

- 

Submit required 7 tasks; 

Provide feedback on 7 assignments of classmates; 

Complete 7 quizzes; 

Pass a final online test with 70 per cent correct answers; 

Submit and have positive feedback on the creative diary. 

Little information is available on the exact content of the final test, but it is stated that the diary 
should  reveal  the  following:  three  positive  things;  feelings  map;  a  list  of  what  one  did  that  day; 
poetry; one thing that surprised one that day; short stories, narration or descriptions; short excerpts 
from readings; dreams; intriguing thoughts; mind maps. 

Results 

The key output of the initiative was a course website with links to course material, literature and 
videos. 

The  course  was  set  up  to  foster  personalised  learning  and  inclusion  of  continuous  learning  to 
encourage  lifelong  learning,  which  suggests  that  transversal  skills  were  taught.  The  course 
documentation reveals that it aims to foster creativity as a skill that is transferable to other fields 
of students' life: 'Creative work with information is a skill that you can use in various areas of your 
work and study life'. 

No evaluation of the course has been conducted.  

Lessons learned 

Not applicable 

Sources of 
information 

(n.d.a).  How 

KISK. 
https://kisk.phil.muni.cz/kreativita/o-kurzu  

to  navigate 

the 

course?  Retrieved  8  September,  2020, 

KISK. 
Retrieved 
https://kisk.phil.muni.cz/kiskonline/kreativita/metody-uceni-a-kreativita/kreativita  

September, 

Creativity. 

(n.d.b). 

2020, 

8 

from 

from 

(n.d.c).  Learning  Methods  and  Creativity.  Retrieved  8  September,  2020, 

KISK. 
https://kisk.phil.muni.cz/kreativita/temata/metody-uceni-a-kreativita  

from 

21 

 
 
 
 
Lead Creative Schools 

Objectives 

The scheme aims to promote new ways of working, with innovative and bespoke programmes of 
learning designed to improve the quality of teaching and learning. It works with selected schools by 
providing creative people, skills and resources that are needed to help them address the challenges 
that they face. The scheme nurtures and develops the creativity of learners so that they achieve 
their  potential,  grow  as  well-rounded  individuals  and  are  prepared  with  skills  for  like,  i.e.  able  to 
meet the needs of the economy and to thrive within the increasingly competitive environment of 
day-to-day life. 

More specifically, the programme aims to support schools to: 

-  Work  with  creative  practitioners  in  their  classrooms  to  transform  teaching  and 

learning; 

-  Devise and implement a project or programme of work links to individual school 

development priorities; 

- 

- 

- 

- 

Find creative approaches to improving literacy, numeracy and attainment, and to 
reducing the impact of deprivation on educational attainment; 

Embed changes in teaching practice leading to sustainable impact 

Put the arts and creativity at the heart of school life; 

Be  recognised  for  their  commitment  to  improvement  through  creative  teaching 
and learning and the arts. 

Timeframe 

2015-present 

Target group(s) 

Schools 

Level of 
implementation 

Geographical 
scope 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

Key activities/ 
measures 

Sub-national (country) 

Wales, the United Kingdom 

School education, institutional settings 

The  scheme  is  implemented  by  the  Lead  Creative  Schools  Team.  Schools  (including  School 
coordinators),  Creative  Agents  and  Creative  Practitioners  are  involved  in  the  activities.  Other 
important partners of the scheme include: 

- 

- 

- 

Regional Education Consortia and Challenge Advisors; 

Estyn; 

Arts Council of Wales. 

In  Lead  Creative  Schools  pupils,  teachers,  and  creative  professionals  work  together  to  plan, 
implement, reflect and evaluate a creative project or projects. It facilitates a process where all the 
partners  work  together  to  co-construct  the  learning.  It  supports  enquiry  based  learning,  ongoing 
reflection  and  in-depth  evaluation,  leading  to  sustainable  and  embedded  practice.  What  this 
approach looks like in schools in the form of projects varies greatly, as each project is designed to 
be an  individual response to the needs of  each school. The key  defining  characteristic  of  project 
activity is the collaborative partnership between creative professionals, classroom staff and young 
people  and  how  this  partnership  helps  to  bring  the  curriculum  to  life,  providing  new  ways  for 

22 

 
learners to engage with subjects and to develop increased motivation for learning. Lead Creative 
Schools projects allow time for in-depth planning, co-delivery and reflection. More importantly, they 
can  be  more  active  and  more  fun  than  standard  curriculum  activities  and,  at  the  core  of  the 
process, they give pupils greater involvement in decision making. 

Funding 
arrangements 

Funding  for  Lead  Creative  Schools  comes  from  a  £20  million  budget  allocated  to  support  the 
implementation of Creative learning through the arts - an action plan for Wales between 2015 and 
2020. In total, £10 million from the Welsh Government has been allocated to match £10 million in 
Lottery  funding  from  the  Arts  Council  of  Wales.  £9.5  million  were  allocated  to  Lead  Creative 
Schools over five years. 

Conceptualisation 
of creativity 

Creativity is defined as a habit of mind that can be developed within and through all subjects and 
disciplines.  It  is  argued  that  creativity  is  not  a  skill  bound  within  the  arts  but  a  wider  ability  to 
question, make connections, and take an innovative and imaginative approach to problem-solving. 

Within the frames of the scheme, creativity is defined as five creative habits of mind, described by 
Claxton, Lucas and Spencer. Habits of mind and their sub-habits are: 

- 

- 

- 

Inquisitive:  wondering  and  questioning,  exploring  and  investigating,  challenging 
assumptions; 

Persistent: tolerating uncertainty, sticking with difficulty, daring to be different; 

Imaginative: playing with possibilities, making connections, using intuition; 

-  Disciplined: crafting and improving, developing techniques, reflecting critically; 

- 

Collaborative:  cooperating  appropriately,  giving  and  receiving  feedback,  sharing 
the 'product'. 

The scheme centres on enquiry-based learning. The featured pedagogy is the five creative habits of 
mind, which are used to: 

-  Develop a shared language of creativity; 

- 

Reflect, self-assess and value creative skills/dispositions; 

-  Gather supporting evidence; 

- 

- 

- 

Track progress over time; 

Be more self-aware of when students are using their creative skills; 

Seek opportunities to be more creative, and identify future learning goals. 

A  concept  of  high-functioning  learning  space  is  also  key.  It  is  argued  that  'a  high  functioning 
approach results in a thriving learning space where all pupils are able to achieve and where they 
are  physically,  socially,  emotionally  and  intellectually  engaged.  This  is  not  to  say  that  a  low-
functioning approach is ineffective, many education systems are built on this model, but it does not 
appeal to all learners. Therefore, we need to be able to move between the approaches to ensure 
that there is variety in teaching and learning and the pedagogy responds to pupils’ needs. 

The  focus  is  on self-evaluation.  It  (including  the forms provided to  schools)  is  based  on  the  five 
creative  habits  of  mind,  but  schools  are  free  to  choose  the  specific  means  and  approaches  to 
conduct this exercise. 

Pedagogical 
approaches and 
methods 
promoted 

Assessment 
approaches and 
methods 
promoted 

Results 

Since 2015 and by the end of the 2018/2019 academic year: 

- 

- 

559  schools  have  participated  in  the  Lead  Creative  Schools  Scheme  or  as  a 
partner school in the school-to-school development strand; 

233  creative  professionals  have  been  trained  as  Creative  Agents  to  work  with 
schools to help them find creative approaches to teaching and learning; 

-  Over 40,000 learners have benefitted from the scheme. 

23 

 
Based on the most recent publicly available evaluation report (Welsh Government, 2019): 

- 

- 

- 

- 

- 

- 

LCS scheme is the most advanced element of the Creative Learning through the 
Arts programme to date. 

The level of interest in the LCS scheme from schools has been high. 

The uptake  of  the  LCS  strand  is  largely  representative  of  Wales  in  terms  of  the 
geographical  distribution  of  schools  and  the  primary–secondary  split.  However, 
schools  in  Yellow  or  Green  support  categories  —  demonstrating  good  outcomes 
and  improvement  capacity  —  are  much  more  likely  to  engage  with  the  LCS 
scheme. 

The participation of largely ‘the usual suspects’ calls into question the degree to 
which the changes and innovations evidenced within schools benefitting from the 
LCS scheme can or will be replicated amongst other schools throughout Wales. 

Professional  development  has  emerged  as  a  key  motivation  for  engaging  in  the 
Lead  Creative  Schools  process,  and  developing  pedagogy  is  a  key  programme 
outcome for teachers. 

Teachers  perceive  that  the  LCS  activities  have  had  a  positive  impact  on  the 
creative skills of learners. Improvements were evidenced and reported with regard 
to all five creative habits of mind. 

-  Due  to  a  lack  of  access  to  key  data,  it  is  not  possible  to  robustly  evidence  or 
rigorously  evaluate  the  impact  of  LCS  activities  upon  the  attainment  of  pupils. 
Nevertheless, interviews with teachers suggest a positive impact upon attainment 
in  many  cases,  while  data  provided  through  evaluation  forms  reveals  a  general 
correlation between participation in the LCS scheme and improving attainment. 

The last point has been addressed in more detail in the fourth evaluation of the Creative Learning 
through  the  Arts  programme.  Although  the  publication  of  the  report  is  still  pending,  indicative 
findings shared by the Arts Council of Wales reveal that most teachers believe the intervention to 
have had a positive impact upon the attainment of learners. 

Lessons learned 

According to the Arts Council of Wales, collaborative partnerships can effectively help to increase 
the creativity of learners, improve attainment, and re-ignite teachers' confidence and passion about 
their profession. The intervention is suited for not only well-performing but also struggling schools. 

Sources of 
information 

Arts  Council  of  Wales.  (2019).  Lead  Creative  Schools.  Retrieved  12  September,  2020,  from 
https://2019.creativelearning.arts.wales/?_ga=2.256714120.226021005.1595314047
-2047828571.1593420519#lcs  

Arts Council of Wales. (2017). Lead Creative Schools: Prospectus for Creative Agents. Retrieved 12 
September,  2020, 
from  https://arts.wales/sites/default/files/2019-04/Lead-Creative-
Schools-Prospectus-for-Creative-Agents.pdf 

Arts  Council  of  Wales.  (2015).  Lead  Creative  Schools  Scheme:  Handbook.Retrieved  12  September, 
2020, 
https://arts.wales/sites/default/files/2019-04/Lead-Creative-Schools-
from 
Scheme-Handbook.pdf  

24 

 
 
 
 
Study  Strategy  of  the  University  of 
Zagreb 

Objectives 

There are three key strategic areas that should lead to the realisation of the university's mission 
and academic values: 

-  Orientating  modern  study  programmes  towards  the  development  of  a  broader 

spectrum of competences; 

- 

Encouraging creativity, innovation and a motivating learning environment; 

-  Directing education and action towards the development of the economy, society 

and culture. 

The objectives as regards creativity are to: 

-  Develop a motivating learning environment that encourages creativity, innovation 

and internationalisation; 

- 

- 

Enable  increased  study  success  by  achieving  targeted  quality  teaching  and 
defined learning outcomes while providing support to students; 

Increase  the  quality  of  teaching  by  providing  support  to  teachers  and  improving 
their competencies; 

-  Harmonise  criteria  and  procedures  for  the  assessment  of  teacher  competencies 
which  promote  excellence  in  teaching  in  elections  to  scientific-teaching,  artistic-
teaching, teaching and associate titles; 

- 

Improve  the  quality  of  teaching  and  achieving  learning  outcomes  through  the 
establishment of appropriate levels and qualities of e-learning. 

Higher or long-term objectives as regards creativity are: 

- 

- 

- 

Be an open and attractive centre that motivates students and provides them with 
high quality innovative and relevant education that is internationally recognisable 
and inclusive to its students, enables the acquisition of qualifications relevant to 
the  global  labour  market,  values  and  capabilities  that  are  important  for  the 
development of a democratic civic society and personal development of students; 

Perform  academically  stimulating  and  economically  and  socially  relevant  study 
programs  that  include  contemporary  research  and  creative  approaches  and 
knowledge  in  the  field  of  study,  emphasise  a  creative  and  flexible  approach  to 
content  and  mode  achieving  personalised  learning  outcomes,  develop  students' 
in-depth understanding, enable the creation of new values (innovation, creativity), 
development of relevant skills and attitudes, go beyond the narrow boundaries of 
disciplines  to  include  interdisciplinary  and  multidisciplinary  knowledge  and 
approaches; 

Encourage  a  motivating,  creative  and  supportive  environment  for  teaching  and 
learning  which  includes  motivated,  responsible,  creative  and  methodologically 
qualified teachers (professors and assistants), the application of modern teaching 
methods based on an approach that is directed towards the student and achieving 
learning  outcomes,  encouraging  active  participation  of  students  in  learning  and 
taking over responsibilities for personal work and progress, support to the student 
in entering and adjusting to the university as well as mastering obstacles during 
studies,  encouraging  student  participation  in  creative  extracurricular  activities, 
career  development  activities  and  programmes,  the  use  of  e-learning  and  other 
modern  ways  of  learning  and  teaching  that  contribute  to  achieving  learning 
outcomes  and  motivating  students  to  learn  and  achieve  academic  and  personal 
goals. 

25 

 
Timeframe 

The strategy applies for the years 2014 to 2025 

Target group(s) 

University teachers and students 

Level of 
implementation 

Local (university) 

Geographical 
scope 

Croatia 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

Key activities/ 
measures 

Higher education, institutional settings 

The University of Zagreb and its bodies are the main actors in the implementation of the strategy. 

Key activities to follow up on the objectives of the strategy are: 

- 

- 

- 

Establishment of the Center for the Improvement of Teacher Competences; 

Establishment and organisation of lifelong learning courses; 

Investing  in  a  supportive  environment  for  students  and  teachers,  e.g.  a  student 
support centre was set up; 

-  Working  towards  improved  virtual  learning  environments  and  teaching,  and 
creating separate e-versions at Level 2 (application of e-learning technologies); 

- 

- 

Facilitating and helping students and teachers who want to go abroad, working on 
easing the process of getting grades from extracurricular activities recognised; 

Evaluating results towards a long list of specified indicators. 

Funding 
arrangements 

Publicly funded 

Conceptualisation 
of creativity 

Creativity is not defined in the strategy but described as 'a key social and developmental resource'. 
According  to  the  Croatian  Qualification  Framework  (CQF),  which  the  university  closely  follows, 
creative thinking is a cognitive skill. 

The university argues that 'Future jobs require fundamental knowledge, but also practical skills and 
especially  generic  skills  and  creativity  and  innovation  in  work'.  This  suggests  that  creativity  is 
treated as a generic/transversal skill. 

The strategy links creativity to: 

- 

- 

- 

Innovation; 

Internationalisation (openness towards cultures); 

Personal development (creation of new values and attitudes, not just ideas); 

-  Motivation and lifelong learning; 

- 

- 

- 

According to the CQF, creativity can be broken down in these strands: 

Abstract  creative  thinking  (necessary  in  research  for  the  generation  of  new 
knowledge and procedures and the integration of different fields); 

Simple  abstract  thinking  (required  to  generate  solutions  to  abstract  problems  in 

26 

 
Pedagogical 
approaches and 
methods 
promoted 

Assessment 
approaches and 
methods 
promoted 

partially unpredictable conditions); 

- 

Concrete  creative  thinking  (required  to  select  and  apply  relevant  information  in 
the course of execution of a series of complex routine tasks in familiar conditions. 

The following pedagogies and/or measures have been employed: 

- 

- 

- 

- 

- 

- 

Application of student-centred learning, based on which students are expected to 
adopt a responsible approach and actively study for the purpose of the acquisition 
of knowledge and skills and also the creation of new knowledge; 

Encouraging  and  coordinating  extracurricular  activities,  especially  students'  work 
in  proposing,  organising  and  implementing  activities  where  they  cooperate  and 
innovate; 

Encouraging  and  coordinating  incoming  and  outgoing  students  and  teachers 
(mobility) to foster 'internationalisation at home'; 

Interactive lessons and collaborative learning; 

Learning  and  teaching  based  on  the  latest  research  and  mentored  problem-
solving,  encouraging  students  to  apply  a  holistic  approach  to  the  problem, 
promote  creativity,  innovation,  initiative,  interdisciplinary,  critical  thinking,  being 
analytical and responsibility, ethics and professional independence; 

Encourage  the  acquisition  of  knowledge  and  skills,  as  well  as  the  associated 
independence and responsibility through individual study and collaborative forms 
of  teaching.  The  aim  is  to  partner  a  motivated  and  competent  teacher  with  a 
motivated student. 

Short-term educational modules that earn ECTS credits are accredited if they are up to 10 ECTS 
credits while larger-scale modules are accredited in accordance with regulations for the evaluation 
of study programmes at  various levels. ECTS credits can be awarded to extracurricular activities, 
such  as  student  internships  or  activities  that  are  not  regulated  by  the  curriculum,  student 
competition, active participation of in science, conferences, workshops, seminars or other activities 
not  previously  awarded  ECTS  credits  within  the  study  programs  of  the  University  or  other 
institutions. 

In terms of learning outcomes, the university follows the Croatian Qualifications Framework. The 
framework  sets  out  that  creativity  is  a  cognitive  skill  together  with  logics.  Assessment  at  the 
university covers formative and summative approaches. 

Results 

Key outputs have been: 

- 

- 

- 

The strategy document; 

A website containing online resources and manuals for teachers to improve their 
competences, e.g. a centre for teacher competence improvement; 

39  extracurricular  lifelong  learning  courses,  covering  cross-disciplinary  topics, 
sustainability  and  innovative  teaching  and  research  methods.  For  instance,  a 
course  on  pedagogical-psychological-methodological-didactic  education  of 
teachers. 

Not all of the courses focus on teaching creativity per se as the approach of the university is rather 
to make it easier to apply and develop creativity through lifelong learning, sharing resources and 
research. No evaluation exists as to whether such an approach has had a positive outcome in terms 
of improving creative skills. 

Lessons learned 

Not applicable 

Sources of 
information 

The University of Zagreb. (2014). Study and Study Strategy of the University of Zagreb (2014–2025). 
University of Zagreb: Zagreb. 

Lučić, R.B., Rogić, A.B., Šigir, M.D., Dželalija, M., Hitrec, S., Kovačević, S., Krešo, M., Lekić, M., Mrnjaus, 

27 

 
K.,  Križanac,  M.R.,  Štajduhar,  M.,  &  M.  Tatalović.  (2011).  Croatian  Qualifications  Framework: 
Introduction to Qualifications. Government of the Republic of Croatia, Ministry of Science, Education 
and Sports. 

28 

 
 
 
High-performance cycles (ETHAZI) 

Objectives 

The interviewee confirmed that the objectives of the ETHAZI learning model for VET education and 
educators in this context have been: 

- 

- 

- 

To  develop  processes  for  learning,  designing,  experimenting  and  rolling  out 
innovative learning models in VET; 

To  activate  and  spark  the  talent  of  people  and  organisations  in  being  agile  and 
proactive about solving real-world problems; 

To respond to the skill needs of companies and the future of work. 

Timeframe 

TKNIKA  started  developing  the  model  in  2010  and  piloted  it  in  2013  at  five  vocational  training 
centres in the Basque Country. Since the successful pilot, TKNIKA has worked on implementation 
and continuous follow-up and evaluation of the learning model.  

Target group(s) 

VET teachers and students 

Level of 
implementation 

Geographical 
scope 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

Sub-national (region) 

Basque Country, Spain 

VET, institutional settings 

Central to the initiative has been the education innovation centre TKNIKA. The education innovation 
centre is responsible for implementing the innovation policies set out by the regional VET minister, 
as  well  as  doing  trainings  and  applied  research  in  the  areas  of  technology,  education  and 
management. The Basque centre led the implementation of the learning model across the region. 
Within  TKNIKA,  The  Learning  and  High  Performance  Department  is  responsible  for  implementing 
the  model.  IDEATK,  a  parallel  training  and  research  centre  under  VET  that  focuses  solely  on 
creativity,  has also  contributed  to  the  training  under  ETHAZI.  For  instance, IDEATK  developed  the 
SOR-GIM course (see key measures). According to the interviewee, in order to create a more holistic 
VET  strategy  in  the  region,  IDEATK  merged  with  and  operates  under  TKNIKA  in  2015.  Another 
important actor driving the implementation of the model and activities is the regional government 
who sets out the policy agenda that TKNIKA follows.  

Key activities/ 
measures 

‘The  High-Performance  Cycles  (ETHAZI)’  learning  model  is  developed  and  implemented  in  the 
Basque  region  of  Spain  (Euskadi)  through  several  training  programmes.  The  Learning  and  High 
Performance  Department  of  TKNIKA  mainly  has  five  fields  of  actions  in  the  implementation 
strategy of ETHAZI that can be further broken down by lines of action and programmes (TKNIKA, 
n.d.a): 

- 

Seven lines of action:  

●  STEAM: Enriches the methodological proposal of the regional VET policy 
by adding relevant methodological innovation proposals in STEAM, Visual 
Thinking, and more. It is a training course to answer practical questions 
on how to translate STEAM into educational activities.  

●  Collaborative  challenge-based  learning  (CCBL):  CCBL  is  one  of the 
core  elements  upon  which  the  ETHAZI  model  rest.  In  CCBL,  teachers 
introduce  problematic  situation,  turn  it  into  a  challenge,  as  well  as  the 
entire  process  until  achieving  a  result,  is  structured  around  both  the 

29 

 
technical and specific skills of each cycle, as well as soft skills that are 
strategic at that time (see 6.4).  

●  VALUES 4.0: The initiative contributes to the comprehensive training of 
people  who  come  to  VET  Euskadi  to  work.  The  objective  is  to  learn  to 
think  and  look  at  the  world  in  all  its  three  dimensions  to  bring  about 
social responsibility: the ethical or values dimension, the social dimension 
and the environmental dimension.  

●  Adapting  spaces:  Collaborative  learning  needs  to  integrate  working 
spaces that are conducive to learning and creativity. As a line of action, 
the  focus  has  been  put  on  transforming  space,  making  it  flexible, 
comfortable,  colourful  with  good  acoustics  and  setting  up  an  internet 
connection that facilitates ICT. 

●  Creating  an  entrepreneurial  culture:  Ikasenpresa  is  an  educational 
programme  that  focuses  on  creativity  at  the  company  level,  making 
students aware of what being an entrepreneur entails and the steps they 
have  to  take  to  do  so,  develop  student  skills  to  make  them  good 
professionals  —  employable  and  active  as  well  as  entrepreneurs  and 
intra-entrepreneurs. 

●  Creative thinking: Since it is an objective of the model to put creative 
thought  into  action  and  to  offer  ideas  that  contribute  value  to 
overcoming challenges, it is a line of action to train the flexibility (ability 
to change one’s line of thought), fluidity (skill in having many ideas) and 
originality (skill for ideas to be different, for them to provide value and 
be feasible). 

●  Developing  learning  tools:  Making  use  of  learning  accelerators  that 
simulate  the  reality  (virtual  reality,  augmented  reality,  immersive,  3D, 
interactive)  in  learning  processes,  and  to  turn  any  space  into  learning 
space.  When  using  virtual  reality  in  learning  session,  one’s  imagination 
about  the  future  and  development  of  skills  for  the  future  can  be 
expanded.  

- 

Four actions for roll-out through the TKNIKA teams:  

●  eNOLA:  A  tool  at  the  service  of  teacher  teams  to  self-diagnose  their 
situation  in  each  cycle  of  the  ETHAZI  learning  model  implementation 
process, to spot, and then later propose actions for improvement. It also 
acts  to  validate  the  implementation of ETHAZI model  in training and at 
the centre. 

●  ETHAZI  gunea:  The  objective  of  ETHAZI  gunea  is  to  make  everything 
related  to  the  ETHAZI  free  and  available  online.  It  is  a  dynamic  space 
where  teachers  generate  content,  boosted  by  ICT  teachers  and learning 
coordinators as an essential element. 

●  SET:  A  tool  that  TKNIKA  is  offering  to  work  on  the  skill  evaluation  and 
progress of the ETHAZI cycles. This tool was developed eight years ago, 
but  several  improvements  are  constantly  being  added,  based  on 
suggestions  sent  by  users.  Originally,  teacher  teams  used  SET  to 
evaluate  soft  skills,  but  today,  it  is  normally  used  to  evaluate  specific 
skills and give overall feedback. 

● 

Ikasenpresa: See description above. 

- 

five  learning  actions  aimed  at  developing  the  talent  of  teachers  and  their 
implementation of the ETHAZI model:  

● 

Initial  training:  Training  focused  on  teamwork,  an  entrepreneurial 
attitude,  creative  thought,  communication  skills,  commitment,  solidarity, 

30 

 
along  with  a  skill  set  specific  to  each  speciality.  The  objective  is  to 
develop new skills to start implementing ETHAZI. The training program is 
meant  to  make  participants  future  learning  coordinators  and  leaders  in 
implementation of the model. 

●  8 Advanced trainings. Besides for VALUES 4.0 and STEAM these were: 

● 

Irakasle taldea: One of the central elements around which the Euskadi 
VET  Learning  Model  is  structured  is  the  cycle’s  teacher  team,  whose 
mission  is  to  work  toward  applying  advanced  learning  models.  The 
objective  of  the  training  is  to  accompany  the  cycle’s  teacher  team  and 
reinforce  their  relational  skills  to 
improve  their  well-being  and 
performance. 

●  Diving  in  challenges  (epa):  A  training  for  teacher  teams  that  are 
already working within the context of CCBL who wish to delve deeper and 
enrich  their  challenges  from  a  global  perspective  with  the  following 
objectives:  Adapting  the  challenge’s  phases  to  the  classroom  situation, 
Discovering  techniques  to  boost  each  one  of  the  learning  process’ 
phases, Offering a shared, global vision of challenges, Making progress in 
working as a teacher team and transferring learning.  

●  Evaluation  of  learning  gleaned  through  challenge  work  is  extremely 
important, since it largely defines how said challenges will be developed. 
At  the  evaluation  team,  we  want  to  help  all  teacher  teams  that  are 
already  working  with  challenges  to  improve  this  part  of  the  challenge. 
They can think about the focus of the evaluation they are using, improve 
their  rubrics,  increase  or  improve  the  quality  of  their  indications, 
programme  and  improve  how  students  are  given  feedback,  or  design 
better the scoring process and how to recover the modules that are part 
of the challenges. 

●  ELKAR&EKIN:  A 

training 

itinerary  on  entrepreneurial 

culture, 

entrepreneurial initiatives and idea-generation and development. 

●  SOR-GIM  (TKNIKA,  2017)  was  one  training  course  in  the  package, 
initially  developed  by  IDEATK.  It  was  a  training  program  to  develop  the 
creativity of teachers by use of creative techniques and close follow up. 

●  Digital  skills:  This  training  seeks  to  give structure  to  improvements  in 
developing  the  digital  skills  necessary  for  the  ETHAZI  teacher  team.  In 
consists  of  training  on  the  five  areas  falling  under  the  DIGCOMP 
framework, drawn up by the Erasmus+. 

In  addition,  the  learning  and  high  performance  department  provides  consulting,  diagnosing  and 
designing the development and roll-out of ETHAZI. 

Funding 
arrangements 

ETHAZI  is  funded  regularly  by  the  Government  of  the  Autonomous  Community  of  the  Basque 
Country's Ministry of Education.  

Conceptualisation 
of creativity 

In ETHAZI, creativity was defined as the ability to put creative thought into action, and offer ideas 
that contributed value  to overcoming challenges.  The following can  be said about  how creativity 
was understood and how conceptualised (TKNIKA, n.d.a):  

- 

- 

Based on analysis of the learning outcomes, it can be said that creativity in the 
course  was  related  to  critical  thinking,  idea  generation  and  imagination, 
metacognition,  divergent  thinking,  parallel  thinking,  emotional  management  and 
problem-solving and innovation. 

According to the interviewee, the most important elements in the creative process 
is  the  cognitive  flexibility,  the  ability  to  change  the  line  of  thought;  fluidity,  the 
ability to come up with many ideas; originality, the ability to come up with ideas 
that are original and new, provide value and are feasible; and, lastly, the ability to 

31 

 
Pedagogical 
approaches and 
methods 
promoted 

filter  and  choose  the  best  ideas.  These  elements  cover  divergent,  latent  and 
convergent thinking.  

ETHAZI  follows  a  challenge-based  collaborative  learning  method  (CCBL)  for  the  training  for  VET 
students.  The  resources  suggest  that  CCBL  showcases  the  following  pedagogical  principles  and 
characteristics (ETHAZI GUNEA, 2020a):  

-  Working in teams and rotating challenges: In CCBL, the teacher introduces a 
‘problem’  scenario  in  that  teachers  and  students  need  to  face  at  a  team  level. 
After the problem-solving session, the teams analyse what worked and did not, to 
prepare  better  for  the  next  challenge.  The  teachers  rotate  different  challenges 
between the teams. 

- 

Learning as evolution: The model sees learning as a process of evolution and 
where the students are responsible for their learning.  

-  New  and  non-formal  settings:  The  model  encourages  using  new  and  non-
formal settings as a method to make the experience of a challenge more realistic.  

-  Moving  towards  social  innovation:  According  to  the  initiative  manager  of 
ETHAZI,  the  challenges  are  usually  technical,  but  in  the  last  years  TKNIKA 
encouraged teachers to focus more on societal challenges, soft skills or technical 
challenges that relate to social innovation.  

- 

Intermodulation: The challenges should be relevant for and remind the students 
of possible situations in the labour market. This requires an in-depth analysis of 
professional competencies and the learning outcomes of the cycle. 

-  Self-managed cycle teaching teams: Within the cycle, the teachers operate in 
the same team, dividing tasks and responsibilities between themselves. Students 
learn  to  practice  self-management  and  are  supported  by  a  small  number  of 
teachers throughout the cycle. 

- 

Evaluate  to  evolve  in  development  of  key  competences:  Assessment  is 
integrated  as  a  key  element  within  the students'  learning  process  and  providing 
them with frequent feedback on their evolution in the degree of acquisition of the 
expected  professional  competences.  The  specific  tool  SET  (Skills  Evolution)  has 
this  assessment  approach  and  encourage 
been  developed 
participation  by  teachers  and  students  (personally  and  as  part  of  teams)  and 
other agents who can contribute to the assessment process. Tool). 

to  promote 

-  Adequacy of learning spaces: The implementation of these new methodologies 
requires  classrooms,  equipment,  furniture  and  specific  spaces  different  from 
those  that  usually  exist  in  training  centres.  Their  design  mainly  caters  for  the 
characteristics of flexible, open, interconnected spaces that foster environmental 
situations that favour active-collaborative work. 

Particularly  important  to  the  CCBL  pedagogy  is  the  11  steps  or  dimensions  of  CCBL  (ETHAZI 
GUNEA, 2020b). In stage 5 of the process, regarding the generation of ideas, creativity techniques 
such as brainstorming and the six hats test are applied. Furthermore, the aim of the model below 
is  to  integrate  the  creative  thinking  process  into  the  challenge  and  thereby  foster  transversal 
competences.  

Besides, some  courses within ETHAZI  focused on developing the  creativity  of  teachers. One such 
course  was  SOR-GIM,  which  made  use  of  the  following  rationale  and  methods  to  develop  the 
creativity of teachers in VET education (TKNIKA 2017a):  

- 

Training for the development of parallel thinking:  

●  Activities of using the six hats to think.  

●  Design and sequence generation activities.  

- 

Training for the development of the creative process:  

32 

 
●  Activities to sharpen the focus, identify and define challenges 

●  Activities to generate ideas  

●  Activities to select and evaluate ideas  

- 

Training for the development of emotional and executive intelligence:  

●  Activities to train the Emotional Management of curiosity, admiration and 

security.  

●  Activities  to  train  Executive  Intelligence  (choice  of  goals  and  planning, 
initiation  of  action  and  organisation,  maintenance  of  action  and  effort, 
cognitive flexibility and metacognition). 

●  Conceptualisation of critical and creative thinking 

Assessment 
approaches and 
methods 
promoted 

The  programme  was  assessed  at  the  VET  centre/teacher  and  student  level.  2  tools,  described 
below, based on self-assessment and answers to simple questions were used to assess teacher' 
understanding and implementation of the model. Besides, the training encouraged teachers to give 
regular feedback to students on how they fare along with the transversal skills in a spider diagram. 

- 

- 

SET is the tool that TKNIKA is offering to facilitate the evaluation of skills based 
on the progress of the ETHAZI cycles. This tool was developed eight years ago, but 
improvements  are  constantly  being  added,  based  on  suggestions  sent  by  users. 
Originally, teacher teams used SET to evaluate soft skills, but today, it is normally 
used  to  evaluate  specific  skills  as  well.  It  also  supports  feedback  that  teacher 
teams give students. The programme gives an overview of how each school that 
implemented ETHAZI perform against a long list of dimensions (e.g. follow up with 
assessment, implementing the model in cross-disciplinary settings). 

eNOLA is a tool at the service of teacher teams to self-diagnose their situation in 
each  stage  of  the  ETHAZI  learning  model  implementation  process,  to  spot,  and 
It  also  acts  to  validate 
then 
implementation of the said model in the training cycle and at the centre. 

later  propose  actions  for 

improvement. 

The  teachers  assess  their  students  formatively  and  summatively  according  to  a  transversal  and 
technical  skills  assessment  framework  awarding  grades  from  1  (poor)  to  5  (excellent).  The 
transversal  skills  are:  Personal  (entrepreneurial  initiative,  autonomy,  implication);  Communication 
(oral  communication,  written  communication);  Digital 
literacy, 
communication  and  collaboration,  digital  content  creation,  security,  problem  resolution); 
Collaborative  (teamwork,  problem  resolution,  decision  making).  The  first  links  to  creativity  and 
covers the creative process described in the initiative as that of coming up with many unique ideas 
and take them into action. Those who were awarded the highest marks were active in their teams 
and able to select and drive the implementation of their innovative ideas.  

(information  and  data 

Results 

Key outputs have been: 

-  Up to 12 training sessions ranging from introductory to advanced implementation 

of the model; 

- 

Four  tools  to  either  help  the  assessment  or  methodological  implementations  of 
the model: eNOla, SET, ETHAZI gunea and Ikasenpresa. 

ETHAZI has been particularly successful in rolling out the model across the region, nationally and 
internationally. As of 2020, TKNIKA trained 2289 teachers who taught 8175 students across 327 
cycles  and  70  VET  centres  in  the  Basque  region  (ETHAZI  GUNEA,  2020a).  According  to  the 
interviewee, due to the training and follow-up by TKNIKA, the model has been implemented in 40 
per cent of VET centres in the Basque region. In addition, TKNIKA has trained other Spanish VET 
teachers and centres, especially in Andalucía, Chile and El Salvador. TKNIKA was recognised for its 
international  work  in  educational  innovation  by  becoming  a  member  of  the  UNESCO-UNEVOC 
network  in  2017.  Due  to  its  big  outreach,  we  can  assume  that  ETHAZI  has  been  successful  in 
teaching its model, which is based on creative thinking, and transversal skills into VET education 
systems nationally and internationally. In addition, feedback and evaluation show that students are 
content about their learning experience and that ETHAZI improved their pro-activity, creativity and 

33 

 
ability to develop ideas (Egigure et al., 2020). 

Lessons learned 

A  synthesis  of  information  from  the  interviewee  and  the  initiative  documents,  suggests  that  the 
following were the key strengths of the initiative:  

- 

- 

- 

- 

- 

- 

ETHAZI  has  developed  an  advanced  model  and  several  accompanying  training 
programs  for  developing  transversal  competences  making  use  of  an  innovative 
challenge-based design that incorporates creative thinking throughout its stages.  

Strong collaboration and network with local industry and companies makes sure 
that the model is grounded in the real-world and stays relevant. 

Strong political will from the regional government to innovate in VET education.  

According  to  the  interviewee,  the  strength  of  the  programme  is  its  ability  to 
include  the  creative  thinking  process  throughout  the  process  of  solving  a 
challenge.  

Advanced  ICT  solutions  for  assessment  and  close  follow-up  of  the  schools  that 
apply  the  learning  model  to  make  sure  that  they  continue  to  apply  it  and  in  a 
transformative way. 

A  careful  assessment,  although  formative  or  based  on  self-assessment,  can  be 
crucial  in  following  up  and  making  sure  that  the  model  and  training  has  the 
indented effects. 

Key challenges have been: 

- 

- 

- 

- 

- 

To change the mindset of individual teachers and teach them the attitude needed 
to implement the model effectively and comprehensively. 

According  to  the  interviewee,  the  biggest  challenge  in  implementing  the  model 
has  been  that  not  all  teachers  understand  the  value  or  concept  of  creativity. 
Teachers  tend  to  rush  the  7th  and  8th  step  of  the  11  stages  (select  suggestions 
and  plan  actions).  This  is  due  to  time  limitations  and  the  process  of  problem-
solving real-world challenges being time intensive. It is challenging it is to make 
teachers understand the value of creativity, as they tend to focus on the number 
of ideas elaborated in a short time rather than helping students to develop ideas 
of high quality.  

According  to  the  interviewee,  some  VET  teachers  are  technically  minded  and 
struggle to grasp that ‘soft skills’, creativity and feedback have meaning and are 
not just ‘decoration terms’.  

For the students, the 11 stages are hard to remember, and they, therefore, have 
to go through the process many times in order to remember it.  

Collaborating  with  key  stakeholders,  including  future  employees  of  students  in 
VET  education  is  crucial  to  ground  the  training,  make  it  popular,  relevant  and 
increase the take-up of the model and training. 

Sources of 
information 

Egigure, A. S., Salas, N. L., & E. A. Echeverria. (2020). Evaluation of the ETHAZI Innovation Model in 
Vocational Training Centres in the Basque Country ii: The voice of Students and Instructors. Euskadi: 
TKINA.  

ETHAZI  GUNEA.  (2020a).  Contexto.  Basque  Government,  Formación  Profesional  de  Euskadi. 
Retrieved 12 September, 2020, from https://ETHAZI.tknika.eus/es/contexto  

ETHAZI GUNEA. (2020b). Retos. Basque Government, Formación Profesional de Euskadi. Retrieved 
12 September, 2020, from https://ETHAZI.tknika.eus/es/retos 

ETHAZI GUNEA. (2020c). SET. Basque Government, Formación Profesional de Euskadi. Retrieved 12 
September, 2020, from https://ETHAZI.tknika.eus/es/set/  

(n.d.a).  Learning  and  High  Performance.  Retrieved  12  September,  2020,  from 

TKNIKA 
https://tknika.eus/en/areas-2/learning-and-high-performance/  

34 

 
TKNIKA.  (n.d.b).  ETHAZI:  High  Performance  Cycles.  Retrieved  12  September,  2020,  from 
https://tknika.eus/en/cont/proyectos/ETHAZI-3/ 

TKNIKA. (n.d.c). Trabajando las competencias en la FP Euskadi. Retrieved 12 September, 2020, from 
https://drive.google.com/file/d/0BzyQD5iGxoE_Z2Q4N2hVTjd3a28/view 

TKNIKA. 
https://ETHAZI.tknika.eus/es/competencias-transversales/ 

(2016).  Competencias  Transversales.  Retrieved  12  September,  2020, 

from 

TKNIKA. (2017a). SOG-GIM. Retrieved 12 September, 2020, from https://tknika.eus/cont/cursos/sor-
gim-entrenamiento-para-el-pensamiento-creativo-b/  

Vitoria-Gasteiz. (2019). V Basque Vocational Education and Training Plan: Vocational Education and 
Training in the Context of the 4th Industrial Revolution.  Eskadi: Eusko Jaurlaritza Gobierno Vasco 
Departamento 
from 
https://victoriancurriculum.vcaa.vic.edu.au/overview/about   

Septemver, 

educacion. 

Retrieved 

2020, 

12 

de 

Interview with representatives of TKNIKA.  

35 

 
 
 
Denkmotor 

Objectives 

The objectives of Denkmotor are to: 

- 

Spark ideas that drive successful companies forward; 

-  Motivate employees to achieve creative excellence and innovation at the company 

level through hands-on training and workshops. 

Timeframe 

2005-present 

Target group(s) 

Workers 

Level of 
implementation 

Local (organisation) 

Geographical 
scope 

Germany 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

Adult learning, workplace settings 

Denkmotor  is  run  by  the  German  entrepreneurs  and/or  public  figures  Chris  Brügger,  Karla 
Schlaepfer, Jiri Scherer and Markus Müller, in cooperation with these experts: 

- 

Jean-Philippe Hagmann (inspirator and author, innovation manager) 

-  Dr. Michael Hartschen (expert in innovation and online marketing) 

- 

- 

- 

- 

- 

Bramwell Kaltenrieder (master of digitalisation and expert) 

Tobias Lehr (facilitator and online expert) 

Jana Lev (transformation and customer experience expert) 

Lukas Stadelmann (design thinking expert) 

Sascha Wolff (expert for user experience design) 

Key activities/ 
measures 

The main activity of the initiative is to provide seminars and training around creativity, innovation 
and simplicity. The following training and workshops are available: 

- 

- 

Creativity techniques: a course about the most effective creativity techniques and 
innovation methods; examples from practice are used to show how to apply these 
techniques in a targeted and successful manner; 

Simplicity  training:  a  course  about how  to  come  up  with  more  simple  ideas  in  a 
complex  world;  throughout  the  course,  the  participants  learn  what  simplicity  is 
about,  why  it  is  important  and  strategies  to  foster  simple  idea  generation 
processes; 

-  Design thinking training: in two interactive days, the participants get to know the 

customer-focused design thinking approach using a practical example; 

- 

- 

- 

Lego Serious Play: a workshop using the Lego Serious Play methodology; 

Innovation  workshop:  a  workshop  about  how  to  come  up  with  unique  ideas, 
suitable for start-ups; 

Facilitations:  a  course  on  how  to  stimulate  dynamics  in  a  group  and  learning  to 
make workshops and meetings more efficient and varied; 

36 

 
Funding 
arrangements 

Conceptualisation 
of creativity 

Pedagogical 
approaches and 
methods 
promoted 

- 

- 

- 

Six  thinking  hats:  a  workshop  using  the  six-thinking-hats  technique  to  train 
companies on how to make less biased decisions and rule out error judgements; 

Business  model:  in  the  Business  Model  Generation  workshop,  existing  business 
models  are  analysed  and  broken  down  into  the  individual  components;  with  the 
Business  Model  Canvas,  unconventional  and  promising  business  models  are 
developed. 

Thinking  Tools  Seminar:  thinking  is  not  synonymous  with  intelligence,  but  an 
ability  that  everyone  can  improve  with  targeted  techniques;  in  this  training,  a 
variety  of  simple  thinking  tools  is  presented  to  improve  thinking  skills  and  thus 
lead to better and more creative solutions; 

-  Get  straight  to  the  point  (Pyramid  principle):  the  training  is  based  on  the 

Pyramidal Principle developed by Barbara Minto. 

Privately funded by companies that buy services from Denkmotor 

Denkmotor  defines  creativity  as  the  ability  to  merge  knowledge  and  experiences  from  different 
areas  of  life  and  come  up  with  new  ideas,  while  overcoming  established  structural  and  thought 
patterns.  The  known  is  restructured,  combined,  reversed,  mixed,  misused  and  expanded  in  the 
process. 

As evidenced by the motto 'Creativity. Innovation. Simplicity', and the activities, creativity first of all 
links to: 

- 

- 

Innovation; 

Simplicity (see the section on pedagogical approaches and methods promoted); 

-  Design-thinking; 

- 

Critical thinking. 

To understand creativity Denkmotor sees creativity in light of creative barriers such as rigid school 
and work environments. 

Central to the approach of  teaching creativity  is that it needs to be taught from a practical and 
'hands-on' standpoint, by using subtle humour, and without ever losing sight of the ultimate goal. 
Really good programmes structure a chaotic process and yet deliver clear and documented results. 
Denkmotor argues that their creativity methods and innovation tools convince with their simplicity 
and high practical relevance. The idea behind is that innovation always starts at the same place: in 
the  head!  Creative  solutions  are  created  where  familiar  ways  of  thinking  are  abandoned,  and 
inhibiting barriers to thinking are overcome in a playful way. This is not an art, but one thing above 
all: a matter of practice! 

Examples of methods to teach creativity are: 

- 

- 

Chaotic-intuitive  creativity  methods  covering  brainwriting  6-3-5  method  for 
brainstorming,  stimulus  word  analysis  &  visual  synectics 
to  develop 
unconventional ideas and semantic intuition to develop creative products; 

An essential part of the methods behind Denkmotor is to go beyond brainstorming 
and mind-mapping to find more efficient methods that work faster in bringing out 
solutions.  This  includes  semantic  intuition,  stimulus  word  analysis,  brainwriting, 
Osborn  checklist,  six  thinking  hats,  provocation,  customer  benefit  matrix,  etc. 
Denkmotor  argues  that  the  more  the  creative  muscle  is  challenged,  the  more 
willingly the original problem is accepted as a challenge. 

Pedagogical approaches used the most are: 

- 

- 

Project-based learning; 

Problem-based learning. 

37 

 
The companies get certified for attending training and workshops provided by Denkmotor. 

Assessment 
approaches and 
methods 
promoted 

Results 

Key outputs have been: 

- 

- 

- 

A website with blog posts and resources on creativity; 

Video material on YouTube and the website; 

five books on the methods applied. 

127 companies participated in the training over the last 15 years. 

Lessons learned 

Not applicable 

Sources of 
information 

Brügger,  C.  (2020).  Kreativität  ist  lernbar.  Denkmotor.  Retrieved  12  September,  2020,  from 
https://denkmotor.com/kreatives-wissen/kreativitaet-ist-lernbar/ 

Denkmotor. 
Retrieved 
https://denkmotor.com/en/about-us/credentials/  

Credentials. 

(2020). 

Denkmotor. 
https://denkmotor.com/training/simplicity-design/  

Simplicity. 

Retrieved 

(n.d.a). 

12 

September, 

2020, 

from 

12 

September, 

2020, 

from 

Denkmotor. 
Six 
https://denkmotor.com/en/training/six-thinking-hats/ 

Thinking 

(n.d.b). 

Hats. 

Retrieved 

12 

September, 

2020, 

from 

Retrieved 
Denkmotor. 
https://denkmotor.com/en/training/facilitation/  

Facilitation. 

(n.d.c). 

12 

September, 

2020, 

from 

Denkmotor. 
tools. 
https://denkmotor.com/training/thinking-tools/ 

Thinking 

(n.d.d). 

Retrieved 

12 

September, 

2020, 

from 

Denkmotor. 
https://denkmotor.com/en/training/business-model-generation/ 

(n.d.e).  Business  Model  Generation.  Retrieved  12  September,  2020, 

from 

Denkmotor. 
https://denkmotor.com/en/training/pyramid-principle/  

(n.d.f).  Present  straight  to  the  point!  Retrieved  12  September,  2020,  from 

38 

 
 
 
(Chaos  Pilot)  and 

Kaospilot 
the 
Enterprising  Leadership  programme  as 
an example 

Objectives 

The  objectives  of  Kaospilot  education  in  general  and  Enterprising  Leadership  programme,  in 
particular, are to: 

- 

- 

- 

Educate  and  support  educational  development  and  foster  enterprising  leaders, 
change-makers,  creators  and  responsible  entrepreneurs  by  providing  training 
opportunities; 

Build  frameworks  within  which  creative  minds  can  become  creative  leaders  by 
providing  a  place  where  the  creative  and  potential  change-makers  can  develop 
the knowledge, skills, attitudes and competencies they need to fulfil their values 
and visions; 

Prepare young adults for life with access to fulfilling, creative and successful work 
along with an overall sense of purpose and direction by creating a culture based 
on shared values, a sense of identity, energy and presence, and by fostering the 
following beliefs and attitudes: playfulness, reality-based, streetwise, risk-taking, 
balance, and compassion. 

Timeframe 

1991-present 

Target group(s) 

Youth from 21 years of age 

Level of 
implementation 

Local (organisation) 

Geographical 
scope 

Denmark 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

Key activities/ 

measures 

Higher education and adult learning, institutional settings 

Kaospilot  works  alone,  but  partners  with  JKS  (the  nationwide  temporary  work  and  recruitment 
agency) in handing out their annual innovation award. 

Kaospilot  is a hybrid business and  design  school, providing a multi-sided education  in leadership 
and entrepreneurship. The Enterprising Leadership programme runs six semesters: 

- 

- 

- 

- 

In  the  first  semester,  the  students  learn  fundamentals  of  project  management, 
teamwork and value creation, creativity and design and creation. 

The  second  semester  focuses  on  the  values  and  value  of  projects:  forming  a 
learning  organisation;  creative  and  enterprising  projects;  exploring  the  future  of 
business; value creation. 

The third semester focuses on contextualising the lessons globally, i.e. looking at 
team  relocation  to  another  city;  intercultural  learning;  cross-sector  collaboration; 
large-scale projects. 

The  fourth  semester  looks  at  craftsmanship  and  how  to  work  with  practitioners 

39 

 
and masters of one's field. 

- 

- 

The  fifth  semester  zooms  in  on  local  transformations  covering  team-wide 
projects; solving complex local challenges; addressing social innovation. 

In  the  final  semester,  students  put  their  skills  to  practice  through  a  final 
graduation project and study sustainability and impact (Kaospilot, 2020). 

The Enterprising Leadership practice is set around three dimensions, which the students are trained 
on and required to practice: 

-  Developing  abilities  (imagination,  action,  sense-making,  learning,  collaboration, 

and communication); 

- 

- 

Cultivating  character  (courage,  toughness,  lightness,  patience,  generosity,  and 
curiosity); 

Creating  a  sense  of  direction  (higher  pursuit,  your  community,  and  making  a 
living). 

Funding 
arrangements 

The initiative has been funded in several ways: 

- 

- 

- 

Publicly funded in 1991-2003 and 2004-present 

Privately funded by the Tuborg foundation in 2003-2005 

Students pay fees 

Conceptualisation 
of creativity 

Creativity is not defined. However, the description of creative people puts an emphasis on making 
ideas, dreams and values come to life and become 'new solutions' while acting with empathy in 
complex and turbulent situations. 

Furthermore, according to the evaluation by the Nordic Ministry, Kaospilot created an impact on the 
discourse on creativity by helping to define it as the ability to handle chaos and act in chaos. 

Creativity links most strongly to entrepreneurship, while agency and ability to effect change are key 
components. 

The process of creative inquiry requires reflection on the following: 

- 

- 

- 

- 

- 

- 

Finding your way; 

Creating value; 

Contributing to transformational change; 

Fostering effective collaborations; 

Practicing entrepreneurship; 

Living our time. 

Pedagogical 
approaches and 
methods 
promoted 

Kaospilot has its roots in activism culture, the Bauhaus, the cooperative movement, beatnik culture 
and  the  folk  high  school  tradition.  Therefore,  the  methods  promoted  by  the  school  are  highly 
participatory,  action-focused  and  multi-levelled  (individual  to  community-level  settings).  The 
programme is designed to help students create the future and centres on bringing out creativity. 

The initiative has its own 'Kaospilot method'. A Kaospilot is described as an entrepreneur,  leader, 
change-maker, whose core competences lie in moving projects, people, and ideas forward in order 
to create transformation and positive change. The method draws inspiration from humanism and 
seeks  to  combine  it  with  a  systemic  and  relational  view  of  social  and  natural  systems  into  an 
'enterprising  leadership  practice'  –  a  practice  that  involves  identifying  and  realising  opportunities 
and  potential  within  a  given  context,  and  creating  holistic  value  and  benefit  for  those  connected 
people and communities. 

Furthermore, the Enterprising Leadership course applies a method called 'Creative inquiry'. It is a 
process  that  is  intended  to  be  holistic,  that  involves  exploration,  creation  and  reflection  and 
includes three ways of knowing and learning: 

40 

 
Assessment 
approaches and 
methods 
promoted 

- 

Conceptual and theoretical knowledge; 

-  Methodological and practical knowledge; 

- 

Phenomenological and experiential knowledge. 

Throughout the programme, the following pedagogies are applied: 

- 

- 

- 

- 

Project-based learning; 

Action and participatory learning; 

Collaborative learning; 

Personal development; 

-  Dynamic interplay between practice and theory. 

Assessment concerns: 

- 

- 

In  order  to  be  selected  for  the  school,  70  students  attend  an  assessment 
workshop.  The  applicants  go  through  individual  and  group  assignments  and 
interviews; 

Throughout  the  course,  the  assessment  is  both  formative  and  summative  and 
varies by group size (individual, group, team), assessment type (pass/fail, 7-point 
grading scale, completed with evaluation) and censor type (internal, external). 

Learning outcomes are: 

- 

- 

- 

- 

- 

- 

- 

- 

- 

A  clear  sense  of  direction,  including  what  the  higher  pursuit  is,  and  how  it 
connects to one's work and making a living; 

A clear sense of what one's skills, abilities and talents are, and how to apply them 
in one's work, along with a platform for further growth and development; 

A  clear  and  holistic  understanding  of  how  to  create  value  and  change  in  one's 
work; 

The ability to develop and realise visions, ideas and concepts; 

The ability to develop and deliver projects of various scale and level of complexity; 

The  ability  to  understand  what  transformational  change  is  and  how  to  make  it 
happen with people, organisations, and communities and in a broader systemic or 
societal sense; 

The ability to foster and building healthy relations and collaboration in community 
and organisational life; 

A practice for cultivating a strong and resilient character, capable of facing tough 
challenges and setbacks; 

21st  century  literacy  which  allows  one  to  investigate,  read  and  understand 
patterns,  trends  and  tendencies,  including  ecological,  media,  and  technological 
literacy. 

Results 

Key output has been leadership training courses (either for students or tailored for businesses). 

Other products Kaospilot provides are: 

- 

- 

- 

- 

Experience design project; 

Talent development; 

Idea and concept development; 

Exploration and learning journey development. 

In evaluations, outcomes have not been disaggregated by type of training. Out of more than 600 
Kaospilot  graduates,  over  time,  one  third  have  started  companies,  NGOs  and  other  similar 
initiatives  and  around  half  hold  some  sort  of  management  position.  Over  200  projects  are 

41 

 
undertaken every year by entrepreneurship students and participants of other training and events. 

BusinessWeek  has  recognised  Kaospilot  as  one  of  the  best  design  schools  in  the  world.  Fast 
Company  has  named  it  in  its  Startup  Leagues  Big  10.  It  is  frequently  acknowledged  as  an 
innovative  educational  institution  with  great  impact  nationally  and  globally.  Over  the  years, 
Kaospilot  has  worked with hundreds of  organisations from South Korea  to Chile, South  Africa  to 
Canada. The most significant impact is that the methodology has been taken up in many places 
around the world from Sweden to Japan.  

Due to the links between real-world problem-solving and creativity, it can be said that transversal 
skills were fostered as part of the initiative. 

Lessons learned 

Not applicable 

Sources of 
information 

Norden.  (2011).  Kreativitet,  innovasjon  og  entreprenørskap  i  utdanningssystemene  i  Norden. 
København: Nordisk ministerråd.  

Kaospilot. (2020). Kaospilot Enterprising Leadership: A three-year-long program. Kaospilot. 

Kaospilot. (n.d.a). The 3-year Enterprising Leadership Program. Retrieved 8 September, 2020, from 
https://www.kaospilot.dk/studentprogram-aarhus/#  

Kaospilot. 
https://www.kaospilot.dk/about/story/  

Kaospilot 

(n.d.b). 

in 

Brief. 

Retrieved 

8 

September, 

2020, 

from 

Kaospilot. 
https://www.kaospilot.dk/philosophy/  

Philosophy. 

(n.d.c). 

Retrieved 

8 

September, 

2020, 

from 

Kaospilot.  (2016).  3  Year  Enterprising  Leadership  Programme:  Curriculum  2016.  Retrieved  8 
https://www.kaospilot.dk/wp-
from 
September, 
content/uploads/2013/04/Master_Curriculum_V_3.2.pdf 

2020, 

42 

 
 
 
Creative Problem-Solving Institute 

Objectives 

The creative problem-solving institute (CPSI) has the following objectives: 

- 

- 

- 

Train  attendees  to  the  conference  and  training  week  skills  and  habits  and  give 
them tools that foster their creativity and problem-solving skills; 

Teach  attendees  to  the  conference  and  training  week  the  specific  creative 
problem-solving technique developed by the founders of CPSI; 

Provide practical creativity skills and tools in an inspiring learning environment. 

Timeframe 

1955-ongoing 

Target group(s) 

Youth aged 8 to 17 and adults 

Level of 
implementation 

Geographical 
scope 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

Key activities/ 
measures 

Local (organisation) 

Buffalo, United States 

Youth and adult learning, non-formal settings 

The main partner of CPSI is the Creative Education Foundation (CEF) which runs the Institute. The 
innovation company FourSight is responsible for assessment. 

The  activities  are  implemented  on  the  campus,  during  in-depth  experiential  sessions,  applying 
practical  tools  and  skills  for  the  development  of  creativity  and  innovation,  and  networking  with 
global creativity colleagues from diverse industries. During a one week training, the participants can 
usually choose from the set of tracks and do so based on their prior knowledge of the CPSI method 
of creative problem-solving: 

- 

- 

- 

- 

CPS Level 1: Foundations of Creative Problem Solving 

CPS Level 2: Creative Problem Solving Tools 

CPS Level 3: Creative Problem Solving Facilitation Techniques 

CPS Level 4: Creative Problem Solving Instructor Training 

The training lasts for a week, but participants can also join for shorter sessions and a conference. 
For  instance, Spark  Creativity  Workshops that are held by  inspiring business leaders or  creativity 
experts.  For  youth (YouthWise), the CPSI runs a  virtual conference, inviting  attendees  aged 8-13. 
Teen  participants  can  join  the  virtual  sessions  for  adult  learners  together  with  specialised 
YouthWise instructors. The young participants can choose from 4 workshops ('clubs'), all focusing 
on various aspects of creativity. 

Funding 
arrangements 

Privately funded and sponsored by Asset Recovery Company of America (ARCA), EPIC International 
Summit, Foursight  Official Assessment  of Creative Education Foundation, Inheritance  Project, Inly 
School, K&L Gates, Seed Strategy, Strategic Play, and Niwaki. 

Conceptualisation  Creativity is not discretely defined in the documentation of the initiative, but often referred to as 
deliberate  creativity.  According  to  the  key  source  which  the  theory  of  creative  problem-solving 

43 

 
of creativity 

stems  from,  creativity  is  'applied  imagination'  and  can  be  described  as  'more  than  mere 
imagination. It is imagination inseparably coupled with both intent and effort' (Oxborn, 1953, pg. 
117). Creativity is described as an innate ability that nevertheless needs to be fostered to serve a 
positive purpose in solving problems and to have a 'deliberate' purpose. 

Creativity  is  linked  to  the  problem-solving  process.  According  to  Oxborn,  association  and  chain-
thinking (linked to the process of brainstorming) are key components of creative thinking (Oxborn, 
1953). Another definition used by CEF/CPRSI is that by Noller on the creativity formula Cƒa (KIE), 
stating  that  it  is  the  interaction  between  knowledge,  imagination,  and  evaluation  that  generates 
creativity. Overall, the key components of the creative thinking process are:  

- 

Imagination, brainstorming and positivity; 

-  Mix of convergent and divergent thinking; 

- 

- 

Judgement of ideas and critical thinking; 

Problem-solving. 

Pedagogical 
approaches and 
methods 
promoted 

Based  on  the  interpretation  of  the  project  activities,  CPSI  uses  project-based  and  experimental 
learning  pedagogies,  and  'coaching'  or  interactive  sessions  facilitated  by  trainers  as  the  main 
teaching method. The training and conference are designed to be fun, engaging and collaborative. 
The  training  aims  to  not  only  help  participants  create  better  solutions  but  facilitate  a  positive 
experience and environment that help speed up the adoption of new ideas. The participants stay at 
the campus of the CPSI where the training takes place to get fully immersed in the programme and 
topic. This year, due to the COVID-19 outbreak, the conference was virtual. 

CPSI teaches the method of creative problem-solving, the core principles of it are: 

- 

Everyone is creative and/or can learn it; 

-  Divergent and convergent thinking must be balanced; 

- 

Frame problems as open-ended questions; 

-  Defer or suspend judgment; 

- 

Focus on positive language. 

CPS is based on the Osborn-Parnes process, a basic structure comprised of four stages with a total 
of six explicit process steps, each covering divergent and convergent thinking: 

- 

Clarify:  explore  the  vision;  identify  the  goal,  wish,  or  challenge;  gather  data;  and 
describe  and  generate  data  to  enable  a  clear  understanding  of  the  challenge; 
formulate  challenges;  sharpen  awareness  of  the  challenge  and  create  challenge 
questions that invite solutions; 

- 

Ideate: explore ideas, and generate ideas that answer the challenge questions; 

-  Develop: formulate solutions; move from ideas to solutions; evaluate, strengthen, 

and select solutions for best fit; 

- 

Implement:  formulate  a  plan;  explore  acceptance,  and  identify  resources  and 
actions that will support the implementation of the selected solution(s). 

Assessment  during  the  CPSI  conference  is  conducted  by  the  company  Foursight.  Attendees  that 
register for the conference are provided with a self-assessment form to help them determine what 
'track'  they  would  get  the  most  value  out  of  at  the  event.  During  the  class,  they  are  given  the 
Foursight metric. It does not assess the level of creativity, or ability. Rather, it looks at the person's 
preference for the four aspects of creative problem-solving. That tested metric divides it into the 
four  steps  that  relate  to  the  CPS  process,  i.e.  clarify  (asking  questions,  finding  out  information), 
ideate  (coming  up  with  many  possible  solutions),  develop  (working  out  the  best  solution  and 
refining it), and implement (putting a plan together and into motion). 

Attendees of the multi-day session are then given the opportunity to take a course assessment for 
certification  purposes,  and  if  they  pass,  are  granted  proof  of  certification  that  is  good  for  a  full 
year.  This  also  applies  to  the  Advanced  Programming,  Tools  of  Creative  Problem  Solving, 
Facilitating  Creative  Problem  Solving,  and  Training  Creative  Problem  Solving.  Certification  at 

44 

Assessment 
approaches and 
methods 
promoted 

 
advanced levels includes the certification of the previous levels. For the rest of the CPSI, there are 
no assessments or certifications. 

Results 

Key outputs have been: 

- 

Yearly conferences (now also virtual); 

-  Website with links to resources (a library); 

-  Manuals for teachers and participants; 

- 

Training for participants who want to become teachers of CPS. 

More  than  400  business  leaders,  educators,  community  activists,  non-profit  and  government 
professionals, artists, students and others from around the globe take part in each event. CPSI is 
the longest-running and, most likely, the most famous creativity conference in the world. 

Participants report that attending has had a positive impact later in their life on the way they face 
personal  and  technical  challenges:  'Through  the  Creative  Problem  Solving  Institute,  and  the 
methodologies that I have studied there, I am now able to approach every problem I face in my life, 
knowing that if I set my mind to it, I can find a solution'. 

The  statement  above,  as  well  as  the  excellent  feedback  and  cooperation  between  CPSI  and 
companies, suggest that the initiative successfully teaches creativity as a transversal skill useful in 
the world of work and as a socio-emotional skill. 

Lessons learned 

Not applicable 

Sources of 
information 

CEF.  (2015).  Creative  Problem  Solving  Tools  &  Techniques  Resource  Guide.  Creative  Education 
Foundation. 

CEF.  (2017).  Why  Nurturing  Our  Natural  Creativity  Matters.  Creative  Education  Foundation. 
Retrieved 
from 
September, 
http://www.creativeeducationfoundation.org/research/noller/  

2020, 

12 

(n.d.). 

CEF. 
http://www.creativeeducationfoundation.org/creative-problem-solving  

Retrieved 

Problem 

Creative 

Solving. 

September, 

12 

2020, 

from 

FourSight.  (n.d.)  Find  new  solutions  faster  with  FourSight.  Retrieved  12  September,  2020,  from 
https://foursightonline.com/ 

45 

 
 
 
CREUS:  Developing  and  Nurturing  the 
Transversal  Skills  of  Disadvantaged 
Young  People  through  Creative,  Non-
in  Unconventional 
Formal  Learning 
Spaces 

Objectives 

The objectives were to: 

- 

- 

Introduce innovative ways for young people who are disadvantaged and NEET to 
develop  transferable  and transversal  key competences  for  the  labour market by 
engaging them through non-formal, cultural and artistic learning; 

Introduce innovation and experimentation in non-formal learning by situating the 
learning  in  'unconventional  places'  -  locations  and  spaces  which  are  not 
associated with the target group with traditional education; 

-  Develop intellectual outputs that support the creation of new pathways to initial 

vocational education; 

- 

- 

- 

Foster  the  key  competencies  listed  in  the  European  Reference  Framework  for 
Lifelong Learning, i.e. communication skills, sense of initiative & entrepreneurship, 
cultural awareness and expression and social and civic competences; 

Improve  the  personal  development/life  skills  (confidence,  communication,  team-
working, presentation, problem-solving, time management, responsibility, attitude 
and  motivation)  of  120  disadvantaged  young  and  unemployed  people  aged  16-
24,  and  help  25  young  peer  mentors  (aged  18-24)  improve  to  boost  their 
achievements and enable success; 

Equip  the  trainers,  tutors  and  peer  mentors  that  support  young  people  to 
implement ECVET and Youthpass in their work. 

Timeframe 

The initiative ran between 2017 and 2020. 

Target group(s) 

Young adult (aged 16-24) NEETs and their mentors 

Level of 
implementation 

International 

Geographical 
scope 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

UK, Cyprus, Italy, Greece and the Netherlands 

Adult learning, community settings 

Seven partners with expertise in adult learning, innovation in education or arts took part: 

-  Hope for Children CRC Policy Center, Greece 

-  Dimitra, Greece 

- 

Kunstbedrijf Arnhem, the Netherlands 

46 

 
Key activities/ 
measures 

-  Mulab, Italy 

- 

- 

- 

ERIFO, Italy 

Colleage Arts, the UK 

Rinova, the UK 

Key activities were: 

- 

- 

Conducting  a  case  study  of  transnational  initiatives  making  use  of  similar 
methodology; 

Arranging  events  and  workshops  with  key  partners  to  brainstorm  on  the 
curriculum development and approaches to mentoring; 

-  Developing  a  curriculum  with  four  modules,  guidelines  to  accompany  it,  and  a 

website to support dissemination. 

Funding 
arrangements 

Funded  by  the  Erasmus+  (Erasmus+  Programme  2014-2020)  as  a  strategic  partnership  for 
vocational education and training 

Conceptualisation 
of creativity 

The initiative documents make use of the following definition of creativity, as set out in 'Creative 
industries for youth: unleashing potential and growth' (UNIDO, 2013): 

- 

'Creativity  is  the  untapped  and  innate  human  resource,  whose  potential 
economies  have  yet  to  harness.  It  can  contribute  to  prosperity,  to  cultural 
exchange and social  justice. Creativity is  the inspirational energy  and knowledge 
that spurs many individuals, including young men and women, to undertake new 
industrial ventures with a vision of the future transformation of their societies. 

Based on the initiative documentation, the following were components of creativity: 

- 

- 

Soft  skills  such  as  team  building,  trust-building,  development,  peer  support  and 
confidence; 

Self-expression; 

-  Outside-the-box thinking. 

Pedagogical 
approaches and 
methods 
promoted 

In  the  context  of  CREUS,  peer  mentoring  is  defined  as  learning  from  individuals  with  similar 
backgrounds and enhanced experiences, and learning through cooperation and shared practice. The 
working hypothesis is that space is essential as a factor facilitating the interaction and exchange of 
knowledge.  In  terms  of  peer  mentoring,  the  methodology  places  emphasis  on  reflexivity  or 
reflective practice and encourages peer learning in and co-creation. 

The  methodology  was  developed  based  on  an  initial  transnational  review  of  case  studies  and 
lessons learned from three Leonardo Da Vinci initiatives run in the past: 

- 

- 

- 

The Euro Arco model; 

The Collage Arts Talent match programme; 

ECLN (European Cultural Learning Network). 

Inspired by these initiatives, CREUS focused on the following pedagogical approaches:  

- 

- 

- 

Peer-to-peer learning; 

Arts-based learning; 

Space as a learning environment; 

-  Developing transferable skills. 

Assessment 
approaches and 
methods 

Learning  modules  for  mentors  offered  assessment  and  accreditation  against  the  following 
frameworks: 

47 

 
promoted 

- 

- 

- 

European Reference Framework (8 key competences); 

Collaborative Learning Open Curriculum Kit (CLOCK); 

Youth Pass Certificates. 

The  Learning  outcomes  4  and  5  of  the  ERF  were  specified  for  each  of  the  four  modules  and 
devised to reflect the CLOCK methodology in order to offer accreditation for peer mentors. 

In  addition,  the  Talent  Matching  Europe:  Diagnostic  Skills  Check  Tools  covered  recommendations 
concerning assessment of entrepreneurial skills and creativity of the participants. 

The  'How  am  I  creative'  self-assessment  tool  focused  on  questions  that  allow  for  individual 
definitions  of  creativity,  creativity  as  both  small  and  big  ideas,  but  require action  to  make  ideas 
come to life (value-added). Key questions were: 

-  Why do you think it is important to be creative in life or work? 

-  What does being creative mean to you? 

-  What is the creative idea that you want to take forward? If you have a creative 
idea, what's the big idea? Please describe your idea and what you have done so 
far to make the idea a reality. 

- 

Finally, how do you hope the programme/mentorship will help you? What do you 
want to achieve? 

Results 

Key outputs were: 

- 

- 

- 

- 

- 

- 

- 

Initiative’s website; 

CREUS  curriculum  framework:  a  modular  learning  programme  comprising  four 
strands - 'Starting the journey', 'Building the relationship', 'Setting boundaries and 
knowing own limits' and 'Ending the mentoring journey'; 

Intellectual  outputs:  case  studies  and  qualitative  enquiry  transnational  report, 
methodology - inception document and CREUS development curriculum; 

CREUS activities and exercises for peer mentors and tutors; 

CREUS visual guides for peer mentors; 

Talent matching Europe: diagnostic skills check tools; 

EARS  listening  model  used  in  mentoring  practice  and  designed  to  support  the 
development of listening skills; 

-  Mentoring worksheets and mentoring plan templates; 

- 

Talent matching manual; 

-  Guidelines for achieving accreditation. 

This innovation initiative and learning modules were designed in a way that responds to a range of 
research studies (e.g. Work-based learning in Europe: Practice and Policy Pointers, Identifying What 
Matters) which call for innovation in the design of post-statutory, employment-related VET through 
transversal  skills  development  for  lifelong  learning.  The  initiative  fostered  creativity  as  a 
transversal skill first and foremost through the development of soft skills such as confidence, self-
reflection and collaboration.  

Working in unconventional spaced had the following effects on participants and mentors: 

- 

- 

- 

- 

Freedom from the classroom (one can do things one would never think of doing in 
a classroom, get new perspectives and play); 

Change in the hierarchy of relationships and of rigid social norms; 

Encouraging creativity and thinking outside the box both in the activities and the 
use of space; 

Breaking down social barriers experienced by mentees; 

48 

 
Lessons learned 

Sources of 
information 

- 

Changing and naturalising group dynamics. 

The use of non-formal and informal learning strategies through peer mentoring in unconventional 
spaces  is  rarely  formally  acknowledged.  It  should  be  possible  to  set  out  a  guide  to  formally 
acknowledge  this  learning  since  the  implementation  of  the  activities  presents  many  common 
elements.  However,  structured  methodological  approaches  to  do  so  are  lacking.  This  possibly 
explains the difficulties at times felt by the interviewees to explain the reasoning behind adopting 
particular  approaches  and  the  success  factors,  reinforcing  the  need  to  develop  a  formal 
methodology as proposed by CREUS. 

CREUS 
Consortium. 
https://creus.initiativelibrary.eu/  

(n.d.). 

CREUS. 

Retrieved 

10 

September, 

2020, 

from 

49 

 
 
 
Creative Thinking in Youth Work 

Objectives 

The  creative  thinking  in  youth  work  initiative  was  a  mobility  and  collaboration  initiative,  the 
objectives of which were to: 

- 

- 

Support the professional development and ability of 35 youth workers from seven 
NGOs  to  be  creative  and  innovate  (a  9-day  training  course  on  design  thinking, 
creativity and e-learning); 

Raise  awareness  on  how  innovation  and  developing  creative  initiatives  can 
increase the impact and efficiency of youth activities (intensive co-created MOOC 
on the subject); 

-  Upscale the impact by setting up a network of youth NGOs for sharing knowledge 
of how to bring innovation to their organisations and communities (an interactive 
marathon of challenges proposed by the participants, an online course in English 
with subtitles in seven languages and seven multiplying activities). 

Timeframe 

The initiative was launched in 2018 and ended in 2019. 

Target group(s) 

Youth workers 

Level of 
implementation 

International 

Geographical 
scope 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

Bulgaria, Cyprus, Croatia, Hungary, Lithuania, Romania and Serbia 

Adult learning, community settings 

Central to the initiative was the Bulgarian organisation WalkTogether, which led the consortium, all 
the  initiative  activities  and  hosted  the  training.  This  non-governmental  organisation  offers  non-
formal  education  to  adults  and  young  people,  covering  the  three  main  areas  of  non-formal 
education:  socio-cultural  and  popular  education,  education  for  personal  development,  and 
professional  training  (SALTO-YOUTH,  n.d.).  Monomyths  (Romania)  and  Tavo  Europa  (Lithuania) 
assisted  WalkTogether  in  developing  the  training  of  creativity  and  online  MOOC.  All  the  partner 
organisations distributed the initial survey, chose and  sent  5 participants  each to represent  their 
country in the training. After the training, the NGOs let the participants to use their social media 
platforms for dissemination and their facilities for multiplier events. 

Key activities/ 
measures 

‘Creative  thinking  in  youth  work’  was  an  intensive  training  course  spanning  over  9  days  and 
covering  topics  such  as  design  thinking,  creativity  and  e-learning.  The  training  course  which  all 
participants attended compromised the 6 activities described below:1 

- 

- 

Introduction about creativity - This part of the training course focused on the 
art  and  science  of  creative  thinking,  what  it  means  and  how  it  can  benefit  the 
participants.  After  a  short  period  of  exploring  the  literature,  and  to  follow  a 
participatory method, the participants were encouraged to come up with their own 
informed definitions of creativity. 

Think  creatively  -  This  part  of  the  training  course  was  dedicated  to  practical 
challenges and testing methods to generate new ideas and solutions by  the use 

1   The following overview is a synthesis of information learned from the initiative description and the initiative 

coordinator. 

50 

 
                                          
of  creative  thinking  tools.  As  an  example,  the  participants  were  challenged  to 
write creative briefs. A creative brief is a document used by creative professionals 
to develop engaging deliverables that maximise on visual design and digital skills. 
To  bring  the  challenge  close  to  home,  the  participants  worked  only  on  creative 
briefs of their own NGO. 

Process tools – Seeing that a process can kill an idea before it has had a chance 
to  fully  mature  and  be  fairly  evaluated,  this  part  was  devoted  to  teaching  the 
participants how to practice active listening and feedback during idea generation 
and brainstorming sessions. In this workshop, the trainers also analysed blocks of 
creativity and how the  environment  can negatively or  positively affect  creativity 
and  idea  generation  processes.  The  participants  practice  techniques  for  keeping 
the  idea  process  on  track  and  removing  blocks  on  creativity  caused  by  external 
factors. 

Innovate - This module focused on how to evaluate and select ideas, refine and 
further develop them to solve problems best and create new solutions. Whereas 
this section was more heavily focused on critical thinking and selection of ideas, it 
emphasised that the idea exploration phase never ends but instead continues on 
a  higher  level  where  the  aim  is  to  best  fit  the  idea  to  the  needs  of  the  local 
community and the organisation.  

Leading  Innovation  -  This  part  was  designed  to  ensure  that  the  leaders  from 
different  NGO are not unconscious  impediments  of creativity,  but rather  mature 
enablers of innovation. This workshop, therefore, regarded self-development and 
teaching  the  participants  to  have  a  proactive  approach  to  and  positive  attitude 
towards innovation and change.  

E-learning  platform  and  MOOC  design  –  In  this  section,  the  participants 
provided  their  expertise  in  selected  areas  and  imagination  to  create  a  product 
that  could  offer  support  and  build  capacity  for  innovation  in  other  Youth  NGOs. 
Each participant produced one video each for the explanation of their topic in the 
MOOC.  

- 

- 

- 

- 

Also, two other activities were crucial for the implementation of the initiative: 

-  Uploading  the  MOOC  materials  into  the  Monomyths  lifelong  learning 
platform – The Monomyths associations created the course ‘Creative thinking in 
youth  work’  on  their  lifelong  learning  platform.  In  collaboration  with  the 
participants,  Monomyths  uploaded  the  videos  and  descriptions  for  each  module 
onto the online course and made the course presentable. 

-  Multiplier  events  -  These  events  were  held  in  the  origin  countries  of  the 
participants  to  showcase  the  ‘Creative  thinking  in  youth  work’  activities  and 
promote creative thinking at a larger scale among youth workers. Each participant 
held an event to present the lessons from the training and disseminate the MOOC 
in his/her community.  

Funding 
arrangements 

The  initiative  was  funded  as  a  Youth  in  Action  programme  by  the  European  Union’s  Erasmus+ 
Programme from February till October 2019. Besides, it was a Key Action 1 initiative, designed for 
initiatives  that  enable  organisations  to  offer  structured  study,  work  experience,  job  shadowing, 
volunteering, training, and teaching opportunities through mobility. It was awarded a grant of EUR 
27,700. 

Conceptualisation 
of creativity 

The initiative partners themselves did not clearly define creativity in their own initiative documents. 
The  reason for  this  was  an  underlying  notion  that  creativity  must  be  defined  on a  personal  and 
individual  rather  than  an  objective  level.  However,  according  to  the  co-created  MOOC,  creativity 
was  understood  as  a  process  consisting  of  two  elements:  thinking  and  production.  The  following 
can be said about how creativity was understood and how it was conceptualised vis-à-vis creative 
thinking (Monomyths, 2019): 

- 

According to the interviewee, the consortium took an explorative approach to the 

51 

 
- 

- 

- 

- 

- 

- 

conceptualisation  of  creativity  in  training  by  letting  the  participants  define 
creativity.  

The MOOC curriculum does not apply a holistic approach to defining creativity. 

The  three  definitions  presented  in  ‘Basics  of  creativity’  were:  ‘Creativity  is  the 
process of change, of development, of evolution, in the organisation of subjective 
life’ (Ghiselin, 1952),  ‘Creativity  is the  forming of associative  elements  into  new 
combinations  which  either  meet  requirements  or  are  in  some  way  useful’ 
(Mednick,  1962)  and  ‘Creativity  denotes  a  person's  capacity  to  produce  new  or 
original  ideas,  insights,  inventions,  or  artistic  products,  which  are  accepted  by 
experts as being of scientific, aesthetic social or technical value’ (Vernon, 1989). 

To bridge these definitions, creativity was described in the MOOC as consisting of 
two  separate  and  necessary  processes,  that  of  thinking  and  that  of  production. 
This  implies  that  being  imaginative  without  implementing  one’s  ideas  does  not 
make one creative. 

The focus on production, in addition to thinking implies that the conceptualisation 
of creativity was both process and output-driven.  

The production of the MOOC by the participants is proof in itself that the training 
initiated and was a creative process. 

A distinction between creativity and creative thinking can be drawn as the former 
implies a combination of a thinking process and a valuable output, whereas the 
latter concerns the thinking process that is, depending on the output, potentially - 
but not necessarily - creative.  

-  Whereas the value or product outcome of a creative thinking process cannot be 
expected  from  the  thinking  process,  the  initiative  presents  the  creative  thinking 
process as a ‘capability’ and/or an ‘ability’ that can be trained. Besides, improving 
one’s creative thinking ability is necessary to bring about innovative solutions to 
societal challenges (Vernon, 1989).  

Since the focus area of the training and MOOC was on creative thinking, not creativity per se, the 
MOOC took care to define this thinking process separately, including the first four basic stages of a 
creative  thinking  according  to  Wallas  (1926)  and  two  additional  key  elements  defined  by  the 
participants (Nikulina, 2019): 

- 

- 

- 

Preparation: This stage deals with the collection of background information and 
reading of literature, recognising that knowledge is the foundation of good ideas. 

Incubation:  The  period of  frustration,  where  one  matches  prior  knowledge  with 
theoretical  facts  learned  during  the  preparation  period.  This  stage  is  also 
important  for  matching  ideas  with  the  reality  and  considering  the  feasibility  of 
one’s ideas. 

Illumination:  This  is  the  ‘Eureka’  moment  of  the  creative  thinking  process  in 
which  one  finds  a  solution  or  idea  that  one  is  content  with.  It  can  occur  at  any 
points in the thinking process. 

-  Verification:  Regards  the  period  when  an  idea  is  tested  and  implemented,  to 

learn whether it works as expected or not. 

- 

- 

Problem-solving: The creative thinking process was defined as a way to look at 
and solve problems from a different perspective, avoiding Orthodox solutions and 
thinking outside the box with the intention to arrive at solutions that are unusual, 
original and new.  

Exploration:  Recognising  that  to  excel  at  problem-solving,  it  may  be  necessary 
to  explore  and  challenge  the  nature  of  the  question,  the  direction  of  and  the 
desired solutions, as well as the associations and connections between ideas and 
assumptions. 

52 

 
Pedagogical 
approaches and 
methods 
promoted 

The consortium did not set out a specific pedagogy on how to teach creativity. Nevertheless, the 
resources  suggest  that  ‘Creative  thinking  in  youth  work’  showcases  some  pedagogical  principles 
and a plethora of methods. The following pedagogical principles reveal how to best teach creative 
thinking for youth workers (SALTO-YOUTH, 2019): 

-  Determine what new knowledge and skills the youth need to develop through pre-
assessment.  According  to  the  interviewee,  the  desire  to  remedy  the  low 
participation  and  engagement  among  youth  workers  seen  in  the  stakeholder 
survey drove the consortium’s participatory approach to the methods prompted. 

- 

- 

Allow  for  as  much  collaboration  and  participation  in  the  teaching  as  possible  to 
increase the activity, enthusiasm and feeling of ownership of the learners 

Focus  on  techniques  that  can  be  applied  to  the  participant’s  context  and 
personalise the learning experience as much as possible 

-  Make use of ICT, e-tools and e-learning (e.g. video making and visual design) to 
modernise the teaching, give the learners additional fun challenges and reach out 
to a bigger audience 

To  strengthen  the  creative  thinking  abilities  of  youth  workers,  the  participants  and  the  partner 
NGOs developed and uploaded a wide range of materials for the MOOC. Whereas the first module 
in the MOOC concerned the definition of creativity, the last three concerned methods that can be 
applied to foster the creative thinking of youth workers: 

-  Creativity activators: To think creatively requires more energy than our typical, 
behavioural mode of thinking, usually a break away from the typical or expected. 
This module focuses on tips and tricks to stay creative in spirit and how to deal 
with and avoid creativity blockers. 

-  Creative environment: It is well-known that the right working environment can 
stimulate  learning  –  the  same  goes  for  creativity  and  innovation.  This  part 
teaches  methods  of  how  external  factors  ranging  from  lightening  to  the  people 
one is surrounded with can be used to strengthen one’s creativity.  

-  Creativity tools: To support in the explorative, incubating and illumination phase 
of  the  creative  thinking  process,  this  module  gives  a  variety  of  tools  and 
techniques  that  helps  one  to  take  new  and  different  perspectives  ranging  from 
brainstorming tasks to interactive games.  

Assessment 
approaches and 
methods 
promoted 

According  to  the  interviewee,  no  assessment  was  applied  to  the  participants  regarding  their 
creative thinking ability, and no assessment was integral to the training or MOOC. However, along 
with the viewpoint that creativity should be understood and fostered on a personal level, the MOOC 
promoted personality type testing as a form of self-assessment of creativity. Understanding how 
one’s personality type mattered in creative processes was seen as beneficial to the development of 
creativity skills, personal development and job opportunities (Monomyths, 2019).  

The  three  tests  of  personal  and/or  creativity  types  mentioned  and  their  benefits  for  creative 
thinking processes were (Monomyths, 2019):  

-  Adobe  –  Creative  Type  Quiz:  From  knowing  one’s  dominant  creative  type 
among ‘the artist’, ‘thinker’, ‘adventurer’, ‘maker’, ‘producer’, ‘dreamer’, ‘innovator’ 
and ‘visionary’, youth can better understand how to turn their creative ideas into 
action. 

-  Belbin team roles test:  Depending on the task at hand,  building a team from 
individuals  with  diverse  team  role  personalities,  strengths  and  weaknesses,  can 
help to solve a task or problem at the team level. The 9 team roles are: resource 
investigator,  team  worker,  co-ordinator,  plant,  monitor  evaluation,  specialist, 
shaper, implementer and completer finisher.  

-  Myers  Briggs  type  indicator  personality  test:  Knowing  one’s  placement  on 
scales of extroversion versus introversion, sensing versus intuition, thinking versus 
feeling and judging versus perceiving can help youth in understanding needs and 

53 

 
deciding on strategies in creative problem-solving situations. 

Participants to the MOOC were particularly encouraged to take the Adobe – Creative Type test and 
reflect  on  how  the  results  could  help  them  strengthened  their  creativity.  Besides  this  self-
assessment, all participants to the training course received a certificate of attending the course - a 
customised Youth Pass section filled out for the 8 key competences. 

Results 

The key output of the initiative was the MOOC for creative thinking in youth work.  

The feedback from the participants and comments by the interviewee suggests that the training 
reached its overall goals and that it taught creativity as a transversal skill. By September/August 
2019  the  objectives  had  been  reached.  Central  to  those  were  the  training,  the  creation  of  the 
MOOC and that the 35 participants in the seven countries shared their newly acquired know-how 
and their curriculum on creativity and design thinking with other 100 local youth workers, teachers 
or disadvantaged learners.  

The  feedback  from  the  participants  regarding  the  training  was  overtly  positive.  The  participants 
enjoyed the personalised learning experience, discovering their own form of creativity and how to 
put it into practice by solving problems faced by themselves or their community. On the one hand, 
the  feedback  suggests  that  enhancing  creative  thinking  improves  other  transversal  skills.  On  the 
other hand, creative thinking is a transversal skill in its own right. This is particularly visible in the 
participants’ reflection on the applicability of creative thinking to diverse areas of their lives. 

-  Regarding  the  sense  of  initiative  and  entrepreneurship:  “The  whole 
initiative was to enhance our creativity, and to do that the trainers showed us not 
only  how  to  produce  ideas  but  also  how  to  use  them  effectively  to  solve  real-
world problems.”  

-  Regarding  the  personalised  learning  experience:  “Most  powerful  learning 
moment  was  discovering  myself,  dealing  with  my  fears,  fighting  them  and 
pushing my boundaries. This initiative helps us to explore our mind and creativity 
limits.” 

-  Regarding  learning-to-learn:  “I  found  tools  used  during  this  training  course 
such  as  brainstorming  and  mind  mapping  very  useful  and  productive  for  me.  I 
now  know  how  to  use  them  in  order  to  organise  and  manage  my  learning 
experience better” and “We had to find a lot of resources in the final task of the 
initiative to back up our video, so we learned in a way to gather information and 
distinguish what is useful from them.”  

-  Regarding the transferability of the methods: “In this course, I learned new 

methods to enhance creativity. I can use these methods at my work and school.”  

-  Regarding  social  skills:  “In  this  training  course,  most  of  the  work  was  taking 
place  in  teams.  This  characteristic  helps  a  lot  an  individual  to  learn  how  to 
interact with others, respect their opinions, solve conflicts and work harmonically 
with  others  in  order  to  achieve  a  common  goal”  and  “I  am  now  more  aware  of 
both the differences and the similarities between other cultures and mine”. 

According to the interviewee, at least 150 people had signed up for the online course as of last 
year. Yet, looking at the participant lists in the course as of July 2020 reveals that work needs to 
be  done  to  make  sure  that  it  is  and  remains  a  popular  e-learning  platform  and  that  the  course 
remains relevant.  

Lessons learned 

A  synthesis  of  information  from  the  interviewee  and  the  initiative  documents,  suggests  that  the 
following were the key strengths of the initiative:  

- 

- 

Each  NGO  in  the  consortium  was  familiar  with  working  on  Erasmus  initiatives. 
This meant that the tasks related to the management of the initiative were easy, 
and more effort could be placed on the implementation of the activities. 

The NGO partners were committed to the implementation of the initiative and a 
long-term  goal  to  enhance  the  creative  thinking  abilities  of  youth  workers  in 
Europe. To this day, the participants and NGO workers still keep in touch and learn 

54 

 
from each other informally. 

- 

The  design  of  a  personalised  and  participatory  learning  experience,  where  the 
participants  were  in  charge  of  the  creative  thinking  process  and  applied 
metacognition  on  their  learning,  brought  out  the  intrinsic  motivation  needed  for 
successful creative processes.  

Key challenges have been: 

- 

Several e-learning platforms for youth exist. This makes it hard to draw attention 
towards the Monomyths platform and the particular course on creative thinking. 

-  Not enough time and resources were put into the co-creation part of the training 
course where the MOOC was set up and developed. While the course is great for 
being free, open access and giving an overview of the creative thinking process, it 
does not include a designated place for assignments and assessment. 

Key messages for those willing to take up similar actions include: 

- 

Creativity  is  abundant,  but  time  and  resources  are  not.  Make  sure  that  enough 
time is put into the implementation of ideas and development of products.  

-  Make  use  of  the  digital  tools  available  to  guide  the  learning  and  disseminate 

results. 

According to the interviewee, for workshops and online courses on creative thinking in youth work 
to  be  taken  up,  it  is  important  to  recognise  that  non-formal  learning  plays  a  crucial  role  in 
developing  the  skills  of  youth  workers  and  effectiveness  of  youth  NGOs.  In  that  regards,  non-
formal learning focused on creative problem solving will show in the effectiveness of their work. 
On  top  of  that,  this  training  has  generated  creative  thinking  as  a  skill  and  method  that  is 
transferable  beyond  youth  work  –  particularly  in  the  field  of  personal  development,  digital 
competences and lifelong learning.  

Sources of 
information 

Ghiselin, B. (1952). The Creative Process. University of California Press. 

Nikulina, I. (2019). Creative thinking 2 [video file]. Retrieved from https://youtu.be/ryWwsFFrwFY 

Mednick S. A. (1962). The associative basis of the creative process. Psychological Review 69, 220-
232. 

Association  WalkTogether. 
SALTO-YOUTH. 
youth.net/tools/otlas-partner-finding/organisation/association-walktogether.8922/ 

Retrieved 

(n.d.). 

from 

https://www.salto-

SALTO-YOUTH.  (2019).  Creative  thinking  in  Youth  work.  Retrieved  from  https://www.salto-
youth.net/tools/european-training-calendar/training/creative-thinking-in-youth-
work.7931/?fbclid=IwAR3ohS1su4ZbmOg04UyKVXgIeZjE1heLyCaXE9s15oQn0mrLr1C6zTD5hos  

Vernon,  P.  E.  (1989).  The  nature-nurture  problem  in  creativity.  In  J.  A.  Glover,  R.  R.  Ronning,  C.  R. 
Reynold (eds.) Handbook of creativity (pp. 93-110). Plenum Press. 

Wallas, G. (1926). The art of thought. Harcourt, Brace and Company. 

Interview with representatives from Walk Together.  

55 

 
Bullying: I don't stay! Yes to friendship. 

Objectives 

The initiative was developed as a result of searching for solutions to fundamental problems that 
teachers face: methods for bullying problem solving and work with bullies, unsatisfactory teaching 
effectiveness and a lack of motivation for learning among students. The main objectives were: 

- 

Promoting pro-social behaviours; 

-  Developing the creativity of students and teachers; fostering language, basic and 

transversal (such as social, civic and intercultural) skills; 

- 

- 

Searching for new innovative methods and forms of work; 

Building motivation to learn. 

Timeframe 

The initiative was launched in 2017 and ended in 2019. 

Target group(s) 

Students in secondary schools 

Level of 
implementation 

International 

Italy, Poland, Romania and Greece 

Secondary school education, institutional settings 

Geographical 
scope 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

Central  to  the  initiative  were  the  Instituto  Comprensivo  di  Porto  Viro,  Portugal  (Initiative 
Coordinator),  Szkola  Podstawowa  nr  4.  im.  Prof.  Wladyslawa  Szafera  w  Elku,  Poland,  Palatul 
Copiilor Vaslui, Romania, 5th Primary School Agion Anargyron, Greece, and Agrupamento de Escolas 
Fernando Casimiro Pereira da Silva in Portugal. 

Key activities/ 
measures 

The key activities were: 

- 

- 

- 

- 

Students,  using  different  techniques,  made  posters  and  organised  a  viewing 
where  they  were  presented,  prepared  a  dyadic  digital  comics  book,  an  e-book, 
website and leaflets on bullying prevention; 

Students  wrote  scenarios  of  a  theatrical  performance  and  organised  a  day  of 
enactment of enthusiastic teaching and learning in the school community; 

For teachers, a methodological guide was created to be used when working with 
bullies; 

Students  and  teachers  organised  a  public  conference  to  improve  awareness  of 
the bullying problem and the methods that can be adopted to solve it. 

Throughout  the  initiative,  a  variety  of  creative  activities  were  implemented,  especially  with  the 
support of modern technology, i.e. information and communication technology. 

Funding 
arrangements 

Funded  by  the  Erasmus+  (Erasmus+  Programme  2014-2020)  as  a  strategic  partnership  for 
schools. 

Conceptualisation 
of creativity 

Creativity  was  not  defined  but  treated  as  integral  to  digital  competence  and  cultural  awareness 
and expression. Concerning digital competence, creativity is a social skill needed to have an impact 
on  communities  and  networks  for  social  purposes.  In  relation  to  the  cultural  awareness  and 

56 

 
expression, creativity is a variety of ideas and production of something new or unique. 

Creativity was linked to: 

- 

- 

- 

- 

- 

- 

Critical thinking; 

Innovation; 

Cultural awareness; 

Respect for diversity; 

Self-reflection; 

Bravery and confidence-building. 

Pedagogical 
approaches and 
methods 
promoted 

Assessment 
approaches and 
methods 
promoted 

Participatory,  cooperative  and  justice-based  methods  were  adopted  in  the  initiative.  Other 
pedagogical approaches were: 

-  Discussion to stimulate reflection and problem-solving. 

- 

- 

- 

- 

Cooperative learning by age, knowledge and skills. 

Encouraging  self-reflection  on  own  feelings  and  emotions.  In  this  way,  learners 
were provided with a more likely social learning environment and encouraged to 
interact with different age groups and across disciplines.  

Younger  people  benefited  from  observing  and  mimicking  the  behaviour  of  older 
adults with greater knowledge and skills. In contrast, the older ones had an active 
part  in  involving  the  younger  and  older  children  in  school  activities,  playing  a 
leadership role in a climate of collaboration (peer tutoring, group work).  

Spreading  awareness  about  bullying  was  done  through  activities  based  on  non-
violence education: exploration and observation - description - telling - playing to 
build  new  contexts  of  human  society  utilising  the  'peer  education'  approach  - 
using dialogue to solve conflicts. 

A  questionnaire  and  test  were  developed  for  students  to  answer  'true'  or  'false' 
statements about bullying. 

Results 

Key outputs were: 

- 

- 

Posters, a word cloud and conceptual maps; 

Team presentations; 

-  Website design; 

-  Music against bullying; 

-  Workshops and debates; 

- 

- 

- 

Bullying stories combined with pictures, comics and different scenarios; 

A publishable e-book; 

A bullying script and theatrical performance, video to be used in future teaching; 

-  Digital comics based on a small guide of didactic digital comics; 

- 

- 

- 

- 

- 

Leaflets with slogans; 

A public conference about bullying; 

A presentation to the families and communities; 

A methodological guide for an education initiative; 

Bullying scenarios including a tour in local environment. 

57 

 
At  the  end  of  the  initiative,  the  participants  were  better  aware  of  the  discomfort  and  malaise 
determined  by  deteriorating  interpersonal  relationships.  An  internal  evaluation  found  that  the 
initiative  developed  social,  cultural,  linguistic  and  technological  knowledge,  motivation  to  teach, 
sharing knowledge and  skills, awareness and  cultural  expression, citizenship skills,  organisational 
and  professional  skills,  a  sense  of  belonging,  initiative,  design  capabilities,  experimentation  and 
development of new tools and methodologies together with pro-social behaviour.  

Creativity  was  fostered  in  relation  to  critical  thinking  on  the  one  hand  and  appreciation  of 
difference  (different  artistic  expressions  seen  during  the  initiative)  on  the  other.  ICT  to  support 
creativity also contributed to achieving the goal to engage the community and networks for social 
purposes. Also, by using multiple techniques (ranging from arts to ICT, from individualised to team-
work  based  strategies)  to  tackle  a  specific  problem,  the  initiative  seems  to  have  developed 
creativity as a transversal skill.  

The initiative was evaluated positively  and  presented as a good practice example and  a success 
story  in  the  Erasmus+  initiative  database.  The  initiative  first  of  all,  increased  the  awareness  of 
bullying  and  reached  out  to  the  whole  community  about  it.  The  initiative  modernised  teaching 
methods adopted in schools involved, especially on ICT. 

Lessons learned 

The  initiative  shows  that  transversal  skills,  including  creativity  and  creative  thinking,  can  be 
fostered by applying a participatory approach to address a specific real-life problem. 

Sources of 
information 

Bullying: I don’t stay! Yes to friendship consortium. (n.d.). Let’s fight against bullying. Retrieved 8 
September, 2020, from https://yestofriendship.wordpress.com/ 

58 

 
 
 
Design Thinking in Higher Education for 
Promoting  Human-Centered  Innovation 
in Business and Society (Design IT) 

Objectives 

The objectives of the initiative were: 

- 

- 

- 

Introducing innovative design thinking2 interventions into entrepreneurship higher 
education  that  prepares  students  to  enter  evolving  economies  as  adaptive, 
resilient, 
individuals  who  also  possess  practical 
entrepreneurship skills. These skills allow them to put ideas into action in business 
as well as social well-being contexts. 

innovative,  and  creative 

Addressing the educational needs of students by introducing design thinking skill, 
building  activities  that  can  be  integrated  into  a  wide  range  of  subjects,  and 
helping learners understand the core design thinking concepts as well as explore 
its practical applications in diverse contexts. 

Addressing  the  needs  of  educators  by  introducing  instructor  support  content  for 
integrating  design  thinking  into  education  and  training  so  that  while  learning 
students are challenged to generate new ideas and bring them to life. 

Timeframe 

The initiative ran between September 2017 and December 2019.  

Target group(s) 

Students and trainers in Higher Education  

Level of 
implementation 

International 

Geographical 
scope 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

Finland, Estonia, Portugal and Greece 

Higher education, institutional settings 

The  consortia  of  DESIGN  IT  consisted  of  five  partners:  Tallinn  University  (Estonia),  Metropolia 
(Finland),  University  of  Thessaly  and  Centre  for  Research  &  Technology  Hellas  (Greece)  and 
Polytechnic  Institute  of  Porto  (Portugal).  Tallinn  University  and  Dr  Kai  Pata  at  the  Centre  of 
Educational Technology coordinated the initiative and contributed to overall initiative development 
and design. Partners involved have contributed to the implementation of all initiative activities. The 
design  organisations  Futurice,  Gofore  and  IDEO  contributed  to  the  initiative  as  specialised 
consultants.  

Key activities/ 
measures 

The  core  activity  of  the  initiative  was  the  development  and  testing  of  the  gamified  learning 
platform. The core and functions in the game were the same, but the topic students had to address 
inside  the  game  differed  from  institution  to  institution.  The  students  mostly  participated  in  each 
country as players of the game, playing an active role in carrying out the design procedure. In each 
country,  a  certain  number  of  students  also  answered  a  questionnaire  and  gave  interviews  about 
their experience of the structure of the game. The following activities cut across the work of the 

2  Design  thinking  is  a  human-centered,  solution-oriented  approach  to  entrepreneurial  innovation  that  aims  at 
better understanding of how a user experiences a proposed solution through empathy for understanding actual 
issues,  creativity  for  innovation,  prototyping,  and  testing  with  users  to  ensure  that  proposed  services  work 
(Stanford). 

59 

 
                                          
partner organisations:  

- 

A  small-scale  study  to  identify  student  needs  for  building  design  thinking  skills. 
The  intention  was  to  map  the  prior  knowledge  of  the  students  about  design 
thinking  and  gamified  learning  methodologies,  to  find  the  knowledge  gaps  and 
needs that the game had to address.  

-  Development  of  the  methodological  framework  for  design  thinking  in  higher 
education.  The  methodological  framework  underpinned  the  development  of  the 
game  and  active  learning  approaches  for  building  design  thinking  skills  of 
students  by  use  of  the  game.  The  developed  framework  combined  three 
dimensions:  practice,  cognitive,  and  mind-set  (see  the  section 
‘Fostering 
creativity’). The framework adopted tools and lean service creation canvases from 
design companies, a human-centred approach, thinking by doing and collaborative 
work style. 

-  Development  of  a  gamified  online  learning  platform.  The  initiative  produced  a 
learning  game 
formal 
entrepreneurship  education  contexts  as  a  complementary  learning  tool.  In  the 
game,  students  were  challenged  to  solve  a  real-world  problem  or  challenge  set 
out by the teacher.  

for  promoting  design 

thinking  mind-sets 

in 

-  Multiplier events. Multiplier events were used to share ideas, brainstorm, and test 
the  gamified  online  learning  platform  by  the  use  of  collaborative  learning 
methods. 

Funding 
arrangements 

The  initiative  was  funded  as  a  strategic  partnership  for  higher  education  (cooperation  for 
innovation and the exchange of good practices) under the Erasmus+ Programme. It was awarded a 
grant of EUR 232 710. 

Conceptualisation 
of creativity 

Creativity was not clearly defined in the initiative documentation. However, the term is understood 
to have two capabilities: 1) idea-exploration and the ability to come up with multiple and diverse 
ideas and 2) the action of bringing ideas into life and applying critical thinking. 

Creativity was referred to as a transversal skill and linked to innovation and entrepreneurship, and 
this  was  tied  to  national  education  policy  documents.  In  the  Final  report,  critical  and  creative 
thinking is given as examples, together with entrepreneurial capacity, as transversal skills that the 
initiative fosters.  

Overall, creativity was seen as an integral part of the problem-solving process necessary in design 
thinking and gamification. Creativity is especially important in solving problems where there are no 
solutions.  

Pedagogical 
approaches and 
methods 
promoted 

This  initiative  aimed  at  facilitating  design  thinking  in  higher  education  by  introducing  an  active, 
experiential  learning  approach  that  engages  students  with  design  thinking  principles  towards 
building  their  capacity  to  act  as  innovators  in  business  and  civic  contents  (Design  IT  initiative, 
2018).  Design  thinking  is  a  solution-based  approach  that  is  used  to  solve  problems  and  correct 
faulty  definitions  of  problems.  It  has  a  human-centric  characteristic  because  it stresses  that  the 
process  of  “thinking  out  of  the  box”  towards  introducing  solutions  need  to  address  actual  user 
needs.  

The methods had two key dimensions: 

- 

The  practice  dimension adopted  tools  and  lean  service  creation  canvases  from 
design companies, human-centred approaches (Norman, 2010), thinking by doing 
(Paavola  and  Hakkarainen, 
(Schön,  1983)  and  collaborative  work  style 
2014; Seitamaa-Hakkarainen  and  Hakkarainen,  2001;  Rylander,  2009;  Brown, 
2009;  Sato  et  al.,  2010).  The  initiative  partners  considered  that  the  practice 
dimension of the game had three key components: visualisations, combination of 
divergent and convergent approaches and collaborative work style. 

- 

The cognitive  dimension regarded  the  research  of  creative  thinking  which  was 
mainly  based  on  abductive  reasoning  (Paavola,  2015;  2015a;  Lockwood,  2009; 

60 

 
Assessment 
approaches and 
methods 
promoted 

Dew,  2007) and  hands-on  research  on  thinking  and  doing  by  Seitamaa-
Hakkarainen  et  al.  (2014). Abductive  reasoning  provides  a  means  to  understand 
how  to  foster  creative  activities  appropriately.  Ideation,  creative  thinking  or  in 
other words coming up with ideas out of the box requires the following activities 
and  characteristics 
(Paavola,  2014):  Searching  anomalous,  surprising,  or 
disturbing phenomena and observations, Detecting details, little clues, and tones, 
A continuous search for hypotheses and understanding their presumptive nature, 
Aiming at  finding what  kind or  type  of explanations  might be  viable for  scoping 
the  challenge,  Aiming  at  finding  ideas  which  can  be  explained  or  rather  be 
experimented  if  they  work,  Searching  for  “patterns”  and  connections  that  fit 
together to make a reasonable unity and understanding and paying attention to 
the process of discovery – its different phases. 

Within  the  frames  of  the  ‘Design  IT’  initiatives,  learning  outcomes  were  not  assessed.  However, 
students received scores during the game based on their creativity and entrepreneurial skills and, 
most importantly, based on their ability to collaborate in solving problems and ideation. Each team 
in the game gets three coins once in every level once they confirm their work to their game master 
(teacher). The final assessment, so to say, is done when the game master (teacher) evaluates and 
accepts  the  work  after  the  players  have  improved  and  it  is  based  on  feedback  (formative 
evaluation). Some characteristics of the coin system in the game could be seen as a competitive 
feature of the game, rather than meaningful assessment. 

Regarding  learning  outcomes,  the  key  idea  of  design  thinking  is  that  students  must  fully 
understand the game, accurately define a problem statement, collaborate, and think out of the box 
to introduce solutions to ‘wicked’ problems to which none appears to exist at first glance since this 
will prepare students to face future risky situations at their workplace.  

In addition to targeting students, Design IT aimed to develop the following skills and/or knowledge 
of educators: the ability to integrate new methodologies into courses, awareness of the need for 
integrating  ICT  into  HE  in  alignment  with  the  needs  of  the  entrepreneurial  and  social-
entrepreneurial  sectors,  linking  of  theoretical  knowledge  to  business  practices,  linking  newly 
developed knowledge to educational goals, ability to build high-level knowledge among students, 
fostering  students’  motivation  and  creativity  on  engaging  in  problem-solving  activities,  critical 
thinking, innovation, know-how exchange networks and the ability to integrate design thinking into 
their practices. 

Results 

The outputs of the initiative were: 

- 

- 

- 

- 

A needs analysis for design thinking in higher education courses in four countries 

An  active  learning  framework  for  promoting  design  thinking  in  entrepreneurship 
higher education through exploration, collaboration, and creativity 

A validated gamified learning platform Design IT that familiarises students with 
design thinking concepts and helps to build practical skills 

An  Educator  support  in  learning  scenarios  and  best  practice  guidelines  for  the 
integration of the proposed methodologies and tools into classroom practices 

Students  from  each  partner  country  (100  students  from  Finland,  64  students  from  Estonia,  140 
students from Greece, 54 students from Portugal) participated in the game validation phase in 8 
activities from Fall 2018 to Spring 2019. 

Regarding the ability of Design IT to foster creativity, all the student teams developed innovations 
and  mostly  experienced  designing  for  human-centred  innovations  positively.  In  addition,  most 
teachers testing the tool in multipliers event were positive.  

The  tool  was  evaluated  by  the  students  to  promote  creativity,  interactivity  and  communication 
between  team  members.  It  was  explained  as  follows:  ‘The  Design  IT  interface  acts  like  a 
blackboard with stickers, where it is easier to categorise your ideas, and break the initial problem 
into smaller ones, so that each post-it sticker represents a smaller problem. Additionally, you can 
visualise your ideas and edit them whenever you want, which helps you be creative and process 
your ideas. It also helps you work step by step and gradually improve your idea’ (Final Evaluation 
Report).  The  students  stated  that  the  easy  collaboration  further  fostered  their  creativity  as 

61 

 
transversal skills (actualisation of problem-solving ideas). 

Lessons learned 

Based on external and internal review, Design IT can be deemed a successful initiative. According to 
the initiative coordinators, key success factors were: 

-  Well-developed and consistent methodological framework underpinning the game 

- 

- 

The game and development of material were built  in an extremely participatory 
manner 

The  flexibility  of  the  game  to  different  contexts,  which  made  in  adaptable  to 
several countries and disciplines 

This is not to suggest the initiatives had no weaknesses: 

- 

Challenges to disseminate and make the initiative well known  

-  Not enough funding to sufficiently upscale the initiative  

- 

Although  the  game  made  students  generate  ideas,  some  found  the  online 
learning platform limiting as there were not always that many options and ways 
to act during the game.  

Overall,  ‘Design  IT’  helped  to  foster  creativity  as  a  transversal  skill  –  especially  in  the  ways 
creativity links to problem-solving and collaboration. Certain features of this methodology make it 
particularly  well  suited  for  learning  in  various  settings.  This  was  because  gamified  learning 
platform  could  be  changed  to  make  students  solve  any  form  of  problem  in  any  field  through 
games and collaboration. According to the initiative coordinators, the initiative is still unique and 
should have gotten more publicity. To make it more popular, one needs more funding but also to 
share the platform on the right websites. 

Sources of 
information 

Erasmus +.  (n.d.).  Design  thinking  in  higher education  for  promoting  human-centered  innovation in 
business 
from 
https://ec.europa.eu/programmes/erasmus-plus/projects/eplus-project-
details/#project/2017-1-EE01-KA203-034889   

September, 

Retrieved 

society. 

2020, 

and 

8 

Design IT. (n.d.). About Design IT initiative. Retrieved June 4, 2020, from https://initiativedesignit.eu/  

Interviews with the representatives of the Design IT 

62 

 
Experiential 
Enhancement  

Live 

Initiative 

Objectives 

The initiative aimed to build a strategic partnership to support the adoption of live initiatives in the 
role of students’ consultancy at European and regional levels. The specific objectives were: 

- 

- 

- 

Integrating  an  innovative  methodology  with  e-learning,  hence  supporting  the 
quality  and  modernisation  of  undergraduate  and  postgraduate  curricula,  youth 
employment,  and  the  engagement  of  higher  education 
institutions  with 
businesses and local authorities; 

Fostering  creativity  and  innovation  in  the  study  process  by  applying  a  method, 
central to which is that students employ social skills and take leadership of real-
world initiatives; 

Integrating academic and prior experiential knowledge with personal development 
attributes  and  employability  skills  by  supporting  and  promoting  the  use  of  live 
initiatives within the higher education institutions in the EU. 

Timeframe 

The Experiential Live Initiative Enhancement initiative ran between 2017-2019. 

Target group(s) 

Academic staff of higher education institutions, students and business representatives. 

Level of 
implementation 

International 

Geographical 
scope 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

Key activities/ 
measures 

Italy, Lithuania, Finland and Spain 

Higher education, institutional settings 

Central to the initiative were the Utenos kolegija, Lithuania (Initiative Coordinator), Fundacio UAB, 
Portugal and HAAGA-HELIA Ammattikorkeakouluoy in Greece. 

The  live  initiative  method  was  introduced  cross-disciplinary  in  seven  courses  in  the  Spanish 
university and four courses in the Lithuanian college.  

- 

- 

- 

The  students  taking  the  courses  were  divided  into  small  groups.  Each  of  these 
acted as a group of consultants to a real-life commissioner for a real-life problem 
or  development  opportunity  that  the  commissioner  needed  to  explore.  Students 
participating in the initiative attended events with the respective businesses. 

The  commissioner/business  representative  interacted  directly  with  the  group  of 
students-consultants by providing a brief for a new opportunity or analysis of an 
existing  problem  or  issue  as  well  as  giving  feedback  and  making  it  possible  for 
the students to proceed with the initiative. 

As a result, students had to take on a new kind of responsibility, accept that the 
process  of  the  initiative  will  develop  and  change  during  the  semester.  They 
learned 
initiative 
stakeholders, standing uncertainty and appreciation that teachers do not always 

initiative  management,  creativity,  contacting 

teamwork, 

63 

 
 
 
have all the answers. 

Teachers  organised  events  with  businesses  and  in  schools  to  involve  them  in  the  initiative.  All 
school  staff  was  responsible  for  disseminating  the  initiative  activities  through  social  media  and 
their local communities. 

Two conferences were held: 

- 

- 

An  international  conference  on  live  initiatives  -  Experiential  Learning  and 
University-Industry Cooperation was held in Utena, Lithuania. 

A  final  conference  'Learning  Innovation:  Live  Initiatives,  Creativity  and  New 
Approaches for a Changing Labour Market' was held to discuss and disseminate 
findings in Barcelona, Spain. 

Funded by the Erasmus+ (Erasmus+ Programme 2014-2020) as a strategic partnership for higher 
education 

The initiative consortium did not define creativity.  

Yet, creativity was mentioned in the initiative documentation in the context of problem-solving and 
entrepreneurial  capacity.  Creativity  encompassed  divergent  thinking,  bravery  and  exploration,  the 
process  of  bringing  an  idea  into  action  and  solving  problems.  Moreover,  the  initiative 
documentation linked creativity to the following: 

Funding 
arrangements 

Conceptualisation 
of creativity 

- 

- 

- 

- 

- 

- 

Problem-solving; 

Critical thinking; 

Entrepreneurship; 

Innovation; 

Collaboration; 

Initiative management and leadership. 

Pedagogical 
approaches and 
methods 
promoted 

The main pedagogy adopted was experiential learning, which centres around acquiring knowledge 
by  experiencing  things.  It  usually  requires  classroom  learning  in  a  workplace  or  simulated 
workplace  settings.  Initiatives  that  foster  experiential  learning  are  often  called  live  initiatives 
because  they  can  be  worked  on  in  real-time  and  with  a  defined  deadline  (i.e.,  internships). 
Experiential  learning  helps  to  engage  students  in  creating  knowledge  and  critically  reflecting  on 
their experiences, allowing them to understand how to transfer their knowledge and skills to the 
future and for lifelong learning. 

Other pedagogical approaches employed during the initiative were: 

- 

- 

- 

- 

- 

Inquiry-based learning; 

Problem-based learning; 

Transformative learning theory; 

Active learning; 

Student consultancy pedagogy. 

Assessment 
approaches and 
methods 
promoted 

In standard courses, students could choose to get half of their grade covered by their participation 
in  a  live  initiative.  The  tutor  could  also  provide  an  input  to  the  evaluation  of  the  work  of  each 
student. In general, in student consultancy initiatives, it is important to assess both the process and 
the product or outcomes. For this reason, the assessment typically included: 

- 

- 

- 

Peer- and self-assessment; 

Assessment by the tutor; 

Assessment by the teacher(s). 

The tutor's assessment of the student’s performance included validation of specific skills required 

64 

 
in  the  workplace  (i.e.  time  management,  communication,  emotional  intelligence,  assertiveness, 
teamwork,  conflict  resolution,  work  under  pressure,  creativity,  proactivity,  etc.).  In  some  cases, 
creativity was assessed together with innovation. On other occasions, the skills that were assessed 
were soft and transversal skills, but these did not include creativity and focused on critical thinking, 
teamwork,  communication,  research,  problem-solving  and  decision-making.  Creativity  was 
mentioned under problem-solving and integrated into the description of the highest marks. For the 
highest marks, students had to be creative, take initiative, go outside the box, take and negotiate 
risks. 

Results 

Key outputs of the initiative were: 

- 

- 

- 

- 

A  Students'  Consultancy  guidebook:  An  International  Perspective.  A  Guidebook 
Implementing and Managing Students' Consultancy Live Initiatives; 

An online learning platform; 

A Short guidebook; 

Case  studies  on  modules  integrating  a  live  initiative  approach  in  two  countries 
and describing how the process went in two main participating universities. 

The initiative had several and documented positive outcomes. The teachers were content since the 
courses with live initiatives got  more  popular  among students and  received good feedback from 
businesses. The companies gained new and different insights from young consultants on how to 
develop  and  solve  their  problems  whilst  gaining  an  opportunity  to  mentor  and  encourage  young 
and  potential  new  employees.  Students  improved  transversal  skills  through  experimental  and 
creative problem-solving. They improved teamwork, relational, communication, stress management 
skills,  level  of  employability,  managerial,  entrepreneurial  and  meta-skills;  while  gaining  a  better 
understanding of the utility of the higher education content for the real world. 

On  a  higher  level,  the  initiative  strengthened  the  link  between  universities  and  the  industry  and 
information flow between the different types of institutions. 

Lessons learned 

Success factors for the initiative were: 

- 

- 

Close cooperation between the universities and businesses; 

Invested and engaged students and businesses. 

Sources of 
information 

ELPE  Consortium.  (n.d.).  Experimental  Live  Initiative  Enhancement.  Retrieved  8  September,  2020, 
from https://sites.google.com/view/initiative-elpe  

65 

 
 
 
 
 
Sustainable 
Production in Social Life 

Consumption 

and 

Objectives 

The initiative objectives were: 

- 

- 

- 

- 

- 

- 

- 

Improving  the  quality  of  school  curricula,  encouraging  sustainable  consumption 
behaviour  through  educational  activities  in  5  different  European  schools  and 
creating  an  educational  base  consisting  of  lesson  plans,  posters,  and  a  book  to 
achieve this; 

Enhancing the potential of teachers, i.e. mastery of ICT skills, improved language 
and intercultural competences; 

Improving  the  teaching  of  reading  comprehension  in  order  to  develop  critical 
thinking and proper consumer choices; 

Involving  65  students  in  designing  an  innovative  interactive  book  that  promotes 
environmental protection; 

Increasing knowledge about sustainable consumption among 2,500 students and 
local communities during a 2-year-long initiative; 

Increasing knowledge about sustainable consumption among students; 

Stimulating  students’  creativity,  innovation,  observation  skills,  comparison  and 
classification techniques. 

Timeframe 

The initiative ran between 2016 and 2018. 

Target group(s) 

Students (aged 9-14) and teachers 

Level of 
implementation 

International 

Geographical 
scope 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

Poland, Turkey, Romania, Estonia and Italy 

Primary and secondary school education, institutional settings 

One partner in each participating country organising activities under different sub-topics: 

- 

- 

School in Kaletach Miotku, Poland (Unsustainable consumption & Threats) 

IPSSAR P.pi Grimaldi, Italy (FUTUREU & Healthy Living & Food & Sports) 

-  Gymnasium Miron Cristea, Romania (Employment & Economy) 

-  MTU  Tartu  Erahariduse  Selts,  Estonia  (Environment  &  Climate  change  & 

Environmental protection) 

- 

Toki Sehit Yuzbasi Erhan Kindir Primary School, Turkey (Education & Innovation) 

Key activities/ 
measures 

An  initial  questionnaire  laid  the  foundation  for  the  course.  The  first  part  focused  on  students' 
knowledge of sustainability. The second part concerned creativity and innovation and was used to 
shed light on how students perceive these concepts and what students need in order to be creative. 
Survey  findings  led  the  organisers  to  incorporate  more  ICT  and  brainstorming  activities  into  the 
lessons.  Throughout  the  course,  there  was  an  active  engagement  of  students.  It  was  up  to  the 

66 

 
students to set out criteria that would lead to success on the new planet under all the sub-topics.  

During  the  initiative,  there  were  student  exchanges  between  the  partner  countries  where  each 
country served as a base for sub-topics of sustainable development: Unsustainable consumption & 
Threats';  FUTUREU  &  Healthy  Living  &  Food  &  Sports;  Employment  &  Economy;  Environment  & 
Climate change & Environmental protection; Education & Innovation.  

Moreover, the initiative had three stages: 

-  During the first three months, the students analysed the threats of unsustainable 

consumption. 

- 

- 

In  the  second  stage,  students  created  a  learning  scenario  based  on  their 
experience  on  the  imaginary  spaceship  that  landed  on  the  habitable  planet 
FuturEU  after  a  500-year-long  quest  for  a  planet.  In  creating  a  new  civilisation 
from  scratch,  they  dealt  with  problems  related  to  key  themes  of  sustainable 
development. 

In  the  third  stage,  the  initiative  outputs  and  results  were  disseminated  to  other 
students. 

Funded  by  the  Erasmus+  (Erasmus+  Programme  2014-2020)  as  a  strategic  partnership  for 
schools. 

Creativity  was  not  defined,  but  creative  learning  was  described  by  students  as  including  fun 
activities and activities that allow them to take risks. Looking at the ideas behind the initiative and 
methodology,  as  well  as  the  principles  the  students  came  up  with  to  support  creative  learning, 
creativity seems to be linked to: 

- 

- 

- 

- 

- 

- 

Innovation; 

Critical thinking; 

Imagination; 

Student-centred learning; 

Real-world problem-solving skills; 

Life-long learning; 

-  Didactic competences. 

Overall the course made use of the following pedagogies: 

- 

- 

- 

Eco-justice pedagogy; 

Initiative-based learning; 

Problem-based learning; 

-  Didactic learning methods; 

- 

- 

Blended learning (flipped classroom); 

Collaborative learning. 

Funding 
arrangements 

Conceptualisation 
of creativity 

Pedagogical 
approaches and 
methods 
promoted 

For  the  part  of  the  initiative  focusing  on  Education  &  Innovation,  there  was  a  stronger  focus  on 
collaborative learning, usage of multimedia lessons and giving the students time to experiment and 
have fun. 

Not applicable 

Assessment 
approaches and 
methods 
promoted 

Results 

Key outputs were: 

67 

 
- 

- 

- 

- 

- 

Initiative website; 

Survey results; 

An  educational  base  -  lesson  plans  for  each  sub-topic  of  the  course  for  each 
country; 

An innovative interactive book that promotes environmental protection; 

A leaflet that presents the topic of the initiative, objectives and partner schools. 

A new survey at the end of the initiative found an increase in the share of correct answers from 
44% obtained in the preliminary study to 69% of correct indications in the final study, which was 
considered satisfactory. The initiative team concluded that didactic activities undertaken could be 
considered effective and developed communication, intercultural skills, analytical skills and critical 
thinking,  increasing  motivation  to  acquire  knowledge,  independent  thinking  and  shaping  attitudes 
among  the  respondents,  which  relate  to  the  principles  of  sustainable  development.  Furthermore, 
making the students set out criteria for sustainability on a new planet fostered their imagination 
and  sense of  responsibility  since  they needed to imagine  being in charge of  the new planet  and 
apply  their  new  knowledge.  The  initiative  was  evaluated  positively  and  is  presented  as  a  good 
practice example and a success story in the Erasmus+ initiative database. 

In terms of wider impact, it resulted in schools introducing issues of sustainable consumption into 
their curricula. The initiative, therefore, had a lasting impact on each partner institution. 

Lessons learned 

Not applicable 

Sources of 
information 

The  consortium.  (n.d.).  Sustainable  consumption  and  production  in  social  life.  Retrieved  10 
September, 2020, from http://sustainableconsumptionandproduction.weebly.com/ 

Erasmus  +.  (n.d.).  Sustainable  consumption  and  production  in  social  life.  Retrieved  10  September, 
2020, 
https://ec.europa.eu/programmes/erasmus-plus/initiatives/eplus-initiative-
details/#initiative/2016-1-PL01-KA219-026190  

from 

68 

 
 
 
 
Arts  &  Humanities  Entrepreneurship 
Hub 

Objectives 

The initiative was developed with the objective to:  

- 

- 

Increase the proportion of VET students acquiring an entrepreneurial mind-set and 
engaging in early-stage entrepreneurial activity; and 

Raise awareness and improve the pedagogic capacities of VET policymakers and 
educators,  and  facilitate  collaboration  with  other  actors  in  the  entrepreneurship 
ecosystem. 

Timeframe 

The initiative ran between 2016 and 2018. 

Target group(s) 

Educators in VET 

Level of 
implementation 

International 

Geographical 
scope 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

Key activities/ 
measures 

UK, Belgium, Spain, Ireland, Denmark and the Netherlands 

VET and adult learning, institutional settings 

Central to the initiative were: 

- 

- 

- 

- 

- 

- 

- 

Lisburn  and  Castlereagh  City  Council,  the  UK 
initiative 
management,  quality  &  evaluation,  sustainability,  mainstreaming  student 
entrepreneurship in VET, needs and opportunities assessment); 

(responsible  for 

Roscommon  Leader  Partnership,  Ireland  (responsible  for  mainstreaming  student 
entrepreneurship and regional alliances); 

(responsible 
Technical 
Entrepreneurship Support Toolkit, Phase 1: Content development); 

Education  Copenhagen,  Denmark 

for  Student 

Inqubator, Netherland (responsible for assisting quality management & evaluation 
of the initiative); 

Feltech  Software  Innovations,  Ireland  (responsible  for  Student  Entrepreneurship 
Support Toolkit, Phase 2: Technical Realisation); 

Cebanc,  Spain  (responsible  for  the  coordination  of  the  Student  Entrepreneurship 
Support Toolkit, Phase 3: Implementation and Feedback); 

European Foundation for Vocational Education and Training, Belgium (responsible 
for the dissemination strategy and effort). 

The main activities undertaken include: 

- 

- 

A needs and opportunities analysis developed, arguing the case for an integrated, 
cross-sector  approach  to  student  entrepreneurship  education.  The  analysis 
explored  the  enablers,  barriers,  needs,  opportunities  and  existing  support  that 
relate to the development of entrepreneurship education. 

Five  regional  alliances  were  established  in  Ireland,  Holland,  Spain,  Northern 
Ireland  and  Denmark,  and  brought  together  61  stakeholders  from  VET,  private 

69 

 
and public sectors. 

- 

- 

- 

The  alliances  were  involved  in  a  consultation  for  the  analysis  of  needs  and 
opportunities, support and best practice mapping, development of regional action 
plans and dissemination activities. 

A  Student  Entrepreneurship  Support  Toolkit  was  developed,  and  ten  innovative 
entrepreneurship training activities piloted in the participating countries. 

All initiative outputs and findings were shared via a multilingual initiative website 
and comprehensive strategy. 

Funded  by  the  Erasmus+  (Erasmus+  Programme  2014-2020)  as  a  strategic  partnership  for 
vocational education and training. 

In  the  initiative  documentation,  a  creative  and  confident  individual  is  described  as  one  who 
innovates to solve problems and convert ideas into value across enterprises, organisations and the 
public  sector.  In  the  toolkit,  creativity  is  treated  as  the  ability  to  come  up  with  loads  of  ideas 
without  limitations  and  reasons  and  therefore  differentiated  a  bit  from  innovation  and 
entrepreneurship (although integral to an entrepreneurial mindset). 

Funding 
arrangements 

Conceptualisation 
of creativity 

Creativity was linked to: 

- 

- 

- 

- 

Critical thinking; 

Problem-solving; 

Innovation; 

Entrepreneurship. 

While  innovation  and  entrepreneurship  are  said  to  be  about  convergent  thinking  and  combining 
convergent and divergent thinking, creativity stands out because of these components: 

-  Divergent thinking; 

-  Multiple perspectives; 

- 

Acceptance of all ideas, also irrational ones; 

-  Outside-the-box mentality. 

The analysis of needs and opportunities conducted at the beginning of the initiative was used to 
inform  the  methods  employed  and  design  of  the  toolkit.  For  example,  the  study  found  that  VET 
often is only a tool, and not an efficient one, to find employment, and VET should therefore aim to 
better  boost  the  employability  of  an  individual,  and  also  develop  students'  transversal  skills  and 
life-long  learning  trajectories.  A structured  methodology  was  developed  by  a  leading  Danish  VET 
school to identify 10 best practices and compile them into the toolkit, covering aspects such as the 
potential  of  the  approach  to  develop  and  foster  entrepreneurial  mindsets  incorporating  creative 
thinking, problem-solving, team building, time management, decision making, communication and 
much more. It was agreed that the best practices should have practical 'learning by doing' focus 
and they should make learning entrepreneurship fun. A variety of approaches was applied, aiming 
to let VET institutions 'mix and match' from the initiatives to create lessons that suit their context. 
The main pedagogies employed were problem-based and collaborative learning. 

The exercises and toolkit did not focus on assessment, but most exercises had strong elements of 
self-assessment and self-reflection. 

Pedagogical 
approaches and 
methods 
promoted 

Assessment 
approaches and 
methods 
promoted 

Results 

Key outputs were:  

- 

- 

Initiative website; 

Pilot implementation and feedback report; 

70 

 
- 

- 

- 

Student Entrepreneurship Toolkit, including detailed summaries, lesson plans and 
tips  for  replicating  the  activities  (supported  by  the  initiative  website  which 
includes  essential  and  additional  resources  to  assist  teachers  in  rolling  out  the 
activities in their own settings); 

Survey templates from Student Entrepreneurship Toolkit pilot sessions; 

A guide to creating regional alliances; 

-  Needs and opportunities position paper and appendixes; 

- 

- 

- 

A brochure; 

Email newsletters; 

Independent initiative evaluation. 

An external evaluation based on post-initiative surveys found  that  all respondents had rated  the 
pilot initiatives as either useful or very useful in developing the following competences: creativity, 
innovation, working effectively & efficiently (initiative), solving problems and teamwork, and that 
the Toolkit was very effective or effective in relation to 3 competences: build a spirit of enterprise, 
enhance creativity and improve decision-making skills. 

Overall,  the  initiative  was  awarded  high  scores  for  its  ability  to  teach  skills  related  to 
entrepreneurship,  which  one  can  infer  are  also  transversal  skills  related  to  creativity.  The 
percentage  refers  to  the  share  of  respondents  who  were  satisfied  or  very  satisfied  with  the 
teaching of these skills: 

- 

- 

- 

Creativity (100 %); 

Innovation (100 %); 

Risk-Taking (95.8 %); 

-  Working Independently (95.8 %); 

-  Working effectively and efficiently (100 %); 

- 

- 

Solving Problems (100 %); 

Teamwork (100 %); 

-  Design/Implementation for an idea (91.7 %); 

- 

- 

Capacity to manage deadlines (95.8 %); 

Analysing/ evaluating results (91.7 %). 

The initiative was successful in responding to a genuine need experienced by partner organisations 
in the vocational education, entrepreneurship support and economic development sectors eager to 
use the outputs and sustain the impacts of the initiative in the long term. 

Lessons learned 

The Student Entrepreneurship Toolkit is user friendly and engaging for students in entrepreneurial 
education  but  can  be  further  developed  to  cover  more  in-depth  or  longer  lessons  with  an  even 
wider focus on entrepreneurial transversal skills (e.g. soft skills and ICT). 

Sources of 
information 

The  Mainstreaming  Student  Entrepreneurship  initiative  partners.  (n.d.).  Student  Entrepreneurship 
Toolkit.  Retrieved  10  September,  2020,  from  http://www.studentstartup.how/student-
entrepreneurship-toolkit/  

AHEH  Consortium.  (n.d.).  Arts  and  Humanities  Entrepreneurship  Hubs.  Retrieved  10  September, 
2020, from https://www.artshumanitieshub.eu/  

71 

 
 
 
Assessment  of  transversal  skills  2020 
(ATS2020) 

Objectives 

Assessment  of  Transversal  Skills  2020  (ATS2020),  an  innovative  policy  experimentation  project, 
had the following objectives: 

-  Develop  and  provide  a  comprehensive  learning  model  for  the  enhancement  of 
students'  transversal  skills  within  curricula  and  offer  new  approaches  and 
innovative tools for the teaching and assessment of these skills; 

-  Make  sure  that  the  resources  and  model  are  implemented  by  institutions,  and 
research the effectiveness of the products against expected learning outcomes; 

- 

- 

Provide  recommendations  for  policy  aimed  at  developing  and  assessing 
transversal  skills  in  the  school  context,  targeting  policymakers,  school  leaders, 
teachers  and  researchers,  as  well  as  anyone  interested  in  the  development  and 
assessment of transversal skills in the digital era; 

A higher level objective is to contribute to the reform of education systems, coach 
young people on skills they need to contribute meaningfully locally and globally to 
their lives and economies and take charge of their learning. 

Timeframe 

The initiative ran between 2015 and 2018.  

Target group(s) 

Students aged 10-15 and their teachers 

Level of 
implementation 

International 

Geographical 
scope 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

Belgium, Cyprus, Greece, Finland, Ireland, Lithuania, Slovakia and Spain 

Secondary school education, institutional settings 

The project had 17 partners and one associate (Microsoft Corporation). The partners were: 

- 

Cyprus Pedagogical Institute Latsia (Project Coordinator) 

-  Ministry of Education and Culture, Cyrpus 

- 

Centre for Educational Research and Evaluation (CERE), Cyprus 

-  Danube University Krems, Austria 

- 

- 

- 

CVO Antwerpen, Belgium 

Croatian Academic and Research Network, Croatia 

Foundation of INNOVE, Estonia 

-  University of Tampere, Finland 

- 

Computer Technology Institute & Press 'Diophantus', Greece 

-  Monaghan Education Centre, Ireland 

-  H2 Learning Limited, Ireland 

- 

Centre of Information Technologies in Education, Lithuania 

72 

 
Key activities/ 
measures 

Funding 
arrangements 

Conceptualisation 
of creativity 

-  National Examinations Centre, Slovenia 

-  Ministry of Education, Science and Sport, Slovenia 

- 

Educational Research Institute, Slovenia 

-  National Education Institute Slovenia 

-  Dirección Xeral de Educación, Formación Profesional e Innovación Educativa, Spain 

The main activities of the project were the development of the assessment framework, the learning 
platforms,  training  materials,  organising  workshops  in  the  participating  countries,  adopting  and 
implementing the plan across the countries. Since the e-learning platforms were at the centre of 
the  project,  the partners  spent  considerable  time  developing  the  functions  and  content  of  the  e-
portfolios on the Mahara platform and Office365 for storing documents and evidence on students' 
learning.  The  development  of  the  ATS2020  learning  platform  passed  through  four  main  phases: 
setting  up  an  administration  platform,  developing  a  teacher  dashboard,  developing  a  students 
dashboard, and deploying learning analytics. 

Funded by the Erasmus+ (Erasmus+ Programme 2014-2020) 

Creativity was not defined but treated as a cognitive skill. 

According  to  the  assessment  framework,  creativity  is  linked  to  innovation,  problem-solving  and 
digital skills. 

As  the  description  of  the competences  needed for  and  attainment  goals  linked  to  being  creative 
and innovative, the following components are listed: 

- 

- 

- 

- 

Self-reflection/awareness and self-expression; 

Ability to make help of digital tools and create new and original content, ideas and 
products; 

Critical thinking and judgment of ideas (also called adaptive thinking); 

Action and motivation to implement ideas and create high quality of outputs. 

Pedagogical 
approaches and 
methods 
promoted 

The ATS2020 Learning and Assessment Model has four basic elements: it focuses on transversal 
skills; contains an ePortofolio (student-owned dynamic digital workspaces); and MyLearningJournal 
(active student participation in the designing of their learning); assessment of, for, and as learning; 
and makes use of digital technologies. The learning model is based on a three-level developmental 
ePortofolio process: repository, workspace and showcase. 

Thereby, the following methods and pedagogical approaches were used: 

- 

Student-centred and participatory learning; 

-  Digital platforms and tools; 

- 

- 

Experimental learning; 

Feedback and assessment. 

Assessment 
approaches and 
methods 
promoted 

The project partners considered assessment as a tool for enhancing and informing learning, rather 
than just certifying it, and focused on the assessment of, for and as learning. 

The project drew on the ISTE Standards for Students, and set out five skills to assess: 

- 

- 

- 

- 

Information and research literacy; 

Autonomous learning; 

Communication and collaboration (interpretation and argumentation construction); 

Creative and innovative thinking; 

-  Digital literacy. 

73 

 
The  assessment  framework  also  set  these  components  of  creativity  and  innovation  as  learning 
outcomes: 

- 

- 

- 

- 

Identify and match needs with possible solutions; 

Integrate and re-elaborate; 

Innovate and creatively use tools and resources; 

Create original works as a means of expression. 

These four components are assessed along three levels of proficiency. For example, the expectation 
for  the  highest  level  performance  on  the  4th  component  was:  'Effectively  criticise  the  quality  of 
their  final  content,  ideas  and  products  based  on  clear  and  tangible  criteria,  proving  the 
development of their critical thinking skill. 

ATS2020  used  ePortofolios,  electronic  library  of  evidence,  to  assess  students  (especially 
formatively) and the following tools further assisted the assessment: 

-  Oppika (an evaluation tool for self-assessment of prior knowledge); 

-  My learning (Plugin to Mahara platform); 

- 

- 

Rubrics; 

Feedback form provided by Mahara. 

Although  creativity  was  defined  as  a  separate  transversal  skill,  it  was  also  incorporated  and 
mentioned in the framework regarding the other transversal skills (e.g. express creativity through 
different media and technologies). 

The main output was the ATS2020 transversal skill framework. Other deliverables and documents 
were available in multiple languages and included the assessment framework, learning assessment 
model,  ATS2020  toolkit,  manual  for  the  learning  and  assessment  platform,  formative  self-
assessment scaffolding tool, technological tools and change management, implementation plans, 
learning scenario booklets, resources for training material, and policy/research papers. 

A conference 'Developing 21st century skills, and 9 workshops to guide the implementation of the 
project and toolkits were organised. 

Promotional  material  covered  brochures,  leaflets,  posters,  stickers,  newsletters,  logos,  ppts,  a 
promotional video, YouTube channel and website. 

The pilot reached 224 schools, 747 teachers and 11,891 students. 

The  evaluation  found  that  the  project  developed  transversal  skills.  It  also  revealed  significant 
differences  between  the  control  and  experimental  classes  in  post-test  in  almost  half  of  the 
countries. Collected qualitative and quantitative data on the teaching and learning process reveals 
that the attitudes towards transversal skills became more positive among teachers and students. 
The  teachers  and  students  were  particularly  happy  about  digital  tools  and  found  them  useful  in 
developing autonomous learning skills. Regarding creativity, the evaluation found that it was most 
successfully  taught  and  assessed  in  the  Beligum  school.  Aside  from  this  insight,  there  was  little 
focus directly on creativity in the evaluation and assessment documents, although creativity was 
comprehensively covered (see lessons learned)." 

Results 

Lessons learned 

Some lessons learned, based on the evaluation report, are: 

- 

- 

- 

Implementing  an  innovative  learning  model  and  its  critical  elements,  such  as 
ePortfolio, assessment of, for and as learning, development of transversal skills, 
and technology-enhanced learning design, is a complex process for both teachers 
and students, and it needs time to be adopted. 

Both  teachers  and  students  need  longer  engagement  in  activities  promoting 
transversal skills for them to have an impact. 

Assessing student progress/learning outcomes is more meaningful and reliable for 
longer periods. 

-  More  experts  on  creativity  should  have  been  involved  since  teachers  found  it 

74 

 
harder  to  assess  and  understand.  Besides,  teachers  need  to  make  sure  the 
concepts such as creativity are clear for the students. 

Sources of 
information 

ATS  2020  Consortium.  (2020).  Assessment  of  transversal  skills  2020.  Retrieved  12  September, 
2020, from http://www.ats2020.eu  

75 

 
 
 
Tinkering:  Contemporary  Education  for 
Innovators of Tomorrow 

Objectives 

The objectives of the initiative were:  

- 

- 

- 

- 

- 

- 

Enrich skills and competences with specific reference to STEM; 

Contribute  to  the  development  of  the  21st  century  (transversal)  skills:  creativity, 
innovation, and entrepreneurship; 

Promote a learner-centred pedagogical approach (tinkering); 

Improve the attractiveness of, attainment in, and lifelong relationship with science 
and technology for adults and students; 

Implement  the  innovative  pedagogy  of  tinkering  in  school  and  out-of-school 
contexts  at  a  European  level  and  create  a  Europe-wide  community  of  practice 
working with this pedagogy; 

Encourage  the  cooperation  and  exchange  of  the  expertise  and  practice  between 
formal and informal learning institutions and professionals. 

Timeframe 

The initiative ran between 2014 and 2017. 

Target group(s) 

Adults (parents, museum educators and teachers of schools) as well as school-age learners (from 
12 to 18 years old) in the first two projects. 

Level of 
implementation 

European 

Geographical 
scope 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

Ireland, the Netherlands, Hungary, the UK, and Germany. 

Non-formal learning, museum, and other non-formal settings 

The  project  was  carried  out  through  the  cooperation  between  formal  and  non-formal  learning 
institutions. The National Museum of Science and Technology ‘Leonardo da Vinci’ coordinated the 
project. Other partners included: 

- 

Stichting  Nationaal  Centrum  voor  Wetenschap  en  Technologie,  NEMO  Science 
Museum 

-  University of Cambridge, Faculty of Education 

- 

International Centre for Life Trust 

-  Deutsches Museum von Meisterwerken der Naturwissenschaft und Technik 

- 

Jedlik Ányos Gépipari és Informatikai Középiskola és Kollégium  

-  MOBILIS Közhasznú Nonprofit Korlátolt Felelősségű Társaság 

Partners involved contributed to the implementation of all project activities, except for Cambridge 
University, which focused on the development of the theoretical and methodological frameworks as 
well as pedagogic materials and educational tools. 

Key activities/ 

The main activities of the project were: 

76 

 
measures 

-  Design of new Tinkering activities for adult learners and schools; 

Funding 
arrangements 

Conceptualisation 
of creativity 

-  Definition of a methodological framework for Tinkering as a founding element of 

the work; 

-  Development of pedagogical materials focusing on the methodology of Tinkering 
and  professional  development,  aiming  to  help  practitioners  adopt  Tinkering  in 
their practice; 

-  Organisation  of  training  for  adult  and  school  educators,  aimed  at  creating  the 

conditions for the implementation of the pedagogy and the activities; 

-  Organisation of multiplier events for the wide implementation of the activities; 

-  Dissemination at local, national and European level; 

-  Management and monitoring of cooperation and operations. 

Funded by the Erasmus+ (Erasmus+ Programme 2014-2020) as a strategic partnership addressing 
more than one field. 

Creativity was not defined, but the approach to it was two-fold. First, it was referred to as one of 
the 21st century skills. Second, together with self-expression, it was treated as one of the learning 
dimensions  of  making  and  tinkering.  As  defined  by  the  Exploratorium,  this  dimension  includes 
playfully  exploring,  responding  aesthetically  to  materials  and  phenomena,  connecting  projects  to 
personal interests and experiences, and using materials in novel ways. 

It was argued that specific opportunities tinkering offers for the development of creativity include 
the following: 

-  Using  a  wide  range  of  idea  creation  techniques,  e.g.  planning,  sketching, 

brainstorming; 

-  Developing unique strategies, tools, objects, or outcomes; 

- 

- 

Creating new ways to use materials or tools; 

Setting personal long- and short-term goals and planning ways to achieve these. 

The Consortium considered descriptors of creativity and innovation prepared by the Partnership for 
the 21st Century Learning – a Network of Battelle for Kids. P21 defines creativity in three strands: 

- 

Think creatively; 

-  Work creatively with others; 

- 

Implement innovations. 

Pedagogical 
approaches and 
methods 
promoted 

Tinkering is an informal, constructivist, constructionist and inquiry-based learning approach. When 
engaging  in  Tinkering,  participants  do  not  follow  a  set  of  instructions.  Tinkering  activities  are 
physical and open-ended. The ethos of Tinkering focuses on the process, not the outcome. Tinkerers 
set their own goals (within the initial long-term goal of the activity) and develop transferable skills 
during  their  engagement  in  the  Tinkering  activity.  They  progress  in  a  creative  way  that  elicits 
emotions such as curiosity, drive, frustration and success. This means that progress is not firmly 
led  by  the  facilitators;  the  Tinkerers  themselves  drive  their  experience  of  the  Tinkering  activity. 
Tinkering  is,  therefore,  learner-centred.  Tinkering facilitators  need  to  step  away  so  that  Tinkerers 
become resilient, learn how to deal with frustration, move on from failure and keep an open mind. 
Tinkerers engage in a scientific approach to improve their design through iteration and innovation. 
It promotes individuals’ active engagement with science- and making-oriented activities as ways to 
relate with and understand the surrounding world. It promotes skills that can be used in different 
contexts  and  become  useful  for  a  lifetime  (lifelong  learning).  The  method  was  pioneered  by  the 
USA-based experience of the Exploratorium of San Francisco. 

Assessment 
approaches and 
methods 

Learning outcomes were not assessed. According to the project partners, this was because: 

- 

Assessment is neither necessary nor desirable in the context of informal learning, 

77 

 
promoted 

which the three projects have focused on; 

- 

- 

Tinkering focuses on the processes rather than results; 

Learning  is  such  a  complex  process  that  one  cannot  expect  to  improve  certain 
skills having participated in one or a few activities only; 

-  One may internalise the experience long after the visit to the museum where the 

activities take place; 

- 

If designed well, tinkering activities support the development of the 21st century 
skills;  however,  learning  outcomes  also  depend  on  the  paths  chosen  by  the 
participants. 

Results 

Key outputs were: 

-  New Tinkering activities for adult learners and schools; 

- 

- 

Sustainable  and 
the 
transferable  pedagogical  materials 
methodological  framework  for  Tinkering  and  guidelines  for  the  professional 
development of educators adopting Tinkering; 

focusing  on 

Training events for adult and school educators, including a training workshop by 
the Exploratorium; 

-  Multiplier events for the wide implementation of the activities; 

-  Website containing all resources (remains active after the end of the project). 

The  project  reached  27,213  individuals  through  multiplier  events  and  about  450  professionals 
through training. It helped to establish the European community of practice working with tinkering 
pedagogy. 

The partners argue the project had the following impacts: 

- 

Enriched educational practice in school and out-of-school environments; 

-  Helped  to  improve  the  facilitation  skills  of  educators  involved  in  STEM-oriented 

experience in both formal and informal learning contexts; 

- 

Contributed  to  the  increasing  consideration  of  the  innovative  pedagogy  of 
tinkering at a policy level about the curriculum and lifelong learning; 

-  Helped to understand the conditions fostering the involvement and motivation of 

early school leavers; 

- 

- 

Contributed to the reinforcement of skills relevant to the labour market; 

Informed  directly  interested  target  groups  and  stakeholders  at  a  local,  national, 
and European levels. 

It is impossible to assess whether the project had any impact on the development of creativity as a 
transversal skill, although it is clear it was designed to do so. 

Tinkering  offers  much  potential  for  the  development  of  creativity  as  a  transversal  skill.  Certain 
features of this methodology make it particularly well suited for informal learning. It also has much 
potential  for  underserved/vulnerable  groups.  Tinkering  activities  may  look  simple,  but  they  are 
underpinned  by  complex  pedagogies  and  based  on  thorough  research.  To  conduct  them 
successfully,  one  needs  to  study  the  methodology  (ideally,  participate  in  training),  try  to  deliver 
activities that have already been tested, observe the participation of learners and reflect upon it. 

Lessons learned 

Sources of 
information 

Doorley,  R.  (2015).  What  is  Tinkering?  Retrieved  June  4,  2020  from  http://tinkerlab.com/what-is-
tinkering/ 

European  Commission.  (2020).  Erasmus+  Programme  Guide.  Retrieved  June  4,  2020  from 
https://ec.europa.eu/programmes/erasmus-plus/resources/documents/erasmus-programme-guide-
2020_en 

European  Commission.  (n.d.).  Erasmus+.  Tinkering  EU:  Building  Science  Capital  for  ALL.  Retrieved 

78 

 
June  4,  2020 
details/#project/2017-1-IT02-KA201-036513 

from 

https://ec.europa.eu/programmes/erasmus-plus/projects/eplus-project-

Martinez,  S.  L.,  &  Stager,  G.  (2013).  Invent  to  Learn:  Making,  Tinkering,  and  Engineering  in  the 
Classroom. Torrance, Calif.: Constructing Modern Knowledge Press. 

National Museum of Science and Technology ‘Leonardo da Vinci’. (2020a). Tinkering Europe 2: The 
project. Retrieved June 4, 2020 from http://www.museoscienza.it/tinkering-eu2/the-project.asp  

Tinkering: Building Science Capital for ALL. (2019). Bringing Tinkering to School: Ideas for Activities. 
http://www.museoscienza.it/tinkering-
from 
Retrieved 
eu2/download/tinkering_EU_risorsa02_2019_ALTA.pdf 

2020 

June 

4, 

Tinkering:  Contemporary  Education  for  Innovator  of  Tomorrow.  (n.d.).  Professional  Development 
Guidelines. 
http://www.museoscienza.it/tinkering-
eu/download/Tinkering-A-practitioner-guide.pdf  

Retrieved 

2020, 

June, 

from 

4 

79 

 
 
 
Ontario  Technology  and  Learning  Fund 
(TLF) 

Objectives 

TLF  was  intended  to  promote  accelerated  uptake  of  evidence-based,  technology-enhanced 
pedagogical practices focused on deeper learning and competencies. 

Specific objectives included: 

- 

- 

Enabling  innovative  teaching  practices  and  instructional  methods  through 
technology  to  more  precisely  engage  and  address  the  learning  needs  of  all 
students; 

Investing in the technology, design, and infrastructure required for the classrooms 
of the future to serve the needs of all communities; 

-  Working with teachers, principals and supervisory officials (and their professional 
associations)  to  identify  and  share  effective  and  innovative  teaching  practices 
that include the use of technology; 

- 

- 

- 

- 

Contributing  to  a  provincial  focus  on  defining  and  developing  measures  for 
higher-order 21st Century competencies such as critical thinking, communication, 
collaboration, creativity and entrepreneurship. 

Focus areas were to: 

Create more educator-student learning partnerships through real-world, authentic 
learning tasks enabled by technology; 

Provide  more  opportunities  for  student  peer-to-peer  learning  enabled  by 
technology; 

-  Develop  and  provide  professional  learning  about  new  assessment  practices  that 

reflect deep learning pedagogy aligned with Growing Success; 

- 

Provide  opportunities  to  develop  new  learning  partnerships  among  educators 
enabled  by  technology  in  addition  to  funding  for  face-to-face  professional 
development. 

Timeframe 

The initiative ran between 2014-2017 (launched as a three-year investment) 

Target group(s) 

District school boards, school authorities, and provincial schools 

Level of 
implementation 

Sub-national 

Geographical 
scope 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

Ontario province, Canada 

School education, institutional settings 

Central  to  the  initiative  was  the  Council  of  Ontario  Directors  of  Education  and  the  Ministry  of 
Education established the Fund. Beneficiaries of the TLF were schools. In the innovation research 
initiatives,  parents,  community,  employers,  cross-panel  partnerships  (e.g.  elementary  and 
secondary), post-secondary institutions, local/global partners, and university researchers could join 
local school boards and help them support deeper learning for improved student outcomes. 

80 

 
Key activities/ 
measures 

TLF was comprised of two interrelated allocations, which reflect well what the TLF could be used 
for: 

- 

- 

Support: to acquire relevant digital technology and learning tools such as tablets, 
laptops,  cameras,  software  and  3D  scanners  and  printers  (up  to  80%  of  the 
allocation); to provide professional learning opportunities for educators and school 
and/or system leaders related to the development of new teaching and learning 
practices enhanced by technology (a minimum of 20% of the allocation); 

Innovation  research:  for  school  districts  to  develop  and  document  innovation 
research  projects  towards  systematising  and  scaling-up  new  teaching  and 
learning practices (focus on deeper learning and global competencies)." 

Funding 
arrangements 

Council of Ontario Directors of Education and the Ministry of Education allocated $150 million to 
the TLF, hence co-sponsored the initiative. School districts could decide to spend more than 20% on 
professional  learning  which  reduced  the  amount  of  funding  for  acquiring  technology  (see  the 
description of key activities/measures). 

Conceptualisation 
of creativity 

In  2015  (21st  Century  Competencies:  Foundation  Document  for  Discussion),  the  following 
indicators were used to describe innovation, creativity, and entrepreneurship: 

- 

- 

- 

Contributes solutions to complex problems; 

Enhances a concept, idea, or product; 

Takes risks in thinking and creating; 

-  Makes discoveries through inquiry research; 

- 

- 

Pursues new ideas to meet a need of a community; 

Leads and motivates with an ethical entrepreneurial spirit. 

Together with  innovation and  entrepreneurship, creativity  was identified as one of  the global/key 
21st century competencies. 

In  Technology  and  Learning  Fund:  A  Guide  to  Implementation  2017,  immersive  media  and 
simulations  are  listed  as  one  of  the  tools  that  could  be  employed  to  develop  creativity  and 
innovation of students. This implies situating learning in real-world and augmented realities (e.g. by 
using adaptive software, interactive content, virtual learning environments, interactive games). 

According to the Ontario Ministry of Education, successful pedagogical models to build 21st century 
competencies  had  so  far  included  flipped  classrooms,  blended  learning,  collaborative  problem 
solving,  inquiry,  interdisciplinary  projects,  immersive,  authentic  simulations,  and  digital  learning 
platforms.  These  successful  pedagogical  models  have  implications  for  assessment  practices  as 
well, ‘especially assessment as and assessment for learning'. 

Pedagogical 
approaches and 
methods 
promoted 

Assessment 
approaches and 
methods 
promoted 

Technology  and  Learning  Fund:  A  Guide  to  Implementation  2017  states  that  districts  should 
'develop processes for gathering and analyzing how changes in practice impact learners. This may 
include administering pre and post-assessments, conducting interviews, using rubrics, or developing 
indicators  to  determine  the  impact  of  innovation  research  project(s)  on  student  achievement, 
engagement, equity and well-being. 

Results 

Ways  in  which  Ontario  schools  districts  gathered  impact  evidence  include  pre  and  post  surveys, 
rubrics,  developing  indicators,  testimonials/interviews,  pedagogical  documentation,  observation 
notes,  learning  stories,  artefacts/student  work,  moderated  marking,  selecting  marker  students, 
focus groups, student thinking (video, texts, etc.), reflection journals, and analytics. 

Since their inception, innovation research projects had reached full-system engagement in 2015-
16,  involving  all  72  school  districts,  four  school  authorities,  over  2,300  schools,  over  15,000 
educators  and  more  than  265,000  students.  According  to  the  Curriculum  Services  Canada,  the 
growth in the number of students to 265,000 in 2015-16 (up from 170,000 students in 2014-15) 
is a strong indicator of the TLF’s provincial impact.  

81 

 
The impact per stakeholder group can be summarised as follows: 

- 

- 

- 

Students:  TLF  contributed  to  the  move  to  inquiry-based  and  authentic  learning, 
enhanced by technology. This shift to inquiry led to greater student engagement 
and  played  a  significant  role  in  the  development  and  improvement  of  global 
competencies,  learning  skills,  and  work  habits  focused  on  deeper  learning.  In 
addition  to  student  engagement,  technology  actively  facilitated  student  learning 
and  understanding,  and  boards  used  technology  to  enable  students  to  become 
active  participants  in  setting  their  own  goals,  managing  their  learning,  and 
assessing  their  progress.  To  a  certain  extent,  the  inclusion  of  technology,  and 
technology-enhanced learning, into the curriculum also helped to advance equity. 

Teachers: TLF strengthened efforts to enhance the use of collaborative processes 
in  learning  and  teaching.  Moreover,  research  on  effective  teaching,  deeper 
learning and global competencies all point to the critical importance of formative 
assessment and timely, descriptive feedback for student engagement, growth and 
achievement.  The  data  indicates  that  technology  allowed  for  the  deepening  of 
assessment  practices,  highlighting  feedback  during  the  learning  as  a  way  of 
thinking  about  assessment  as  part  of  the  learning  process.  There  is  also 
significant  evidence  that  teacher  efficacy  improved  with  the  use  of  technology. 
The quality and focus of professional  learning for teachers also improved under 
the TLF. 

in  terms  of 
is  evidence  of  concrete  direction  emerging 
System:  There 
sustainability and scalability that capitalised on the convergence of pedagogy and 
technology.  In  particular,  progress  has  been  visible  across  there  phases: 
establishing  infrastructure  and  exploring  new  practices;  aligning  strategic  plans 
and  scaling;  and  articulating  a  clear  vision  in  terms  of  technology-enhanced 
learning and teaching at all levels while focusing on student growth. Because of 
the TLF, school boards are now at a point where they are well-prepared and ready 
to  take  the  transformation  across  their  entire  system  to  the  next  level.  TLF 
implementation  has  contributed  to  the  development  of  new  innovative  practices 
for learning and teaching enhanced by technology. Systems are focused more on 
the  human  impact  of  change,  such  as  support  for  teachers  and  on  building 
bridges between and among different board personnel in order to provide a more 
coordinated  platform  for  learning  and  teaching,  enhanced  by  technology,  across 
the district. 

Overall,  through  the  TLF,  capacity  building  and  knowledge  mobilisation  are  shifting  practices  to 
integrate  promising  innovations  and  are  making  a  demonstrable  difference  for  student 
engagement, learning, achievement, and success. 

Lessons learned 

Research reveals that the following models of professional learning yielded success in supporting 
educators  and  school  and  system  leaders  in  the  development  of  pedagogical  practices  that 
contribute to deeper learning for students: 

- 

- 

- 

The  use  of  in-class  instructional  supports,  most  often  in  the  form  of  school-
assigned  or  system-assigned  technology  coaches  who  are  an  ‘at-the-elbow’ 
professional resource for educators. 

The  promotion  and  expansion  of  intentional  use  of  technologies  that  allow  for 
educator collaboration across schools within and across systems. 

The  use  of  partnerships  with  colleagues  in  a  co-learning  perspective.  Educator-
educator  partnerships  were  increasing  as  a  culture  of  risk-taking  and  shared 
learning  was  developing.  It  was  reported  that  there  are  greater  frequency  and 
comfort with co-teaching, co-planning, and participation in coaching opportunities 
in both elementary and secondary. Educators were more comfortable connecting 
with  one  another  and  learning  together  about  changes  in  pedagogy  and 
technology. 

- 

The  use  of  differentiated  approaches  to  professional 
including 
workshops,  job-embedded  learning,  collaborative  teams/networks/hubs  (involved 

learning 

82 

 
in  co-planning/teaching/debriefing)  and  mentorship/coaching  (mediated  through 
face-to-face  interactions,  webinars,  virtual  learning  environments,  social  media, 
online journaling and digital collaboration). 

- 

The  use  of  co-planning,  co-learning  (collaborative  professionalism)  platforms 
where  participants  can  drive  their  own  learning  about  problems  of  practice  and 
share what they have learned in order to make their learning visible to others and 
to inform their next steps. 

Overall, foundational to the success of the whole initiative is the change from viewing technology 
separately  from  pedagogy,  to  one  where  teachers  and  systems  understand  that  pedagogically 
driven and technology-enhanced learning and teaching is a key factor for student success in the 
global knowledge economy and society. 

Sources of 
information 

Council  of  Ontario  Directors  of  Education.  (2017).  Technology  and  Learning  Fund:  A  Guide  to 
Implementation 2017. CODE: Ontario.  

Ontario  Ministry  of  Education.  (2016).  Towards  Definition  21st  Century  Competencies  for  Ontario. 
Queen’s Printer for Ontario: Ontario.  

Beckett,  M.,  Kendrick,  S.,  Vahed,  Z.,  P.,  Zaki,  S.,  Sheery,  B.,  &  C.  Fong.  (2017).  Engaging  School 
Districts  in  Research-Based  Inquiry  to  Advance  21st  Century  Learning  in  Ontario  [conference 
presentation].  International  Congress  for  School  Effectiveness  and  Improvement,  January  2017, 
Ottawa, Canada. 

Lamb, S., Quentin, M. & D., Esther. (2017). Key Skills for the 21st Century: An evidence-based review. 
Project Report. NSW Department of Education, Sydney. 

83 

 
 
 
The Creative Lion 

Objectives 

The  purpose  of  providing  students  with  techniques  to  form  their  understanding  and  reflection 
around their creative production processes was to develop the following skills: 

-  Media  literacy:  developing  students’  ability  to  analyse,  evaluate,  create  and 

communicate media messages in different formats; 

- 

- 

Language  proficiency:  making  students  better  at  communicating  in  English  and 
other European languages; 

Intercultural  understanding:  improving  students'  understanding  and  increasing 
their appreciation of different cultures; 

-  Metacognition: improving students' understanding of how they learn and continue 

learning; 

- 

- 

- 

Learner autonomy: making students take charge of their learning by stimulating 
their creativity and entrepreneurship; 

Learn to teach: improving the media skills of students; 

Teacher training: encouraging the application of new teaching methods, especially 
innovative methods involving ICT. 

The  students’  achievement  of  these  objective  was  assessed  by  the  teachers  and  trainers  who 
participated in workshops and events through the initiative timeline. 

Timeframe 

The Creative Lion initiative ran between 2014 and 2017. 

Target group(s) 

Students of arts, media and general subjects 

Level of 
implementation 

International 

Czech Republic, Italy, Slovakia, Sweden and Turkey. 

Secondary school education and VET, institutional settings 

Geographical 
scope 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

Central to the initiative were Fria Läroverken i Karlstad, Sweden (Initiative Coordinator), Sukromna 
stredna umelecka skola filmova, Slovakia, Husniye Ozdilek Mesleki Ve Teknik Anadolu Lisesi, Turkey, 
Liceo  artistico  osvaldo  licini,  Italy,  and  Michael  -  Stredni  skola  a  Vyssi  odborna  skola  reklamni  a 
umelecke tvorby, s.r.o. in Czech Republic. 

Key activities/ 
measures 

- 

Throughout the initiative timeline, building and updating the website; 

-  Organising  teacher  conferences  in  each  partner  country  where  innovative  ICT 
teaching methods, problem-based learning, learner autonomy and metacognition 
were discussed and explored in more detail; 

- 

- 

Six  international  meetings  over  two  years  (at  the  mobility  meetings  students 
created media content together while teachers discussed different techniques and 
methods in teaching media and arts); 

Contacting  local  media  agencies  from  each  partner  country  to  evaluate  the 
initiative and evaluating the impact of the initiative on the school community; 

-  Disseminating  results  of  the  mobility  meeting,  e.g.  short  videos,  newspapers,  TV 

84 

 
Funding 
arrangements 

Conceptualisation 
of creativity 

Pedagogical 
approaches and 
methods 
promoted 

Assessment 
approaches and 
methods 
promoted 

and  radio,  creating  a  presence  on  digital  platforms  to  share  information  on  the 
initiative on a global level, including Facebook, Instagram, Prezi, Slideshare, Vimeo 
and YouTube. 

Funded by the Erasmus+ (Lifelong Learning Programme). 

The Creative Lion consortium did not define creativity.  

Although  creativity  was  not  defined,  it  was  linked  to  metacognition.  This  suggests  that  the 
knowledge and regulation of one's cognitive process is a component of creativity, which is not a 
surprise  since  links  between  creative  thinking  and  metacognition  are  widely  discussed  in  the 
literature.  

Central pedagogical approaches and methods prompted were:  

- 

- 

- 

To  give  students  new  challenges  and  new  settings  for  learning  and  using  their 
skills  through  initiative-based  learning  in  an  extracurricular  and  multi-cultural 
setting;  

Collaboration  and  problem-solving  to  stimulate  metacognitive  abilities,  learner 
autonomy, creativity and entrepreneurship of the students;  

'Learn  to  teach'  method  where  students  taught  each  other  about  media 
production and collaborated on their outputs while abroad and upon return. 

Each  student  who  took  part  in  a  meeting  received  a  Europass  Mobility  document  which 
demonstrated the knowledge and skills the student acquired while abroad. The document covered a 
description of skills and competences acquired: 

- 

- 

- 

- 

Activities/tasks carried out; 

Job-related skills and competences; 

Language skills and competences; 

Computer skills and competences; 

-  Organisational skills and competences; 

- 

Social skills and competences; 

-  Other skills and competences. 

Results 

Key outputs of the Creative Lion initiative were: 

- 

- 

- 

An initiative’s website; 

A  wealth  of  examples  of  creative  products  and  ideas  from  the  media  field 
(footage, videos, posters, etc.) with the intention to offer students the opportunity 
to rediscover the principles of inventive problem solving and design thinking; 

The  tutorials  (tangible  outputs)  focusing  primarily  on  media,  photography,  film 
editing and graphics. 

Erasmus + presents The Creative Lion as a good practice initiative. Based on the evaluative review, 
the  initiative  was  very  successful,  and  the  objectives  were  met.  According  to  evaluations  by 
students  and  independent  media  agencies,  the  tutorials  section  of  the  initiative  was  successful. 
Students developed their specific media skills by both creating and watching these media tutorials. 
The  initiative  stimulated  student  skills  such  as  media  literacy,  language  proficiency  and 
entrepreneurship,  creative  production,  and  at  the  same  time  fostered  their  intercultural 
understanding and helped discover new perspectives towards the media and the EU. An additional 
benefit was that the initiative inspired teachers to try new, innovative teaching methods since they 
learned more about problem-based learning, learner autonomy, media literacy, metacognition and 
ICT.  

Despite the positive outcomes, no evaluation was done to investigate if the initiative had an impact 

85 

 
on  a  bigger  scale.  The  initiative  did  not  seem  to  have  reached  out  to  more  people  than  the 
participants in the mobility, and the positive outcomes were therefore confined to the participating 
students and teachers only.  

Lessons learned 

Some challenges the initiative highlights: 

-  While the training and mobility were very insightful for the participating students 
and teachers, the initiative did not manage to upscale the benefit of the training 
to a wider audience.  

-  While the requirement to assess students according to the Europass mobility card 
and,  thus,  key  competences  may  have  strengthened  the  importance  of 
‘transversal’ skills in the initiative, creativity was not defined as such on its own – 
although  it  was  frequently  mentioned  in  relation  to  other  key  and  transversal 
competences.  

Sources of 
information 

+. 

(n.d.). 

Erasmus 
https://ec.europa.eu/programmes/erasmus-plus/initiatives/eplus-initiative-
details/#initiative/2014-1-SE01-KA201-000929 

September, 

Retrieved 

Creative 

Lion. 

The 

8 

2020, 

from 

86 

 
 
 
Victorian curriculum and assessment of 
critical  and  creative  thinking  (CCT)  as 
described in F-10 

Objectives 

The  purpose  of  having  CCT  as  a  discrete  component  of  the  F-10  curriculum  is  to  ensure  that 
students develop: 

-  Understanding  of  thinking  processes  and  an  ability  to  manage  and  apply  these 

intentionally; 

- 

- 

Skills  and  learning  dispositions  that  support  logical,  strategic,  flexible,  and 
adventurous thinking; 

Confidence  in  evaluating  thinking  and  thinking  processes  across  a  range  of 
familiar and unfamiliar contexts. 

The achievement of these is assessed through the CCT sample assessment programme to see if 
Victoria is on track to reach its ambitious Education State targets. 

Timeframe 

CCT  curriculum  was  introduced  as  part  of  F-10  in  2015.  Sample  assessment  programme  was 
launched in 2016. 

Target group(s) 

Students in their first 11 years of school 

Level of 
implementation 

Geographical 
scope 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

Sub-national (state) 

Victorian state, Australia 

Primary and secondary school education, institutional settings 

Central to the initiative has been the Victorian Curriculum and Assessment Authority (VCAA), which 
provides  curricula,  assessment  and  reporting  to  enable  learning  for  life.  Developing  the  CCT 
capability  of  the F-10, the VCAA consulted academics. Designing, testing, and  validating the CCT 
assessment  tasks,  the  VCAA  worked  with  external  contractors  –  the  Australian  Council  for 
Educational  Research  and  the  National  Foundation  for  Educational  Research.  In  the  task  review 
process, individual outside experts were also involved. 

Key activities/ 
measures 

-  Developing F-10 curriculum with CCT as an explicit component of it; 

- 

Producing resources and providing professional learning opportunities; 

-  Designing, testing, and validating CCT assessment tasks, and implementing a CCT 

Funding 
arrangements 

Conceptualisation 
of creativity 

sample assessment programme. 

Funded by the Victorian Government 

CCT curriculum addresses creative thinking rather than creativity. According to the VCAA, other vital 
elements  of  creativity,  for  example,  creative  expression,  creative  endeavour  and  creative 
collaboration are included in other learning areas and capabilities. Creative thinking is linked with 
and described together with critical thinking. 

87 

 
Pedagogical 
approaches and 
methods 
promoted 

Assessment 
approaches and 
methods 
promoted 

Critical and creative thinking are described in three strands: 

-  Questions  and  possibilities:  explore  the  nature  of  questioning  and  a  range  of 
processes and techniques to develop ideas. This strand sets the basis for effective 
learning  and  provides  a  structure  for  inquiry-based  approaches  to  teaching.  The 
VCAA  argues  that  ‘helping  students  to  understand  the  fundamental  role  that 
questions  and  questioning  play  in  enabling  learning  and  developing  a  learning 
disposition is a necessary condition for deep learning’. 

- 

Reasoning:  explore  how  to  compose,  analyse,  and  evaluate  arguments  and 
reasoning.  This  strand  provides  students  with  the  knowledge  and  tools  to 
construct  and  evaluate  ideas  and  arguments  that  they  may  be  unfamiliar  with. 
The  VCAA  argues  that  it  ‘underpins  other  areas  of  the  curriculum  in  which 
students  are  required  to  gather,  consider  and  evaluate  data,  evidence  and 
propositions and then form conclusions’. 

-  Meta-cognition: explore the use of strategies to understand, manage and reflect 
on thinking and learning processes. This strand defines the knowledge and skills 
that enable students to better identify, describe, understand, practice, develop and 
manage their own learning processes. 

The  state  does  not  mandate  any  pedagogies.  Nevertheless,  in  its  resources,  VCAA  showcases 
certain  approaches  and  methods,  e.g.  visual  argument  mapping,  self-reflection,  thinking  routines, 
using rubrics, and students seeking peer or teacher feedback. 

VCAA also promotes certain pedagogical principles that reveal how to best explicitly teach CCT: 

- 

Build  deep  familiarity  with  the  CCT,  i.e.  its  aims,  structure,  and  content 
descriptions; 

-  Determine  what  new  knowledge  and  skills  students  need  to  develop  (this  is 

typically done through pre-assessment and whole-school planning); 

- 

- 

- 

Introduce  CCT  by  unpacking  content  descriptions  to  engage  students  with  the 
knowledge and skills required to progress towards the achievement standards; 

Create  opportunities  for  students  to  become  confident  with  the  new  knowledge 
and skills; 

Identify evidence of students’ learning progress. 

Rather  than  to  assess  how  creative  students  are,  the  goal  is  to  see  if  they  have  a  repertoire  of 
techniques they can  draw  on, and if they know  when and  how to use these to  assist  them with 
thinking  and  beyond.  Assessment  involves  teachers  collecting  evidence  of  student  progress  in 
meeting the CCT achievement standards. VCAA argues that the assessment of the CCT should be 
thought of in broader terms, as anything that students make, say, write or do that gives an insight 
into their thinking. The focus is on the uncovering of the student thinking, hence the interest in the 
process rather than the final product. 

VCAA conducts two strands of work to support the assessment of the CCT: 

-  Development  of  the  CCT  assessment  tasks:  Each  task  is  scenario-based  and 
covers  three  strands  of  the  CCT.  They  build  on  the  premise  that,  in  each 
classroom,  students  have  unequal  abilities,  hence  the  lower-  and  higher-level 
questions within each task. 

- 

Implementation  of  the  CCT  sample  assessment  programme:  Yar  6  and  Year  10 
students (hence schools) are selected based on the random sampling techniques, 
but  ensuring  the  representation  of  all  three  sectors  –  government,  Catholic  and 
independent schools, as well as taking into account the student family occupation 
and education, i.e. what level of disadvantage may be displayed in a school. Once 
students  are  selected,  VCAA  employs  invigilators  who  go  to  schools  and 
administer tasks. The assessment takes place online and lasts approximately 75 
minutes (including practice items and introduction to tasks). Collected data is used 
to determine the percentage of students in Year 6 and Year 10 who are achieving 

88 

 
‘excellence’ in CCT. 

Results 

Key outputs have been: 

- 

- 

F-10 curriculum with CCT as an explicit component of it; 

A  wide  range  of  resources,  including  'Introduction  to  explicitly  teaching  and 
assessing  the  capabilities',  a  presentation  on  the  CCT,  CCT  mapping  templates, 
scope  and  sequence  charts,  'Curriculum  Planning  Resource'  and  the  'Victorian 
Curriculum  F-10  Revised  curriculum  planning  and  reporting  guidelines',  sample 
learning  activities,  indicative  progress  in  CCT  template,  'Guide  to  Formative 
Assessment  Rubrics',  CCT  assessment  tasks,  videos,  and  references  to  other 
useful resources; professional learning opportunities; 

- 

CCT sample assessment programme. 

The  VCAA  has  implemented  an  F-10  monitoring  framework  to  gather  feedback  from  schools  in 
relation  to  successes  and  challenges  in  curriculum  implementation.  This  is  a  voluntary  process 
when  schools  self-report.  There  are  standard  questions  used  each  year  and  discretionary  ones 
employed  to  explore  points  of  interest.  The  data  gathered  has  shown  that  schools  are 
implementing  CCT,  but  this  has  not  progressed  as  well  as  the  more  traditional  discipline-based 
learning  areas.  The  schools  have  indicated  they  require  additional  support  materials.  Resources 
prepared and professional learning opportunities offered were welcomed and continue to support 
schools in becoming more confident and advanced in their approach to CCT implementation. 

At  least  800  students  are  tested  each  year  as  part  of  the  CCT  sample  assessment  programme. 
Results reveal that the target set for ten years was achieved in the first three (e.g. in 2018, 22.4% 
tested  students  reached  the  highest  level  of  achievement,  while  the  target  set  for  2025  was 
20.8%.  Although  good  news,  this  raises  concerns  about  the  selected  sampling  techniques  and 
questions targets for the future. 

- 

- 

- 

For  teachers  to  treat  capabilities  in  the  same  way  as  discipline-based  learning 
areas, they have to be presented in the same way. 

Being  transparent  about  the  need  to  explicitly  teach  underlying  knowledge 
enables assessment. 

Investing in resources, i.e. teacher and school support, is crucial; proper attention 
to links between discipline-based learning areas and CCT should be given. 

For such a curriculum reform to work, it is crucial to understand that CCT plays a role in developing 
good  and  informed  citizens;  CCT  is  not  soft  but  has  discrete  knowledge  and  skills;  CCT  is  not 
replacing learning areas, and their disciplinary knowledge and skills contribute to the development 
of the CCT, but certain aspects of it are transferable and could be ‘centralised’ in a CCT curriculum. 
Moreover, buy-in at different levels is needed. Not only political will is important but also teachers 
have to be confident in their approach, thus need resources to support them; school leaders must 
understand  the  significance  of  CCT  and  help  to  champion  the  cause;  parents  need  to  appreciate 
explicit teaching of CCT and see the value in it. 

Lessons learned 

Sources of 
information 

Victorian Curriculum and Assessment Authority. (n.d.).  Critical and Creative Thinking: Rationale and 
Aims.  Retrieved  8  September,  2020,  from  https://victoriancurriculum.vcaa.vic.edu.au/critical-and-
creative-thinking/introduction/rationale-and-aims 

State  Government  of  Victoria. 
Learning 
https://www.education.vic.gov.au/about/educationstate/Pages/targetlearningforlife.aspx 

(219,  20  September). 

Target: 

for 

life. 

Victorian  Curriculum  and  Assessment  Authority.  (n.d.).  2020  Critical  and  Creative  Thinking  (CCT) 
assessments.  Retrieved  8  September,  2020,  from  https://www.vcaa.vic.edu.au/assessment/f-
10assessment/edstateap/Pages/cct-assessments.aspx 

Interviews with the representatives of the VCAA 

89 

 
 
 
Towards a More Innovative Workplace 

Objectives 

The  general  objective  was  to  create  a  more  innovation-friendly environment  for  EU  micro,  small 
and medium-sized enterprises and increase their business adaptability by providing the necessary 
training support for performing organisational innovation. The specific objectives were: 

- 

- 

- 

- 

Providing  EU  micro,  small  and  medium-sized  enterprises  with  open  educational 
resources in the field of organisational innovation and workplace innovation; 

Supporting  EU  micro,  small  and  medium-sized  enterprises  in  developing  their 
skills for the implementation of the systematic innovation; 

Enhancing  the  competitiveness  and  the  innovation  capacity  of  EU  micro,  small 
and medium-sized enterprises through practical training tailored to their needs; 

Increasing  the  awareness  of  EU  business  and  VET  community  about  the 
importance  of  organisational  and  workplace  innovation  and  creating  the 
necessary supporting culture for that. 

Timeframe 

The Sustainable Entrepreneurship programme was launched in 2014 and ended in 2016. 

Target group(s) 

SMEs and VET providers 

Level of 
implementation 

International 

Geographical 
scope 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

Austria, Portugal, Finland, Lithuania, the UK and Bulgaria. 

VET, workplace settings 

Central to the initiative were the European Center for Quality OOD, Bulgaria (Initiative Coordinator), 
Multidisziplinares  Institut  fur  Europa-Forschung  Graz,  Austria,  Aidlearn,  Consultoria  em  Recursos 
Humanos  Lda,  Portugal,  Oy  Vaasan  Ammattikorkeakoulu,  Finland,  KTU  regioninis  mokslo  parkas, 
Lithuania,  LearnPlay  Foundation  LTD,  UK,  and  Chamber  of  Commerce  and  Industry  Vratsa 
Sdruzhenie in Bulgaria 

Key activities/ 
measures 

Central to the initiative was a training course aimed at providing the necessary training support for 
performing organisational innovation. The course comprised 10 modules. Each of them focused on 
its  learning  objectives  and  suggested  reading  materials,  exercises  and  self-test  questions.  The 
modules included: 

- 

Concepts of creativity and innovation; 

-  Organisational  structure  (business  model),  the  creative  process  and  governance 

for innovation; 

- 

Creating a culture of innovation; 

-  Maintaining a culture of innovation; 

- 

- 

- 

Application of creativity to the work tasks; 

Creative workplace management; 

Innovation leadership; 

90 

 
 
Funding 
arrangements 

Conceptualisation 
of creativity 

Pedagogical 
approaches and 
methods 
promoted 

- 

Technology as an enabler of innovative ideas; 

-  Designing an organisation innovation plan; 

- 

References to other creativity and innovation tools. 

In  addition,  several  events  and  conferences  on  creativity  with  networking  opportunities  were 
organised. 

Funded  by  the  Erasmus+  (Erasmus+  Programme  2014-2020)  as  a  strategic  partnership  for 
vocational education and training. 

Creative thinking was defined as a cognitive capacity which shows the way a person thinks about a 
problem. Besides, creativity was defined as a skill which everyone can develop. Applying creativity 
to  work  tasks  was  viewed  as  applying  creative  thinking  to  problem-solving  related  to  the 
development of a company.  

Creativity therefore mainly linked to: 

- 

- 

Creative problem solving (CPS) is a well-defined process that can help to proceed 
from  problem  definition  to  implementing  solutions.  CPS  includes  the  following 
steps:  Providing  a  vision;  Gathering  information;  Defining  a  problem;  Generating 
ideas; Selecting ideas; Taking action; Evaluating results. 

Creativity  and  creative  problem-solving  was  linked  to  creative  thinking  and 
design-thinking.  

Creativity in work tasks was treated as having different dimensions: 

-  Direct  or  primary  application  of  creativity  to  work  tasks  includes  research  and 

development activities. 

- 

- 

- 

- 

Indirect  or  secondary  application  of  creativity  to  work  tasks  occurs  when 
employees themselves find a way to implement their tasks easily and quickly. 

The application of creativity is not limited to certain sectors; it can be applied to 
any kinds and fields of activities. 

Creativity can be applied by individuals and teams and cross-disciplinary. 

intrinsically  motivated 

Lastly, applying creativity to work tasks has a psychological dimension, meaning 
that a person’s motivation, attitudes and perceptions matter. An employee must 
be 
for  personal  and  professional  development, 
experimentation  and  improvement  of  his/her  practice  (work  processes  and 
results).  A  person  should  have  a  holistic  view  of  arising  challenges  instead  of 
getting stuck in the details. He/she should focus on finding a solution instead of 
concentrating  on  a  problem,  but  also  be  ready  to  accept  failure  as  part  of  the 
creative process. 

Two approaches to learning were possible to choose from - self-learning and tut0r-guided learning. 
The  course  was  intended  to  be  open,  flexible,  practical  and  output-oriented,  activity-based  and 
learner-centred, but did not follow a certain pedagogical theory. The principles that underlined the 
choice of the methodological approaches to the development of the curriculum were: 

- 

Competence-based/outcomes-based:  The  definition  of  learning  outcomes  was 
central  to  the  development  of  the  InnoWork  curriculum.  The  broad  learning 
objectives  and  module-specific  learning  outcomes  helped  to  select  theoretical 
concepts, develop reading materials and create exercises, engaging in which one 
could achieve the intended results. 

-  Gamification:  The  course  content  was  designed  based  on  the  principles  of 
gamification.  The  term  suggests  the  use  of  game  elements  and  game  design 
techniques in learning activities and exercises. The material was presented in an 
attractive  and  user-friendly  way  to  make  it  activity-based  and  learner-centred. 
There  were  games  and  exercises  for  individual  work  for  those  who  took  the 
course  as  a  part  of  self-learning  and  group  exercises  for  the  learners  who  took 

91 

 
the course as part of a vocational training course. 

-  Web technologies with video game elements: All course materials were developed 

in an electronic form and are free online. 

Assessment 
approaches and 
methods 
promoted 

The  module-specific  learning  outcomes  were  formulated  in  accordance  with  the  European 
Qualifications Framework and in terms of knowledge, skills and competences which learners should 
demonstrate  upon  the  completion  of  the  course.  Also,  at  several  stages  of  modules,  simple  and 
more extensive self-assessment forms were filled out. 

Results 

Key outputs were: 

- 

- 

InnoWork Curriculum; 

Training content; 

-  Guidelines for VET providers; 

- 

InnoWork initiative website.  

The  initiative  was  evaluated  as a  success  story  by  a  panel  of  experts  from  DG EAC  and  a  good 
practice example in the Erasmus+ initiative database.  

The  initiative  helped  to  modernise  the  VET  sector  by  producing  a  comprehensive  curriculum, 
guidelines  and  website  to  foster  creativity  as  a  key  skill  for  working  life,  and  supporting  the 
development of ICT skills while doing so. 

Lessons learned 

Due  to  its  orientation  towards  real-life  business,  the  training  course  was  particularly  helpful  for 
VET, but several modules could also be useful in other sectors. 

Sources of 
information 

Erasmus  +.  (n.d.).  Promoting  innovation  in  the  workplace.  Retrieved  8  September  2020,  from, 
https://ec.europa.eu/programmes/erasmus-plus/initiative-result-content/6eb6351c-
e80a-4654-b491-b7a14652da72/Fact_Sheet_2014-1-BG01-KA202-001634  

Innowork  Consortium.  (n.d.).  Innowork.  Retrieved  8  September,  2020,  from  http://www.innowork-
initiative.eu/  

92 

 
 
 
Mobile Learning in VET towards 2020 

Objectives 

The objectives were:  

- 

- 

- 

Fostering  mobile-learning  pedagogy  to  help  to  reduce  early  school  leaving, 
decrease the number of under-skilled teenagers, contribute to the development of 
the so-called 21st century skills such as ICT literacy, collaboration, communication, 
creativity, problem-solving, and ultimately support the modernisation of education 
and training systems; 

Bringing  about  innovation  in  education  by  rethinking  the  role  of  teachers  and 
methodologies  used,  and  letting  trainers  or  teachers  and  learners  become  co-
producers  (and  not  only  users)  of  content  and  tools,  rebuilding  the  concept  of 
formal  learning  and  pedagogy,  empowering  users  to  create  and  publish  their 
content; 

learner-centred  approaches,  group  work,  peer 

learning,  and 
Encouraging 
learning-by-doing,  problem-solving  and 
promoting 
creativity,  and  thereby  enabling  the  acquisition  of  knowledge,  skills  and 
competences that are not purely occupational and are adaptable to change. 

inquiry-based 

learning, 

Timeframe 

The programme was launched in 2014 and ended in 2016. 

Target group(s) 

Students and teachers in secondary school and VET 

Level of 
implementation 

International 

Geographical 
scope 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

Key activities/ 
measures 

Italy, Spain, Turkey, France and the UK. 

Secondary school education and VET, institutional and workplace settings 

Central to the initiative were the Scuola Centrale Formazione, a national network of VET providers, 
Civiform and Fondazione Opera Montegrappa, Italy, Galician Regional Government-DEXFPIE and a 
school  CIFP  A  Farixa,  Spain,  Innovative  Educators  Association  (national)  and  two  technical  and 
vocational  high  schools  TÇMB  and  ZHT  in  Turkey,  Coleg  Cambria  -  a  public  further  education 
institute, the UK, Fondation Auteuil-Lycée Victorine Magne - a private VET provider, France, Bicocca 
University, Italy, and FORMATECH - a tech company in Italy. 

- 

- 

- 

- 

- 

- 

The  partners  Formatech  and  Bicocca  University  carried  out  research  on  mobile 
learning and technologies in support of teaching; 

Formatech  tested  their  suggested  model  in  15  VET  centres  with  about  2,500 
students from across the Lombardy region; 

Based  on  their  findings,  they  developed  guidelines  for  teachers  to  be  trained  in 
the core activities and pluri-disciplinary approaches to ICT teaching; 

Throughout the  initiative, the team provided  support  to  teachers  on applications 
and ICT solutions; 

Teachers created learning scenarios and material following the methodology set 
out; 

The 

initiative 

team  developed  a  dissemination  strategy, 

including 

the 

93 

 
development of the initiative website. 

Funding 
arrangements 

Funded  by  the  Erasmus+  (Erasmus+  Programme  2014-2020)  as  a  strategic  partnership  for 
vocational education and training. 

Conceptualisation 
of creativity 

Creativity was not defined. However, it was linked to: Critical thinking; Problem-solving; Innovation; 
teamwork  skills,  self-reflection  and  awareness,  communication  and  decision-making  capacity; 
Design thinking. 

Pedagogical 
approaches and 
methods 
promoted 

Technology  was  seen  as  an  opportunity  to  implement  learner-centred  approaches  promoting 
inquiry-based learning, participatory learning, learning-by-doing, problem solving and creativity. The 
aim was to put the learners at the centre of the learning process, giving them the opportunity to 
create,  use  and  share  resources  in  their  own  pace.  This  methodology  followed  from  a  literature 
review on ICT teaching strategies, and combined key take-outs from the following theories: 

- 

- 

- 

- 

Behaviourism: focus on the outcome, e.g. test scores; 

Constructionism: focus on the process of teachers creating learning environments 
for active learners; 

Constructivism: focus on a single student and teacher providing instruments, and 
learner-built knowledge; 

Activity theory:  highlighting the impact  that  an active role  of the learner has  on 
the results. 

The pedagogy central to the initiative was multi-modal learning - a teaching practice that includes 
differentiated  stimulus  for  the  students  and  involves  them  in  the  production  of  their  original 
content. The idea was that this method could be further improved by the use of ICT in order to: 

- 

- 

- 

Stimulate  verbal/linguistic,  spatial/visual,  musical/rhythmic  and  emotional 
intelligence at interpersonal and intrapersonal levels; 

Stimulate both the right and left sides of the cerebral cortex and the limbic and 
neocortex system; 

Capture the attention of students who drift with short videos, while using slower 
and thought-provoking video clips to foster relaxation and long-term memory. 

The initiative consortium applied three ways of assessing students and teachers:  

- 

- 

- 

A questionnaire for teachers and students was developed but focused mostly on 
experiences with technology and not skill development. 

Visitor  and  resident  -  an  alternative  assessment  tool  was  used,  focusing  on  an 
alternative way of describing the position of people in a virtual world by the use 
of two-dimensional fields. A visitor leaves no social trace which a resident does. 
In addition to the online activity and actions, the visitor-resident character has a 
personal-institutional character. This tool allows the activity online to be assessed 
not simply by task, but by online social behaviour and aims to see how students 
learn in formal and informal contexts and engage with others online. The tool can 
be used to support healthy behaviour online. 

Also,  the  initiative  applied  a  student-centred  approach  and  attempted  to  foster 
the metacognitive abilities of students. Self-reflection and self-assessment were 
therefore encouraged throughout the initiative. 

Assessment 
approaches and 
methods 
promoted 

Results 

The outputs of the initiative were: 

- 

- 

A model enabling users to design and plan their learning units with examples of 
the units tested by partners (from 24-80 hours); 

A  list  of  useful  applications  utilised  by  partners  during  their  activities  (to  create 
maps,  quizzes,  videos,  research,  QR  Codes;  to  manage  the  classroom,  for 
evaluation; etc.); 

94 

 
- 

- 

A guidebook on mobile learning elaborated and made available in English, French, 
Italian, Spanish and Turkish; 

A literature review on the use of ICT in education prepared; 

-  MoLVET partners’ experiences described and analysed in light of the main results 

of the literature review; 

- 

A set of practical instructions guiding and supporting those involved in the task of 
'digitalising education and VET compiled. 

leaners  and  55  teachers/trainers  were  directly 

in  the  development  and 
351 
implementation of new multidisciplinary learning units (more than 13,000 training hours delivered 
in total). 312 more learners and 337 more teachers were involved in the events and showcases of 
information,  and  dissemination  organised  by  their  colleagues,  to  share  the  knowledge  and 
experiences gained thanks to MoLVET. The initiative was evaluated positively and presented as a 
good practice example and a success story in the Erasmus+ initiative database. 

involved 

Lessons learned 

ICT clearly helps students to get a better education, if and when teachers use it in a creative and 
innovative way. Unfortunately, sometimes such initiatives are undertaken in an acritical way, and 
the introduction of ICT is driven more by some market logic or a 'naive' desire to be in line with the 
time,  than  a  careful  reflection  on  the  variables  determining  the  success  of  this  kind  of 
interventions.  Innovation  should  be  preceded,  for  instance,  by  a  careful  analysis  of  the  specific 
socio-cultural context, and an evaluation of the benefit and issues that the introduction of ICT is 
expected  to  generate.  The  BYOD  model,  for  example,  exposes  an  organisation  problem  as  the 
devices  owned  by  students  are  in  most  cases  not  designed  for  learning,  very  different  among 
themselves  and  forever  changing,  being  substituted  by  new  models  for  reasons  that  are  neither 
technical, nor educational, nor even rational or predictable. 

Sources of 
information 

Erasmus  +.  (n.d.a).  Mobile  Learning  in  VET  towards  2020.  Retrieved  8  September,  2020,  from 
https://ec.europa.eu/programmes/erasmus-plus/initiatives/eplus-initiative-
details/#initiative/2014-1-IT01-KA202-002649  

MOLVET  Consortium.  (n.d.b).  Mobile  Learning  in  VET  towards  2020’  (Mo.L.VET  2.0.20).  Retrieved  8 
September, 2020, from http://molvet.formatech.biz/  

95 

 
 
 
Vocational 
Learning 
Cooperative 
Triangles:  Using  Cooperative  Learning 
to Promote Employer Engagement 

Objectives 

The  purpose  of  having  transversal  skills,  including  creativity,  as  a  discrete  component  of  the 
initiative was to improve the employability of students. Other core objectives were: 

-  Developing  skills  of  VET  staff  to  use  cooperative  learning  methodologies  to 

develop and assess key employment competences; 

- 

- 

- 

Improving  the  attractiveness  and  relevance  of  the  VET  by  ensuring  that  the 
curriculum meets the needs of learners and employers; 

Strengthening  alignment  and  collaboration  between  work  and  VET  by  using 
innovative methods; 

Enhancing  the  modernisation  and  internationalisation  of  VET  systems  in  partner 
countries. 

Timeframe 

Vocational Cooperative Learning Triangles initiative was launched in 2014 and closed in 2016. 

Target group(s) 

Vocational education and training (VET) teachers and trainers 

Level of 
implementation 

International 

UK, Iceland, Sweden, Spain, Czech Republic and Germany 

VET, institutional and workplace settings 

Geographical 
scope 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

Central to the initiative were the InterCultural Ísland, Iceland, Bollnäs kommun, Sweden, Heziketa 
Teknikoko  Elkartea,  Spain,  Asociace  malych  a  strednich  podnikua  zivnostniku  cr,  Czech  Republic, 
RegioVision GmbH Schwerin, Germany, MittMedia AB, Sweden, Institut inpro AS, Czech Republic and 
Dundee & Angus Chamber of Commerce, the UK. 

Key activities/ 
measures 

Key activities were: 

- 

- 

Identification of innovation-friendly employers to work with trained VET staff; 

Creation  of  tasks  (real  workplace  tasks  framed  as  learning  outcomes)  for  the 
development of the transversal skills; 

-  Working on tasks together (employers, learners and staff) as peers in Vocational 
Cooperative  Learning  (VoCOL)  Triangles  promoting  engagement  by  bringing 
together the worlds of work and VET. 

Funding 
arrangements 

Funded  by  the  Erasmus+  (Erasmus+  Programme  2014-2020)  as  a  strategic  partnership  for 
vocational education and training. 

Conceptualisation 
of creativity 

The initiative documents did not set out a clear-cut definition of creativity. Yet, the following clues 
were given: 

- 

Creativity  was  treated  as  first  and  foremost  linked  to  realistic  problem-solving, 

96 

 
small  c  creativity,  and  critical  thinking,  self-efficacy,  diversity  and  openness  for 
new ideas. 

- 

- 

The  term  was  seen  as  key  to  the  methodology  of  the  initiative,  i.e.  cooperative 
learning. The idea was that a creative genius is the product of, and best develops 
within  cooperative  efforts.  The  background  for  this  understanding  of  creativity 
was  the  perceived  need  to  prepare  students  for  the  real  world  and  the  labour 
market. 

into:  1)  generation  of  new 

In the employer survey, the creative and entrepreneurial thinking skill was broken 
ideas  covering  anticipation  of  needs, 
down 
experimentation,  recognising  opportunities,  showing  originality,  visualisation  of 
completed  work  and  ability  to  turn  new  ideas  into  action.  2)  bringing  ideas  into 
products  or  outcomes  by  adapting  an  implementation  strategy,  creating  an 
implementation strategy and producing original work. 

Pedagogical 
approaches and 
methods 
promoted 

The  initiative  consortium  adopted  diverse  teaching  methods  and  approaches.  It  was  argued  that 
teaching methods where a student is active, where there are interaction and communication taking 
place and where there is a structure that increases the possibility for every student to have access 
to the learning process, are best suited to activate students, increase their social skills, give them 
the opportunity to learn in a creative way where higher-order thinking skills are necessary and thus 
prepare them for life in a pluralistic society and workplace. 

However,  the  main  pedagogical  approach  was  cooperative  learning.  For  the  purposes  of  the 
initiative, collaborative learning in VET was defined by the following strengths: 

- 

- 

- 

as a formal way of structuring learning activities which increases the potential for 
rich and deep learning; 

going  beyond  teamwork  –  all  participants  rely  on  one  another  to  achieve  a 
common goal and are individually accountable for doing their share of work; 

through cooperative learning, students develop their key competences important 
for  their  future  employment  such  as  communication  skills,  trust-building, 
initiative,  flexibility,  critical  and  creative  thinking,  problem-solving  and  conflict 
management. 

Other basic principles that were followed to foster creativity and critical thinking in the initiative 
were: 

-  Open-ended questions/tasks; 

-  Multiplied abilities/intelligences; 

- 

- 

Interdependence and individual responsibility; 

Connection with the main concepts of the curriculum and with the 'real-life'. 

Assessment 
approaches and 
methods 
promoted 

The initiative made use of the European Qualifications Framework for Lifelong Learning in guiding 
the  assessment  of  VET  students  by  teachers.  It  was  also  suggested  to  use  respective  national 
frameworks, such as the Scottish Qualifications for Transversal Skills Framework. Findings from an 
employer survey were used to guide the teaching and learning process but not to give feedback. 
After the initiative, partners from each country filled out self-evaluation forms. 

Results 

Key outputs were: 

- 

- 

- 

- 

- 

A best practice guide; 

A guide to and training material for collaborative learning; 

Lesson plan resources and videos; 

An EQF mapping guide; 

An initiative website.  

The attendance to the workshops (in thousands) and initiative evaluation suggest that the initiative 

97 

 
had mainly positive outcomes. Besides, the initiative is presented as a good practice example and a 
success story in the Erasmus+ initiative database.  

The  positive  outcomes  for  the  participants  were  that  teachers  and  trainers  benefited  from 
increased  knowledge,  skills  and  competences,  e.g.  developed  intercultural  skills.  The  initiative 
helped them gain the ability to match learners' transversal skills with workplace requirements. The 
learners increased their awareness of transversal skills and their importance in the labour market, 
developed a greater sense of initiative and self-worth, and thereby improved the employability. Yet, 
VET teachers and trainers listed positive results of the initiative only, but most of these related to 
employability n general rather than improvement of creativity or transversal skills in particular. 

On  a  bigger  scale,  the  participating  organisations  learned  and  adopted  new  ways  of  work  with 
employers, gained a broader understanding of teaching practices and systems, and created better 
links between education and the labour market.  

Lessons learned 

The  initiative  revealed  that  cooperative  learning  is  a  well-suited  approach  for  the  VET  sector 
because it helps to improve public-private and other types of partnerships among institutions. In 
turn,  such  collaboration  facilitates  the  acquisition  and  development  of  transversal  skills,  which 
students need to successfully integrate into the labour market. 

Sources of 
information 

Erasmus +. (n.d.). Vocational Cooperative Learning Triangles: Using Cooperative Learning to Promote 
Employer 
from 
Retrieved 
https://ec.europa.eu/programmes/erasmus-plus/initiatives/eplus-initiative-
details/#initiative/2014-1-UK01-KA202-001626  

Engagement. 

September, 

2020, 

8 

98 

 
 
 
Sustainable Entrepreneurship: A Game-
Based Exploration for Lower Secondary 
Schools (SUSEN) 

Objectives 

This initiative aimed to enhance creativity and promote a heightened sense of civic engagement. 
The specific objectives were: 

- 

- 

- 

- 

- 

Creating  an  innovative  game-based  student-centred  learning  programme  to 
develop  students'  key  competences  for 
learning  and,  especially, 
entrepreneurship; 

lifelong 

Fostering  students'  understanding  of  sustainable  development 
through 
entrepreneurship, focusing on the clothing manufacturing and the energy sector, 
in particular energy provision, mix and consumption; 

Enhancing key competences and skills such as creativity and innovation through 
school education; 

Assessing transversal skills such as the following: digital competence, learning to 
learn, a sense of initiative and entrepreneurship and cultural awareness; 

Increasing  students'  sense  of  community,  civic  engagement  and  personal 
responsibility. 

Timeframe 

The Sustainable Entrepreneurship programme was launched in 2014 and ended in 2016. 

Target group(s) 

Students in lower secondary schools 

Level of 
implementation 

International 

Geographical 
scope 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

Key activities/ 
measures 

Germany, UK, Poland, Belgium and Switzerland 

Secondary school education, institutional settings 

Central  to  the  initiative  were  the  Environmental  Academy,  UK,  CVO  Antwerpen,  Belgium, 
Uniwersytet  pedagogiczny  im  komisji  edukacji  narodowej  w  krakowie,  Poland,  Pädagogische 
Hochschule Freiburg, Germany, University College London, UK and Associazione seed, Switzerland. 

- 

- 

- 

- 

The  partners  developed  the  game  rules, defined  players'  roles, and  identified 
stakeholders to accompany the development of a realistic game.  

Students  were  given  tasks  in  the  game  that  required  contacting  external 
stakeholders, hence the opportunity to learn outside the school settings. To build 
a successful business, each group had to reach a certain energy target within the 
limits of the budget set in the game. As the rounds progressed, the students had 
to  consider  additional  aspects,  such  as  the  environmental  impact  of  the  energy 
sources they chose to use.  

The  classroom  game  and  the  online  companion  were  piloted  in  schools  in 
different partner countries.  

The  evaluation  of  the  whole  programme  led  to  revisions,  and  these  -  to  a  final 

99 

 
Funding 
arrangements 

Conceptualisation 
of creativity 

version of the game and the online version, which was then disseminated. 

Funded by the Erasmus+ (Erasmus+ Programme 2014-2020) as a strategic partnership for school 
education. 

Creativity  was  not  defined,  but  the  initiative  documents  mention  it  several  times  in  relation  to 
entrepreneurship. Entrepreneurship was defined as an attitude of mind. It includes motivation and 
the ability to seize opportunities and pursue them in a targeted manner. Characteristics related to 
entrepreneurship were commitment, creativity, curiosity and willingness to take risks. Creativity was 
treated as a key element of entrepreneurship education because this kind of education needs to 
promote discovery and creativity. 

Yet,  based  on  the  initiative  context  and  resources,  creativity  could  be  defined  as  an  enabler  of 
solutions  that  cuts  across  disciplines,  from  natural  to  social  sciences.  In  this  sense,  except  for 
entrepreneurship,  creativity  was  linked  to  design  thinking,  self-efficacy  and  self-efficiency.  The 
initiative focused on how transversal skills, particularly divergent thinking, foster initiative, learning 
to learn, and digital competences further strengthen the creative power of students. 

Pedagogical 
approaches and 
methods 
promoted 

The  learning  programme  combined  the  creation  of  a  classroom  game  with  service  learning  and 
extra-curricular  activities  outside  of  school,  encouraging  cooperation  with  external  stakeholders. 
The  game  experiences  of  students  were  based  on  concrete,  national  and  real-life  examples  of 
companies that incorporate certain aspects of sustainable development into their company policy. 

The pedagogical approaches were: 

- 

- 

Initiative-based learning; 

Service-based learning; 

-  Game-based/simulation-based inquiry learning. 

Not applicable 

Assessment 
approaches and 
methods 
promoted 

Results 

Key outputs were: 

- 

SUSEN classroom game; 

-  Online SUSEN gaming companion; 

- 

- 

- 

- 

- 

- 

Teacher support pack; 

Teacher training course; 

Teacher training syllabus; 

Piloting and evaluation; 

SUSEN best practice case studies; 

SUSEN portal and website. 

The attendance to the workshops and feedback from participants suggest that the initiative had 
several positive outcomes. A total of 12 classes and 280 students participated, while 85 teachers 
received  training.  The  majority  of  the  teachers  saw  no  problem  in  understanding  the  game.  The 
students learned to use critical thinking and strategic ICT solutions to solve real-world problems. 

By involving companies, the initiative had an impact beyond the direct effect on the participants. It 
helped the companies grow respect for the environment and take better care of their reputation. It 
brought about modernising and inter-disciplinary teaching methods in elementary schools. 

Lessons learned 

Success factors were:  

- 

An 

interdisciplinary  and  multi-institutional  approach  helped  students 

to 

100 

 
understand the relevance for real life and the transversal value of the initiative; 

- 

Strategic games are successful tools in entrepreneurship education as they allow 
students to make strategic decisions and test different approaches. 

Sources of 
information 

SUSEN 
http://powerplayer.info  

Consortium. 

(n.d.). 

PowerPlayer. 

Retrieved 

8 

September, 

2020, 

from 

101 

 
 
 
Creative Minds 

Objectives 

Within  the  frames  of  this  initiative,  LEGO  and  robotics  were  used  to  trigger  a  creative  thinking 
process which would result in creative solutions to real-world problems. The key objectives were to:  

- 

Incorporate  elements  of  robotics  into  standard  subjects  such  as  technology, 
mathematics, improve knowledge of robotics and make use of robots to teach the 
following  specific  topics:  sustainability,  industrial  engineering,  bionics,  protection 
of the environment and astronomy; 

-  Use  building  scenarios  with  bricks  to  encourage  creativity,  rational  thinking  and 

innovativeness in solving problems; 

- 

Improve the digital competences of teachers and students. 

The achievement of these objectives was assessed according to whether the robots made by the 
students managed to solve key societal issues or not (e.g. picking waste). 

Timeframe 

Creative Minds was launched in 2014 and ended in 2016. 

Target group(s) 

Students (aged 13-16) and their teachers. 

Level of 
implementation 

International 

Geographical 
scope 

Poland and Cyprus 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

Key activities/ 
measures 

Institutional settings of school education. 

Central to the initiative was Zespol Szkol Gimnazjum, coordinating school in Poland, and the partner 
in  Cyprus:  Perifereiaka  Gymnasio  Kokkinotrimithias.  The  students  were  divided  into  international 
Polish-Cypriot groups with leaders responsible for implementing specific tasks. 

- 

- 

- 

Joint  staff  training  on  the  use  of  LEGO  in  education  and  modern  techniques  of 
creative  thinking,  learning  and  self-development  (the  teachers  who  took  part  in 
the training produced a course material book based on it); 

Joint exchanges between students in Cyprus and Poland; 

Participating in joint technologic and language workshops; 

-  Maths and Physics tests based on LEGO Engineer Initiative constructs; 

- 

- 

- 

Students had to make their own instructions for usage based on their own ideas 
in English; 

They constructed robots for space exploration by making use of trilingualism and 
natural science and to protect the natural environment; 

Events  to  disseminate  the  initiative:  Creativity  Day,  Earth  Day  and  final 
conferences  for  teachers,  students,  parents,  local  educational  authorities  and 
local community members of both schools. 

Funding 

Funded by the Erasmus+ (Erasmus+ Programme 2014-2020) as a strategic partnership for school 

102 

 
arrangements 

education. 

Conceptualisation 
of creativity 

The  initiative  documents  addressed  creative  thinking  rather  than  creativity.  The  partners  defined 
creative  thinking  as  a  process  of  coming  up  with  ideas  to  solve  multiple  practical  problems  by 
using diverse methods and ways of thinking to expand the capacity and imagination of the mind 
for learning. They understand this process is further by recognising: 

- 

- 

- 

- 

This  process  occurs  in  the  right  hemisphere  of  the  brain  through  thinking  in 
images.  

A multidimensional representation of thoughts on a given subject, focusing on the 
images  of  the  mind  and  how  to  connect  images  to  memory  and  accelerate 
learning. 

The  rule  of  creativity:  'we  will  never  forget  what  we  have  created'.  The 
descriptions  of  creative  thinking  and  the  rule  of  creativity  in  the  initiative 
documentation suggest that only a rich or divergent thinking process resulting in 
a creative product can be defined as creativity. 

To better help this process of creative thinking, one needs to also focus on related 
concepts and strands of thinking such as creative noting, game and playfulness, 
design thinking and innovativeness. 

The  initiative  fostered  creativity  primarily  through  problem-based  learning  and  eco-justice 
pedagogy, taking into account that:  

- 

- 

- 

In order to increase the satisfaction with learning, basic skills, and practical use of 
memory learning is vital. Second, in a rapidly changing and competitive world, the 
main  source  of  advantage  is  more  efficient  learning,  thinking  as  well  initiating 
and maintaining valuable emotional relations with others. 

A initiative methodology developed by Marek Szurawski - a specialist in the field 
of  comprehensive  development  of  human  mental  capabilities,  who  has  been 
leading different trainings and lectures on modern techniques of creative thinking, 
learning  and  self-development  for  over  twenty  years.  The  key  principle  of  the 
methodology  is  that  personality  and  individual  strategies  can  improve  learning 
and increase the appetite for lifelong learning. Examples of strategies that can be 
individualised  are  mind  mapping,  basic  mnemonics,  speed  reading  and  intuition 
and the role of imagination in the process of learning. 

Creativity in problem-solving can be fostered by focusing on real-world problems 
such  as  safety  and  plastic  waste.  A  multidimensional  way  of  thinking  allows 
students to work on diverse topics and find solutions to problems faster, and to 
improve their memory in addition to creativity. 

Albeit not designed for feedback, key moments of assessment in the initiative were: 

- 

- 

Before  the  launch  of  the  initiative,  a  survey  was  conducted  to  assess  what  the 
teachers had known about robotics from before. During this survey, the teachers 
self-assessed  their  skills  in  building  robots  and  LEGO  bricks.  The  findings  were 
used to guide the next stages of the initiative implementation rather than giving 
feedback to the participants.  

The value of robots that students created was assessed based on whether these 
robots  help  to  solve  real-world  issues,  e.g.  protect  nature  by  removing  waste  or 
improve safety in the building industry. 

Pedagogical 
approaches and 
methods 
promoted 

Assessment 
approaches and 
methods 
promoted 

Results 

Key outputs were: 

- 

- 

An initiative’s website and public Twinspace; 

Lesson plans on robotics; 

-  Mini guide of LEGO initiatives; 

103 

 
-  Materials from joint staff training in Poland; 

-  Mini guide of methods of creative learning; 

-  Mini dictionary on robotics in three languages; 

-  Materials on Cypriot culture; 

-  Materials on space; 

-  Materials on bionics; 

- 

- 

LEGO robots; 

Results  of  research  on  the  level  of  robotisation  in  companies  in  Cyprus  and 
Poland. 

The attendance to the workshops and feedback from participants suggest that the initiative had 
several positive outcomes. 200 students and 50 teachers participated in the initiative. The initiative 
was  evaluated  positively  and  presented  as  a  good  practice  example  and  a  success  story  in  the 
Erasmus+  initiative  database.  According  to  the  initiative  partners,  the  initiative  improved  the 
teachers' and students’ skills of ICT and LEGO software, increased their understanding of methods 
of  effective  learning  and  boosted  their  motivation  to  learn  English.  It  contributed  to  more 
innovative  teaching,  and  that  helped  to  develop  problem-solving  skills  of  the  students  and  gave 
them  room  to  brainstorm,  explore  their  ideas  and  deliver  creative  outputs.  The  initiative  also 
increased the cultural and environmental awareness and understanding among the participants of 
the two countries involved. 

Although no study has been carried out, the positive outcomes above are reasons to believe that 
the initiative also had a positive impact on a higher level. It brought about modernising teaching 
methods in schools while having long-term positive effects by fostered lifelong learning skills such 
as children's ability to remember, learn and stay motivated to learn. 

Lessons learned 

Not applicable 

Sources of 
information 

Creative  Minds. 
http://gim13zawiercie.pl/creativeminds/index.htm 

Creative  Minds. 

(n.d.). 

Retrieved 

8 

September, 

2020, 

from 

104 

 
 
 
TECRINO: 
Engineering 

Teaching 

Creativity 

in 

Objectives 

While assuming that creativity can be taught, the overarching objective of TECRINO was to develop 
to  set  up  a  pioneering  Moodle  platform  for  teaching  creativity  (Susnea  et  al.,  2014a).  Other 
initiative objectives were to: 

- 

- 

- 

- 

- 

- 

study the link between creativity and anxiety about the future;  

develop  a  free,  fast,  and  easy  to  use  software  tool  for  the  assessment  of 
creativity in the educational context; 

discover research findings that could put pressure on the education policymakers 
to review the curricula;  

improve the public awareness on the importance of reducing standardised testing, 
provide  alternative  solutions  for  the  assessment  of  the  students’  performance, 
promoting  a  review  of  quality  norms  and  advocate  for  the  creation  of  non-
prescriptive and attractive learning environments in school (Susnea, Pecheanu and 
Dumitriuet, 2016a); 

train professionals to improve the transparency, visibility and the development of 
their students’ competences linked to innovation (TECRINO, 2016b); 

address the key competence nr. 5 – “learning to learn” of the European Reference 
Framework  “Key  Competences  for  Lifelong  Learning”,  by  creating  not  only  a 
problem-solving attitude but also the ability of the students to handle obstacles 
and a rapidly changing environment (Erasmus+ initiative page). 

Timeframe 

The  initiative  was  implemented  between  2013  and  2016.  ‘TECRINO’  was  implemented  at  the 
European level. Six countries participated as organisers. 

Target group(s) 

Teachers, trainers, and students in the engineering sector 

Level of 
implementation 

International 

Geographical 
scope 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

Cyprus, Portugal, Spain, Croatia, Poland and Romania 

VET, HE, adult education, institutional and workplace settings 

The  consortia  of  TECRINO  consisted  of  eight  partners:  RTD  Tallos  (Cyprus),  Epralima  (Portugal), 
Inercia  Digital  (Spain),  Fondo  formacion  Euskadi  (Spain),  Business  Innovation  Croatian  Agency 
(Croatia),  University  of  Zagreb  (Croatia),  Syntea  (Poland)  and  the  "Dunarea  de  Jos"  University  of 
Galati  (Romania).  The  consultancy  firm  RTD  Talos  in  Cyprus  coordinated  the  initiative.  Partners 
involved have contributed to the implementation of different parts of the initiative activities (see 
below). 

Key activities/ 
measures 

The  initiative  follows  the  generic  ADDIE  model,  structured  around  the  following  parts:  Analysis, 
Design, Development, Implementation, and Evaluation. 

Key activities were: 

- 

Setting  out  a  management  and  quality  plan  to  coordinate  the  development, 
define  the  strategies,  monitor  the  development  and  ensure  compliance  with  the 

105 

 
timeline; 

- 

Conducting research on trends and processes to promote innovation in VET to find 
the  most  important  needs  and  problems  facing  learners  and  teachers  in 
promoting innovative skills in learning processes; 

-  Defining the content of the educational materials; 

- 

Creating  a  group  of  modular  training  itineraries  to  qualify  the  group  in  the 
valorisation,  development  and  mobilisation  of  competences  linked  to  innovation 
and acquired in informal contexts; 

-  Designing and implementing the e-learning platform; 

- 

- 

Creating  a  group  of  didactic  guides  in  cd-rom  format  (trainer's  version  and 
trainee's  version)  to  valorise,  develop  and  mobilise  the  competences  linked  to 
innovation and acquired in informal contexts; 

Piloting  and  validating  the  pedagogic  itinerary  and  the  supporting  didactic 
resources; 

-  Mediatisation and edition of the resulting products; 

-  Dissemination and exploitation of training innovation products; 

- 

Evaluation of the quality management and the initiative based on e-learning data, 
examinations and reports from participants. 

The Lifelong Learning and Leonardo Da Vinci for Development  of Innovation  scheme  funded the 
initiative.  

Creativity  was  defined  as  a  multidimensional  and  dynamic  process,  involving  conscious  mental 
activity, affectivity, motivation and social interaction, and the general ability to solve problems. In a 
published article on TECRINO, creativity was defined as the process of developing ideas that are 
simultaneously  novel,  and  valuable  from  a  practical  perspective  (the  inventions)  (Susnea  and 
Tataru,  2014).  Creativity  was  linked  to  innovation,  since  ‘the  innovation  is  the  process  of 
capitalisation of the results (ideas) within an organisation’ (Susnea et al., 2014b). The components 
of  creativity  that  the  initiative  focused  on  were  intrinsic  motivation,  basic  skills,  curiosity  and 
exploration, choice and discovery, metacognitive skills, creative performance and positive feedback. 
The  4Ps  (Person,  Process,  Product,  Press)  of  creativity  was  a  theory  about  the  dimension  of 
creativity developed by Rhodes (1961) also adopted for this initiative. Person regards the creative 
abilities of an individual, e.g. divergent thinking. The process refers to the procedure used by the 
Person to develop the product, e.g. brainstorming. The product is the result of the creative process, 
which usually must be both novel and useful for innovation to take place. 

Educational  materials  supported  distance  education  and  face-to-face  teaching.  In  the  distance 
education  model,  a  tutor-led  and  tutor-facilitated  teaching  system  was  the  preferred  one,  but 
learners  also  engaged  in  self-paced  e-learning.  The  initiative  followed  a  humanist  approach  to 
creativity  enhancement  where  the  role  of  the  tutor/teacher  is  to  provide  a  service  to  a  learner’s 
work  with  courseware.  Besides  courseware,  learners  had  tutors'/community  support  through 
chat/forum/messenger  communication  tools,  and  that 
learning 
pedagogies.  Following  the  4P  definition  of  creativity,  the  aim  was  to  combine  both  human  and 
technology resources. 

incorporated  collaborative 

Furthermore, the TECRINO initiative, unlike previous similar initiatives, attempted not just to teach 
creativity techniques (e.g. TRIZ), but to teach for creativity and develop the general ability to solve 
problems  in  a  creative  way.  According  to  the  initiative  description  of  the  TECRINO  website,  the 
course focused on the following: 

-  Defining  educational  objectives  and  building  motivation  of  the  students 

(especially intrinsic motivation); 

Building basic skills; 

Acquisition of domain-specific knowledge; 

- 

- 

106 

Funding 
arrangements 

Conceptualisation 
of creativity 

Pedagogical 
approaches and 
methods 
promoted 

 
Assessment 
approaches and 
methods 
promoted 

Results 

Lessons learned 

- 

- 

Encouraging and rewarding curiosity and exploration; 

Creating opportunities for choice and discovery; 

-  Developing metacognitive skills (awareness of the neuro-psychological processes 

related to learning and creativity, self-management); 

- 

- 

Teaching strategies and techniques to foster creative performance; 

Providing positive feedback. 

The  students  of  secondary  school  engineering  topics  were  assessed  formatively,  based  on  an 
existing  divergent  thinking  test  which  was  further  developed  by  the  consortium.  Besides,  the 
teachers were also assessed for Creativity Management competences and could receive Vocational 
Competence Certificates (VCC) based on their performance. 

The initiative resulted in two distinct courses for educators and learners that were available online. 
The  course  for  educators  collected  the  best  techniques  on  teaching  creativity  available,  whereas 
the course for students included more content on the foundations of creative thinking and how it 
relates to innovation. Both shared the same practical methodology of learning by example, as well 
as a wealth of examples of creative products and ideas from various domains (visual arts, science 
and  technology,  literature,  etc.)  designed  with  the  intention  to  offer  students  the  opportunity  to 
rediscover the principles of inventive problem-solving. 

The initiative was not evaluated by external agencies, but the partners themselves reported that 
the  initiative  activities  created  added  value  and  high-quality  products  (Final  evaluation  report). 
Attitudes towards the transferability of the tools  created were positive. Products of the initiative 
were  in  line  with  application  and  of  good  quality  and  in  line  with  objectives.  The  Narrative 
Evaluations found that Creativity Toolbox was highly appreciated, and the course was particularly 
well designed for learning about creativity.  

The  approach  and  concepts  developed  within  TECRINO  have  been  used  as  a  basis  for  other 
initiatives such as 'Evoke your creativity' which was an experiential six days course about creativity 
in action, rapid innovation, and deep presence. However, there has been no impact study so far into 
the effects of the initiative on creativity, and it is, therefore, hard to say what the impact was. The 
fact  that  the  initiative  was  widely  researched  and  mentioned  in  journals,  suggest  that  it  had  an 
impact on the wider community of researchers and educators. 

The  strength  of  the  initiative  was  the  well-developed  coursebook  basing  itself  on  the  latest 
research in creativity. For example, the main finding of the study by the team into the inhibiting 
factors  of  creativity  found  that  unsupervised  e-learning  is  more  efficient  than  other  learning 
environments  because  the  most  important  factors  that  block  creativity  in  formal  education  are 
avoided.  This  made  the  interviewee  believe  that  the  methods  had  a  positive  effect  and  were 
positive on student’s creativity (also their critical thinking, which he considered a key transversal 
skill). The educator himself has applied the course in many instances since the end of the initiative. 
This  suggests  that  the  lessons  of  the  course  were  flexible  and  easily  applied  in  other  learning 
context.  

Another strength was the effort of the coordinator to the initiative, who was passionate about the 
topic  and  had  developed  an  expertise  on  the  subject  as  well  as  published  academic  articles  to 
disseminate  it.  Due  to  the  attention,  the  initiative  achieved  from  the  research  and  policy 
community; the initiative did achieve to raise awareness of the importance of systematic education 
for creativity.  

This is not to suggest the initiatives had no weaknesses. In fact, The interviewee suggests that it 
was  challenging  to  disseminate  the  course  among  educators  and  that  the  course  has  not  been 
used much after the initiative ended besides of the educators participating in the development of 
the course. 

Sources of 
information 

Erasmus+.  (n.d.).  Erasmus+  Teaching  creativity  in  engineering.  Retrieved  4  June,  2020,  from 
https://ec.europa.eu/programmes/erasmus-plus/initiatives/eplus-initiative-
details/#initiative/538710-LLP-1-2013-1-CY-LEONARDO-LMP  

107 

 
Susnea,  I.,  &  Tataru,  A.  (2014).  Fostering  creativity  through  education-key  factors,  and  action 
directions. Research & Science Today, 7, 194. 

Susnea,  I.,  Pecheanu,  E.,  &  Dumitriu,  L.  (2016).  The  School  in  Extremistan–How  the  Research  on 
Creativity May Lower the Risk in Education [conference presentation]. MIC conference, Bologna, Italy. 

Susnea, I. & Vasiliu, G. (2016). A Fuzzy Logic Software Tool and a New Scale for the Assessment of 
Creativity. In International Journal of Computers Communications & Control, 11(3), 441-449.  

Interview with representatives of TECRINO. 

108 

 
 
 
Institute Vasco de Creatividad Aplicado 
(IDEATK) 

Objectives 

Institute Vasco de Creatividad Aplicado de la Formación Profesional (IDEATK) is a professional body 
within  the  VET  system  of  Spain.  It  is  a  part  of  a  policy  action  to  improve  the  quality  of  VET 
education in the region. The main objectives of setting up the institute are: 

- 

- 

- 

- 

To  advance  towards  the  acquisition  of  new  transversal  basic  competences  in 
order to promote the field of creative thinking in students who take VET courses; 

To develop creative thinking in the launch of new projects in vocational training; 

Research,  design  and  experiment  on  creative  spaces  for  artisan  production  with 
advanced technologies in three dimensions in vocational training centres; 

Promote and stimulate entrepreneurship in new creative environments. 

As part of the Basque IV VET Plan, the initiative had higher-level objectives such as to strengthen 
non-technical  abilities  of  those  in  VET,  the  development  of  creative,  open  and  proactive  thinking 
needed to meet the future of work and to bridge gaps between professional fields. In addition to 
setting  up  the  Institute  of  Applied  Creativity  in  VET  (IDEATK),  the  IV  Basque  VET  Plan  had  the 
following objectives: 

- 

- 

Transform  the  Basque  Institute  of  Professional  Qualifications  into  a  Basque 
Institute of Knowledge; 

innovation  by  creating  strategic 
Provide  SMEs  with  support 
environments  and  network  hubs  in  different  sectors  for  companies  and  VET 
centres to join efforts. 

in  applied 

The  VET  plan  that  IDEATK  falls  underbuilt  on  four  strategic  aims  proposed  by  the  European 
Strategy ET 2020 for education and VET as a reference: 

-  Making life-long learning and mobility in VET a reality; 

- 

- 

- 

Improving the quality and efficiency of VET; 

Encouraging equity, social cohesion and active citizens through VET; 

Increasing creativity, innovation and entrepreneurship in VET. 

Timeframe 

2015 

Target group(s) 

VET teachers and trainers 

Sub-national (region) 

Basque region, Spain 

VET, institutional settings 

Level of 
implementation 

Geographical 
scope 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

Central  to  the  initiative  was  IDEATK,  an  Institute  conducting  research  and  providing  support  for 
teaching.  The  Institute  operated  under  the  Deputy  Minister  responsible  for  VET  before  it  merged 
with  TKNIKA.  The  Deputy  Minister  set  out  projects  and  tasks  for  IDEATK  and  operates  as  a 
contractor. 

109 

 
 
 
Important roles within the Institute are: 

- 

- 

- 

Presidency:  Deputy  Counselor  or  Deputy  Counselor  responsible  for  vocational 
training. 

Vocals:  technician  or  technician  of  the  competent  direction  in  the  matter  of 
professional training. 

Secretary with voice and without vote: technician or technician of the competent 
management in matters of professional training. 

-  Director or Executive Director and Area Directors, responsible for areas of action 
in:  a)  Area  of  Creative  Thought.  b)  Applied  Creativity  Area.  (La  Administracional 
Dia, 2015) 

Key activities/ 
measures 

At  the  policy  level,  the  main  and  most  relevant  activity  is  to  create  training  processes  for 
knowledge transfer and innovation in the VET centres on critical, constructive and creative thinking. 
As an example of a VET centre focusing on creativity, IDEATK performed the following tasks: 

-  Defines the processes necessary to carry out different techniques of constructive 
and creative thinking for the implementation of new projects in the field of VET; 

- 

- 

- 

- 

- 

Researches emotional and executive intelligence to figure out how it can be useful 
in fostering the creativity of people who are participating in vocational training; 

Research, design and experiment in collaborative networks - new open creativity 
spaces with advanced technologies; 

Run collaboration projects between different sectors with advanced technologies 
and focusing on applied creativity; 

Promote  the  creation  of  companies  in  new  creative  environments  through 
production models with 3D technologies; 

Collaborate  with  the  Center  for  Research  and  Applied  Innovation  in  Vocational 
Training  in  the  Basque  Country,  TKNIKA,  and  with  the  Basque  Institute  for 
Knowledge  of  Vocational  Training,  IVAC,  in  the  fields  of  applied  innovation  and 
creativity; 

-  Work with teachers of 10 VET centres to design a creative process development 
plan  adapted  to  each  centre  (including  training  for  teachers  delivered  by 
specialists in emotional intelligence, creative thinking and techniques beforehand). 

Funding 
arrangements 

Funded by the Government of the Autonomous Community of the Basque Country, 

Ministry of Education. 

Conceptualisation 
of creativity 

Creativity is the capacity to find, define and solve problems/challenges and find solutions that add 
value. Creativity is an innate ability that can be developed and nurtured. Importantly:  

- 

- 

Creativity  precedes  innovation.  A  creative  attitude  requires  the  ability  to  see 
multiple perspectives, critically and effectively chose the best solutions. 

Creativity has a collective dimension too and is critical at the company level. For 
companies, it is essential to take advantage of the creativity of all the people who 
work  in  it:  people  capable  of  producing  proposals,  establishing  objectives, 
evaluating priorities and generating alternatives. 

In  the  policy  document  (Vitoria-Gasteiz,  2019),  creativity  is  not  explicitly  defined  but  seen  in 
relation  to  innovation.  Especially  because  of  the  importance  of  innovation  for  the  digital  era, 
creativity  is  viewed  as  fundamental  for  new  jobs.  Creativity  can  be  taught  and  together  with 
imagination, products and services can be designed to solve real problems in a variety of contexts. 
Creativity, therefore, is also strongly linked to problem-solving. 

Other concepts that creativity is linked to in IDEATK documents include: 

- 

Parallel thinking; 

110 

 
-  Design thinking; 

-  Divergent and convergent thinking; 

- 

Socio-emotional learning. 

Pedagogical 
approaches and 
methods 
promoted 

It  is  not  clear  from  the  documents  whether  a  more  holistic  method  is  followed  at  the  Institute. 
However,  trainers  who  implemented  activities  in  VET  centres  were  taught  the  Mindful  Emotional 
Attachment  Model  (VEC)  developed  by  Roberto  Aguado,  which  is  based  on  neuroscience  and  the 
theory of conscious emotional bonding/management. The model states that humans need to fit and 
adapt their emotions better with their goals and situations. Training emotional management skills 
favours  the  creative  process  since  fear  can  lead  students  to  shy  away  from  exploring  creative 
ideas, while feeling safe and motivated makes it easier for them to sustain creative intensity. 

Furthermore,  pedagogical  approaches  and/or  methods  that  the  VET  trainers  learned  and  taught 
others (to apply them in classrooms) were: 

- 

- 

Edward de Bono's six hats techniques; 

Applied creativity; 

-  Design thinking; 

- 

AMIA and SCAMPER. 

The  six  hats  technique  is  well-known,  but  the  project  documents  do  not  explain  the  AMIA  and 
SCAMPER  techniques.  Applied  creativity  is  explained  as  a  method  to  deploy  creative  problem-
solving within the entrepreneurial setting. The creative process must not end with the generation of 
ideas. Ideas are designed, tested and evaluated in an environment that supports the collaboration 
between  teachers  and  students  of  different  specialities/disciplines  with  machines  and  digital 
manufacturing tools. The method not only links creativity to problem-solving but also adds a time 
element. It is argued that digital solutions help students solve problems as quickly and effectively 
as  possible.  Applied  creativity  regards  the  process  where  students  are  encouraged  to  produce 
creative outputs and companies in new and creative settings. 

Assessment 
approaches and 
methods 
promoted 

There were no described assessment methods in the policy or project documents, besides from a 
description  of  indicators  to  measure  the  impact  of  the  programme  on  making  creativity  and 
innovation  established  practice  in  the  organisations  (see  Impact).  In  the  training  document 
(Ikuspe/IDEATK,  2016),  two  design  thinking  sessions  were  analysed  and  assessed  according  to 
whether they met the needs and wants by the user. 

Results 

Key outputs were: 

- 

- 

- 

Brand image and the corporate identity manual; 

A complete PDF guide as help and tool for students; in training sessions given to 
teachers; 

Creative process development plans for VET centres. 

According  to  the  Basque  Government,  responsible  for  the  VET  plan,  500  people  participated  in 
teacher training run by IDEATK by 2017. Furthermore, all VET teachers in the region now have a 
plan  (see  the  section  on  outputs)  for  working  on  creative  thinking,  emotional  intelligence  and 
executive intelligence. 

The action plan (which IDEATK is integral to) was expected to have positive impacts on: 

- 

- 

- 

- 

Training the human talent needed to face the technical changes and the future of 
work; 

Enabling the active and reflective participation of workers; 

Allowing for new approaches and the development of cross-cutting competences 
(21st  century  competences),  e.g.  multi-disciplinary  teamwork,  rapid  adaptation  to 
change, and complex problem-solving; 

Encouraging creativity to face new situations in uncertain contexts; 

111 

 
- 

Boosting entrepreneurship, new jobs and activities. 

Lessons learned 

Although IDEATK was an ambitious initiative within the VET policy plan, from a policy perspective, it 
appears to be more efficient to have one institution mainstreaming creativity in VET. IDEATK has 
therefore recently been included and fed into the other VET institution TKNIKA. 

Sources of 
information 

La Administracional Dia. (2015). Instituto Vasco de Creatividad Aplicada de la Formación Profesional. 
Retrieved 
from 
September, 
http://laadministracionaldia.inap.es/noticia.asp?id=1145348  

2020, 

8 

Aguado, 
http://robertoaguado.com/ 

(n.d.c). 

R. 

Roberto 

Aguado. 

Retrieved 

8 

September, 

2020, 

from 

Oteiza,  B.A.  (2015a).  IDEATK  Instituto  Vasco  de  Creatviidad  Aplicada  en  La  FP.  Retrieved  8 
from 
September, 
https://www.ikaslanbizkaia.eus/images/stories/alba/revista_ikaslan_16_web.pdf 

2020, 

Oteiza,  B.A.  (2015b).  IDEATK,  Creativity  in  Occupational  Training.  FP  Euskadi  News.  Retrieved  8 
September, 2020, from https://fpeuskadinews.com/n1/en/index.html  

TKNIKA. 
IDEATK. 
https://ethazi.TKNIKA.eus/wp-content/uploads/sites/29/2018/10/IDEATK_gida_es.pdf 

(n.d.a).  Gida  Didaktikoa: 

September,  2020, 

Retrieved  8 

from 

Vitoria-Gasteiz. (2019). V Basque Vocational Education and Training Plan: Vocational Education and 
Training in the Context of the 4th Industrial Revolution.  Eskadi:  Eusko Jaurlaritza Gobierno Vasco 
Departamento 
from 
Retrieved 
educacion. 
https://victoriancurriculum.vcaa.vic.edu.au/overview/about 

September, 

2020, 

de 

8 

112 

 
 
 
 
KC-MEM:  Acquiring  Key  Competences 
through Local Memories in Non-Formal 
Adult Learning 

Objectives 

The objectives were: 

- 

- 

- 

- 

- 

- 

To develop an educational framework based on innovative educational practices, 
e.g.  initiative-based  and  dialogic  learning,  to  improve  the  quality,  creativity  and 
innovation in adult learning; 

To  foster  the  acquisition  of  transversal  competences  such  as  critical  and 
analytical thinking, teamwork, communication, key competences and specific skills 
such as management, research and interviewing; 

To  introduce  the  multi-perspective  of  History  and  historical  thinking  in  adult 
education by focusing on local history and local memories; 

To include a European dimension to the local memories in order to strengthen the 
European identity and empathy between local communities in Europe; 

To narrate local memories by the use of different formats such as digital stories, 
exhibition and performance, to develop specific competences of learners as well 
as to share the findings from the initiatives with the rest of the community; 

To strengthen local identity and local civil community  by stressing the collective 
memory  and  common  values  and  beliefs,  fostering  social  cohesion  and  active 
citizenship, also in the framework of the European identity building. 

Timeframe 

The initiative ran between 2014 and 2015.  

Target group(s) 

Adults, cultural organisations, local authorities and civil society 

Level of 
implementation 

International 

Geographical 
scope 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

Spain, Cyprus, Poland, Slovenia, the UK and Italy 

Adult learning, community settings 

Central to the initiative were the following organisations with their respective expertise areas: 

- 

- 

- 

- 

- 

- 

Aranzadi Society of Sciences in San Sebastian acted as an Initiative Coordinator 

Frederick University in Nicosia (expertise in innovation in education) 

FUTURA in Persiceto (expertise in adult learning) 

Adam Mickievicz University in Poznan (expertise in local history and education) 

Kranj City Library in Kranj (supporting research into local history) 

Royal armoures in Leeds (supporting research into local history) 

Key activities/ 

Key activities were: 

113 

 
measures 

- 

- 

- 

- 

Identifying and recruiting a target group of adult learners; 

Identifying  a  relevant  topic  to  focus  the  research  into  local  memories  on  (the 
process  involved  learners  since  they  are  typically  more  motivated  to  do  things 
they choose themselves); 

Identifying  sources  of  memory,  e.g.  local  archive  or  museum  collections,  and 
confirming access details; 

Creating a detailed plan, based on the KC-Mem methodology and teaching plan, 
also identifying ways to share the findings with the community. 

Five stages of the initiative were: 

- 

- 

- 

- 

- 

Phase 1: introduction to the topic; 

Phase 2: Identification of memories; 

Phase 3: Analysis and narrative building; 

Phase 4: Creative output; 

Phase 5: Sharing with the community. 

Funding 
arrangements 

Funded by the Erasmus+ (Lifelong Learning Programme 2007-2013, Grundtvig - one of the seven 
programmes brought together by Erasmus+). 

Conceptualisation 
of creativity 

Creativity was defined based on the 21st century skills framework developed by the Partnership for 
21st century Learning. Creativity was defined as the ability to: 

-  Use a wide range of idea creation techniques; 

- 

- 

Create new and worthwhile ideas covering both incremental and radical concepts; 

Elaborate, refine, analyze and evaluate one's ideas; 

-  Develop, implement and communicate new ideas to others effectively; 

- 

Be open and responsive to new and diverse perspectives; incorporate group input 
and feedback into the work; 

-  Demonstrate originality and inventiveness in work and understand the real-world 

limits to adopting new ideas; 

- 

- 

View failure as an opportunity to learn; understand that creativity and innovation 
is a long-term, cyclical process of small successes and frequent mistakes; 

Act  on  creative  ideas  to  make  a  tangible  and  useful  contribution  to  the  field  in 
which the innovation will occur. 

Creativity was linked to: 

- 

- 

- 

- 

- 

- 

21st century skills (3Rs x 7Cs); 

Critical thinking; 

Problem-solving; 

Collaboration; 

Innovation; 

Soft  skills  overall  such  as  teamwork  skills,  self-reflection  and  awareness, 
communication and decision-making capacity; 

-  Design and ICT. 

Components of creativity and innovation: 

-  New knowledge creation; 

- 

understanding 'best fit'; 

114 

 
Pedagogical 
approaches and 
methods 
promoted 

-  Design solutions; 

- 

Artful storytelling. 

The pilot initiatives used a range of teaching methods following a personalised and participatory 
approach  to  narrative-building.  Cultural  organisations  and  institutions  collaborated  to  transform 
individual  memory  accounts  into  collective  historical  memory.  Most  of  the  pedagogies  were, 
therefore, inspired by their methods: 

-  Object-based learning: introducing new topics or bringing out new perspectives on 
an  existing  topic  by  use  of historical  or  material  objects  that  act  as  triggers  for 
memories and discussion; 

- 

- 

- 

Collaborative  learning  strategies:  group  activities  involving  shared  experiences, 
such  as  site  visits,  meeting  witnesses,  conducting  interviews  or  working  with 
objects;  active  research  was  encouraged  to  stimulate  critical  collective  thinking 
and for participants to discover conflicting views or information; 

Initiative-based  learning:  focused  on  specific  tasks  and  participants  had  the 
responsibility for their learning; peer- and self-evaluation were conducted; 

The participants and partners learned that dialogic learning (DL) and learning by 
doing  are  the  most  successful  methods  in  the  field.  DL  focuses  on  a  dialogue 
between  trainer  and  trainees,  involving  critical  thinking  and  learning  skills.  One 
must  learn  how  to  connect  ideas,  challenge  assumptions,  absorb  and  reflect  on 
information and be able to convey this knowledge in a range of different forms. 
Learning-by-doing  didactic  effects  are  achieved  through  practice  and  self-
perfection,  involving  hands-on  experience,  thinking  ahead,  problem-solving,  and 
repetition. 

Not applicable 

Assessment 
approaches and 
methods 
promoted 

Results 

Key outputs were: 

-  Guide on the use of memory in the adult learning environment; 

-  Using Historical Memory in Adult Learning: A guide for organising an educational 

KCMEM initiative; 

- 

- 

- 

- 

A kit for validation and recognition of skills in non-formal adult education; 

Pilot experience summaries; 

Books, videos, articles and blogs produced by the participants; 

KCMEM conference programme; 

-  Dissemination report; 

-  Memory of exploitation activities. 

The  attempt  to  recreate  the  success  story  of  the  methodology  at  the  school  level  in  the  adult 
learning context  was positively  evaluated. The dissemination  approach helped to ensure  that the 
activities reached a thousand people in each country, and findings were successfully shared with 
the local communities. The documentation of pilots suggests that creativity as a transversal skill 
was  fostered.  The  participants  who  were  of  all  age  groups  (up  to  80)  made  use  of  divergent 
thinking, and a wide variety of techniques including game-based learning, problem-solving, design 
thinking and ICT solutions. Critical thinking was fostered, especially during the planning period, since 
participants  were  challenged  to  choose  historical  memories  that  brought  together  a  variety  of 
people  and  also  represented  different  voices.  From  a  pedagogical  perspective,  critical  thinking 
around belonging and identity was fostered as a form of civic awareness. 

Contacts  made  during  the  research  stage  of  the  initiative  helped  to  increase  the  impact  of  the 

115 

 
Lessons learned 

initiative,  ensuring  good  knowledge  of  specific  and  relevant  target  groups.  For  example,  the 
methodology and material was used in a big-scale anthropological initiative funded by the Basque 
Government.  Overall,  the  initiative  contributed  to  the  modernisation  of  adult  learning  in  the 
respective countries by being a good example of how adult learning over time can be effectively 
organised and gain visibility. 

Some of the participating organisations argued that incorporating individual memories and history 
interferes too severely with ideology, and are therefore not impartial. Nevertheless, the majority of 
organisations  involved  were  of  the  opinion  that  historical  memory  is  indispensable  because  it 
represents a foundation for creativity, new knowledge and competencies. The logic is that reflecting 
on history, what went right and wrong, and how it shaped society, can bring new ideas to life. 

Also, elderly people stated that the values and habits of their current lives are formed by history 
and  memories  of  the  years  when  they  were  most  active  and  creative  in  the  society.  Memory 
accounts  could  bring  back  to  life  the  habits  of  creativity  for  those  that  have  forgotten  or  have 
gotten used to a more conform and rigid way of thinking. 

Sources of 
information 

The website of the initiative, which is no longer in use. 

Erasmus+.  (n.d.).  KC-MEM:  Acquiring  key  competences  through  local  memories  in  non-formal  adult 
learning.  Retrieved  8  September,  2020,  from  https://ec.europa.eu/programmes/erasmus-
plus/initiatives/eplus-initiative-details/#initiative/539781-LLP-1-2013-1-ES-
GRUNDTVIG-GMP  

116 

 
 
 
Creative  Partnerships  as  implemented 
in Lithuania ('Kūrybinės partnerystės') 

Objectives 

The  key  goal  was  to  expand  and  enrich  conventional  learning  processes  by  involving  creative 
professionals from different fields such as art or science, and in this way develop the creativity of 
teachers and learners. Specific objectives included: 

- 

- 

- 

To  develop  the  creativity  of  young  people,  boosting  their  aspiration  and 
achievements; 

To develop creative work skills of teachers, and encourage their collaboration with 
creative professionals; 

To  develop  a  creative  approach  to  learning  in  Lithuanian  schools  and  improve 
school communities' attitudes towards opportunities offered by culture, creativity 
and collaboration. 

Timeframe 

The initiative ran between 2011 and 2015.  

Target group(s) 

School students (in grades 1-12) 

Level of 
implementation 

National 

Geographical 
scope 

Lithuania 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

Key activities/ 
measures 

Primary and secondary school education, institutional settings 

Led by the Ministry of Education and Science, implemented by the Education Development Centre, 
supported by the following partners: 

- 

- 

- 

Creativity  Culture  & Education:  in 2002-2011,  managed Creative  Partnerships  in 
the  UK,  which  set  the  ground  for  the  programme  in  Lithuania.  CCE  offered 
services based on the principles of and learning from Creative Partnerships 

British  Council:  patronised  the  project,  initiated  and  implemented  a  pilot 
'Creativity, leadership, innovation and culture' 

Bernardinai.lt published programme news online 

A project management team was established to monitor and support project implementation and 
continuity, approve school selection rules and results, advise on project promotion, communication 
messages and channels. The team collaborated with 9 regional partners, who helped to ensure the 
project implementation and promotion in Lithuanian regions. 

Central to the initiative was the implementation of a creative partnerships model in schools. The 
model  rests  on  direct  and  indirect  collaboration  between  teachers,  creative  professionals  and 
schoolchildren.  First,  each  selected  school  mapped  its  needs  and  together  with  the  appointed 
creative agent developed its creative learning project. Second, each school implemented its creative 
learning project, regularly reflecting on the results. Third, once the project was finished, a creative 
agent assessed it with students, teachers and creative professionals that had taken part. Finally, 
individual  project  results  were  documented  and  shared  with  the  national  management  team.  In 
some  cases,  the  results  of  a  creative  partnership  were  presented  in  tangible  forms  (song,  play, 
creative  surroundings),  in  others  they  had  intangible  value  (solving  social  problems,  developing 

117 

 
competences of teachers and students, improving the motivation of learners and microclimate at 
school). 

Funding 
arrangements 

Co-funded by the European Union (through the European Social Fund) and Lithuanian Government. 
The total value of the project was almost 16 million Lt. 

Conceptualisation 
of creativity 

Creativity was defined as a universal ability to doubt, question, think critically, discover links, solve 
problems through innovation, and work persistently to achieve goals. The programme's approach to 
creativity is based on the five habits of mind, i.e. creativity means being: 

Pedagogical 
approaches and 
methods 
promoted 

- 

- 

- 

- 

Imaginative: playing with possibilities, making connections, and using intuition; 

Inquisitive:  wondering  and  questioning,  exploring  and 
challenging assumptions; 

investigating,  and 

Persistent:  tolerating  uncertainty,  sticking  with  difficulty,  and  daring  to  be 
different; 

Collaborative:  cooperating  appropriately,  giving  and  receiving  feedback,  and 
sharing the product; 

-  Disciplined: reflecting critically, developing techniques, and crafting and improving. 

Some key ideas behind the creative partnerships model: 

- 

- 

- 

Creativity is a universal ability: creativity manifestations may differ across fields, 
but the basis of the creative process is always the same. 

Creativity  can  be  learned:  levels  of  creativity  among  people  vary,  but  creativity 
can  be  learned  by  changing  attitudes,  creating  stimulating  environments, 
providing experience and learning creation strategies and techniques. 

Creativity  is  multidimensional:  creativity  is  assessed  based  on  results,  but  these 
are influenced by a creative process. The latter can be individual, but inspired by a 
collective  experience.  The  model  integrates  different  aspects  of  creativity, 
including  the  development  of  personal  attitudes  and  capabilities,  collaboration 
and exchange of experience. 

-  Development  of  creativity  is  not  an  objective  just  for  the  sake  of  it:  at  school, 
fostering creativity can help to increase the attractions of learning, joy and self-
worth of students and teachers, improve relationships within a community, help to 
discover new meanings, etc. The model integrates rather than contrasts creativity 
and learning. 

- 

- 

- 

Inquiry-based learning: creativity-based learning is active, experimental, reflective, 
resulting  in  fundamental  changes  in  understanding,  capabilities  and  attitudes. 
Both teachers and students are exploring. 

Teaching  is  a  creative  profession:  teachers  have  to  be  creative  as  they  create 
lesson  scenarios,  make  situational  decisions,  and  contribute  to  their  school 
community life and their students' future. The model offers teachers the support 
of creative professionals. 

Every decision is unique: the model does not offer standard solutions. Each project 
is tailored to individual schools and their unique problems and implemented with 
the support of unique personalities - creative professionals. 

Key pedagogic practices of the collaborative partnerships are provocation, use of artefacts, moving 
out  of  the  classroom,  making  an  occasion,  use  of  the  'texts  of  our  lives',  the  self  as  a  teaching 
resource, costume, use of the body, different classroom discourse patterns, the creation of a rich 
narrative environment, the use of professional norms, alignment with disciplinary expectations, the 
valorisation of collective endeavour, managing behaviour differently, the use of routine, flexibility in 
pacing, the use of open-ended challenges, building commitment to the community, and permission 
to play. 

118 

 
Assessment 
approaches and 
methods 
promoted 

Results 

Not applicable 

138  schools  and  almost  9,000  schoolchildren  participated  in  the  project.  Over  2,000  teachers 
improved their professional competences in the field of creative learning. 163 creative practitioners 
and  114  creative  agents  (including  movie  directors,  journalists,  interior,  fashion  and  graphic 
designers, actors, dancers, geologists, etc.) joined the initiative and worked with schools. 

Based on the programme evaluation results, Creative Partnerships in Lithuania: 

-  Helped  to  develop  schoolchildren's  skills  such  as  learning  to  learn,  cooperation, 

and creative thinking 

- 

- 

- 

- 

- 

- 

- 

- 

- 

Altered  schoolchildren's  attitudes,  i.e.  increased  their  interest  in  the  teaching 
subject, apprehension of the importance of science, and intentions to learn about 
and improve their skills 

Allowed for the integration of teaching subjects, and in turn, helped schoolchildren 
to  understand  the  links  between  theoretical  knowledge  (acquired  in  classrooms) 
and its application in daily activities 

Stimulated the schoolchildren to go out of their comfort zone and take an interest 
independently, improving their skills, work in pairs or groups 

Allowed  for  work  with  people  from  outside  of  school,  who,  using  non-traditional 
methods of information gathering and presentation, encouraged schoolchildren to 
choose  more  liberal  forms  of  communication,  offering  more  freedom  and  self-
confidence 

Changed schoolchildren’s attitudes towards themselves and education process (in 
the  beginning  stage,  learning  to  learn  was  understood  as  related  to  discipline, 
apprehension of the importance of science, concentration, efforts and diligence; in 
the  course  of  the  project,  the  focus  shifted  towards  perseverance,  courage, 
curiosity, achievement of goals, collaboration, self-confidence, interest, etc.) 

Encouraged  teachers  to  place  more  emphasis  on  schoolchildren's  willingness  to 
act in a complex environment, leadership, and communication 

Allowed for the participation of teachers and learners in same activities, and this 
provided  teachers  with  opportunities  to  develop  closer  relationships  with  their 
students,  and  acquire  a  reputation  of  those  who  are  easy  to  communicate  with 
and able to understand 

Allowed  for  the  application  of  new  teaching  methods  and  environment  change, 
which  strengthened  the apprehension of the practical  benefits of the knowledge 
acquired, encouraged curiosity and willingness to dig deeper into the subject 

Based  on 
achievements and attendance 

teacher  feedback  and  monitoring 

results, 

improved  student 

-  Helped  to  improve  the  general  psychological  climate  (emotional  environment, 
thinking, 

thought  diversity  and 

critical 

tolerance,  encouragement  of 
communication and playfulness) 

- 

Altered  approaches  to  student  assessment  (the  focus  shifted  from  the  final 
outcome  to  interim  achievements,  which  are  not  necessarily  graded;  some 
alternative  methods  were  employed,  e.g.  self-assessments  and  evaluation  by 
peers) 

However,  after  the  project  teachers  continued  to  rarely  discuss  with  the  schoolchildren  class 
progress, the way students felt or their own accomplishments; in classes observed teachers were 
active and kept the initiative in their hands, giving schoolchildren the role of a performer/executer; 
teacher-student  interactions  remained  more  frequent  than  student-student  ones;  teachers  were 

119 

 
interested in new methods, but planned to use them on their own in the future to a limited extent 
only. 

Lessons learned 

Some of the lessons the project revealed are: 

-  Developing  creativity  through  the  process  of  education  as  well  as  the 
collaboration of experts  in different  fields, yield considerable results even in the 
short term. 

- 

- 

- 

- 

- 

- 

- 

Favour  and  approval  of  the  headmaster  and  administration  are  very  important 
and makes a positive influence on the project results as well as continuity of the 
creative partnerships ideological values. 

It  is  easier  to  deliver  creative  partnerships  principles  to  younger  pupils  because 
they are more open to new ideas. 

Inappropriate  selection  of  teachers  and  creative  professionals  could  present  the 
development of the creative partnerships ideas at schools. 

Lack  of  time  for  project  activities,  antagonism  of  project  participants  and 
inadequate expectations were the biggest challenges to the project. 

Educational,  pedagogical  and  psychological  preparation  of 
professionals is important. 

the  creative 

Publicity,  involvement  of  parents  and  external  partners,  competences  and 
motivation of school coordinators, and scope of the involvement of schools are all 
very important. 

The key factor preventing teachers from using new methods is the ratio between 
the  time  the  preparation  requires  and  expected  results.  Teachers  realise  that  to 
observe student creativity, it is not enough to formulate a task for schoolchildren, 
it is also crucial to dedicate time for the process. This stops many teachers from 
applying the methods that help to develop creativity. 

Sources of 
information 

Kurybines partnerystes. (n.d.a). Study of changes associated with the "Creative Partnerships" model in 
schools. 
from 
http://www.kurybinespartnerystes.lt/admin/spaw2/uploads/files/Change%20research_S
ummary_EN.docx  

September, 

Retrieved 

2020, 

12 

Kurybines  partnerystes.  (n.d.b).  Kurybines  partnerystes.  Retrieved  12  September,  2020,  from 
http://www.kurybinespartnerystes.lt/  

Kurybines partnerystes. (2013). Creative Partnerships Lithuania 2013 year. Retrieved 12 September, 
2020, 
from  https://www.slideshare.net/kurybinespartnerystes/creative-partnerships-
lithuania-2013-year  

Kurybines partnerystes. (2011). „Kūrybinių,partnerysčių” vadovas,mokykloms 2011 metai. Retrieved 
from 
12 
https://www.upc.smm.lt/projektai/partnerystes/KP_Vadovas_mokykloms_2011.pdf  

September, 

2020, 

120 

 
 
 
Innovation  Laboratories  for  the  quality 
assurance  of  vocational  education  and 
training (i-Labs) 

Objectives 

The major objective of the project was to improve the quality of vocational education and training 
through  the  use  of  innovation  laboratories  (i-Labs)  in  the  didactic  learning  processes.  Specific 
objectives were to: 

- 

Transfer  innovative  solutions  to  EU  countries  (DE,  SI,  RO)  and  facilitate  its 
adaptation to the new conditions of VET; 

-  Develop an original software supporting i-Lab sessions; 

-  Develop  the  competences  of  employees  of  newly  established  Innovation 

Laboratories and partner organisations; 

-  Develop  the  competences  of  students  through  the  pilot  application  of  i-Labs  in 

vocational education practice; 

- 

Identify new applications for i-Labs in VET and develop Good Practice Guide; 

-  Develop an International Innovation Laboratories Users Net. 

Timeframe 

The initiative ran between 2012 and 2013.  

Target group(s) 

Students, teachers, trainers and institution managers of VET 

Level of 
implementation 

International 

Geographical 
scope 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

Germany, Greece, Poland, Slovenia and Romania 

VET, adult learning, institutional settings 

Central to the initiative were: 

- 

- 

- 

- 

Instytut  Technologii  Eksploatacji  -  Panstwowy 
(coordinator) 

Instytut  Badawczy,  Poland 

Continuing  training  institution  Sachsische  Bildungsgesellschaft  fur  Umweltschutz 
und Chemieberufe Dresden mbH, Germany 

Continuing training institution Solski Center Ptuj, Slovenia 

Aintek  Symvouloi  Epicheiriseon  Efarmoges  Ypsilis  Technologias  Ekpaidefsi 
Anonymi Etaireia, Greece 

-  Uniwersytet Rzeszowski, Poland 

-  Universitatea “Dunarea de Jos” din Galati, Romania 

Key activities/ 
measures 

The main activities of the project were the creation of the i-lab software tools and cooperation and 
dissemination of related material over international workshops among the partner countries. This 
application  provides  users  a  shared,  web-based  platform  to  enhance  creativity.  In  this  platform, 

121 

 
 
Funding 
arrangements 

Conceptualisation 
of creativity 

Pedagogical 
approaches and 
methods 
promoted 

users are gathered in a Social Group in which they can share ideas, comments, documents and links 
around. This application is part of a physical environment which provides users with a number of 
tools  to  stimulate  their  creativity.  If  problems  arise  in  the  creative  process,  then  the  application 
provides  facilities  for  a  coordinator  who  can  use  different  methods  to  unlock  brainstorming 
progression. 

The technology involved in iLabs consists in a  set of computers with multimedia peripherals and 
special software designed to allow anonymous participation to discussions, and easy recording of 
ideas.  The  third  term  of  the  sum  in  the  equation  that  defines  an  iLab,  facilitation  is  the  overall 
management  of  the  resources,  along  with  influencing  the  group  dynamics  in  order  to  obtain  the 
most of the group’s creative capabilities. 

The software is one of the essential elements of an i-Lab. It allows for assistance in the realisation 
of  brainstorming  processes  in  an  i-Lab  (collecting  ideas,  voting  on  ideas,  reporting).  Virtual 
Brainstorm  (VBS)  software,  developed  in  the  Institute  for  Sustainable  Technologies  –  National 
Research Institute in Radom, is used there in the i-Lab. In the course of the project, the software 
was upgraded with new language versions (English, German, Slovenian, and Romanian) and made 
available  to  the  project  partners  for  the  purposes  of  new  i-Labs.  Software  implementation  was 
preceded by a training course in software operation and administration for the partner institutions’ 
representatives. 

Funded by the Erasmus+ (under Erasmus+, Lifelong Learning, Leonardo da Vinci) 

The  partners  defined  creativity  as  a  personality  quality  and  specific  to  each  person  and  is  also 
influenced by personal experience. Furthermore, they argued that 'creative people create inventions, 
imagine  different  situations  or  things,  solve  problems  in  various  fields,  create  and  communicate 
using innovative methods. 

Creativity was linked to: 

- 

- 

Collaboration; 

Communication; 

-  Diversity; 

- 

- 

Problem-solving; 

Context. 

The  environment  ('place')  is  known  to  be  one  of  the  four  fundamental  Ps  of  the  concept  of 
creativity.  Based  on  Davies  et  al.  (2013),  the  partners  found  that  the  environment  is  key  to 
developing creativity and especially these factors: 

- 

- 

Flexible use of space and time; 

Availability of appropriate materials; 

-  Working outside the classroom/school; 

-  Opportunities for peer collaboration; 

-  Non-prescriptive planning. 

By  adding  two  more  elements  to  this  environment,  software  tools  designed  to  facilitate 
communication and teamwork, and a 'facilitator', the iLab method is described as the combination 
of an extraordinary environment, technology and facilitation techniques. The innovative character 
and  the  supremacy  of  solutions  applied  in  i-Lab  result  from  using  specially  designed  computer 
software supporting the brain storming process. 

The philosophy behind iLab is derived from the so-called 'construal level theory' (CLT) (Trope, Y., & 
Liberman, N. 2010), which states that an increased psychological distance – defined as perceptual 
detachment  from  a  certain  problem  or  context-  can  positively  influence  creativity.  The  iLabs 
attempt  to artificially  increase the psychological distance  by  inducing to the users the feeling of 
being  'somewhere  else'.  Using  collaborative  software  can  stimulate  communication  with  other 
persons,  anonymous  or  not.  This  allows  participants  to  share  their  ideas  honesty  and  frankly, 

122 

 
breaking down the traditional hierarchy and caution sometimes found in traditional meetings. The 
iLab  software  allows  attaching  comments  to  ideas,  thereby  stimulating  communication  between 
participants. 

Not applicable 

Assessment 
approaches and 
methods 
promoted 

Results 

Key outputs were: 

- 

 New laboratories of innovation; 

-  New language version of Virtual Brainstorm Software (VBS); 

-  Qualified facilitators - staff with proven skills; 

-  Good  Practice  Guide  expanded  by  new  descriptions  and  examples  of  i-lab 

applications in new language versions; 

Expanded network of i-lab users; 

Innovative methods of training and education; 

Promotion and dissemination materials; 

Local dissemination seminars; 

Final conference. 

- 

- 

- 

- 

- 

Data  collected  during  the  creative  sessions  using  dedicated  software  shows  that  in  the  creative 
sessions held in the dedicated space of iLab on average more ideas than in a normal space were 
developed.  Data  collected  and  processed  following  sessions  of  creativity  iLab  is  encouraging  in 
terms of showing that creativity is stimulated in a particular environment using collaboration. There 
is a direct proportion between the number of ideas and the number of comments, so the conclusion 
is  that  collaboration  through  debating  between  participants  encourages  to  create  more  ideas. 
Increasing the period of a session allows participants to have enough time to move their thinking 
from the proposed topic in the specially designed space of iLab and to encourage communication 
between participants. 

Lessons learned 

A strength of the iLab derives from its feature of anonymous brainstorming sessions: this allows 
users to focus on the ideas rather than persons. The only weakness of this concept is its relatively 
high cost of implementation. 

Sources of 
information 

i-Lab  Consortium.  (n.d.).  i-Lab  2:  Transfer  of  Innovation.  Retrieved  12  September,  2020,  from 
http://www.ilab2.eu/  

Erasmus  +.  (n.d.).  Innovation  Laboratories  for  the  quality  assurance  of  vocational  education  and 
training.  Retrieved  12  September,  2020,  from  https://ec.europa.eu/programmes/erasmus-
plus/projects/eplus-project-details/#project/2012-1-PL1-LEO05-27430  

Susnea,  I.,  Pecheanu,  E.  &  C.  Tudorie.  (2015a).  Initiatives  towards  an  education  for  creativity.  In 
Education  facing  contemporary  world  issues  [conference  presentation].  The  6th  International 
Conference Edu World, Pitesti, Arges, Romania. 

Susnea,  I.  Pecheanu,  E.  &  A.  Cocu.  (2015b).  Stimulating  Creativity  through  Collaboration  in  an 
Innovation Laboratory. Procedia - Social and Behavioral Sciences, 182, 173 – 178. 

123 

 
 
 
PROACTIVE: 
Creativity 
Learning 

Fostering 

through 

Teachers’ 
Game-Based 

Objectives 

The  purpose  of  providing  teachers  with  a  context,  a  game,  for  creating  real-world  learning 
scenarios  for  their  students  was,  first  of  all,  to  stimulate  the  creativity  of  teachers  and  trainers 
working in the Lifelong Learning Programme’s (LLP) sub-programmes, and doing so by: 

- 

- 

- 

- 

developing a conceptual framework for integrating different learning metaphors;  

introducing  innovative  ICT-based  experiences  in  teaching  and  training  practice, 
adapting  and  enhancing  the  game  editors  as  well  as  integrating  five  learning 
metaphors; 

implementing co-design creativity sessions and pilot sites for addressing school, 
university and vocational education scenarios;  

validating the proposed approach as a means of learning and evaluate its impact 
on teachers’ creativity and students’ outcomes. 

The achievement of these objective were assessed by the community of teachers and trainers who 
participated in workshops and events. 

Timeframe 

PROACTIVE was launched in 2010 and ended in 2012. 

Target group(s) 

Teachers and trainers of Comenius, Erasmus and Leonardo Da Vinci sub-programmes. 

Level of 
implementation 

International 

Geographical 
scope 

Sector(s), level(s) 
and settings of 
education and 
training covered 

Key actors 
involved and their 
roles 

Spain, Italy, UK and Romania. 

School education, VET and HE, institutional settings 

Central to the initiative has been the University of Barcelona, which acted as initiative coordinator. 
Sapienza  Universita  di  Roma  -  Department  of  Psychology  of  Development  and  Socialisation 
processes,  Centre  for  Advances  Software  Technology  Limited,  Universita  di  Napoli  Federico  2  - 
Department  of  Social  Relations,  Natural  and  Artificial  Cognition  Laboratory,  Universidad 
Complutense  de  Madrid  -  Department  of  Software  Engineering  and  Artificial  Intelligence  and 
Universitatea din Bucuresti - Distance Education Department were all contributing to tasks related 
to their area of expertise. 

Key activities/ 
measures 

- 

Educating  teachers  on  how  to  become  game  editors  (within  training  workshops, 
teachers were trained in 1) 'e-Adventure' - a tool for creating adaptable 2D point 
and click adventure games for educational applications, and 2) 'EUTOPIA' - a tool 
for creating learning scenarios in 3D virtual worlds); 

-  Organising  a  competition  to  reward  the  best  game-based  learning  scenarios  by 

assessing learning, gaming and technical aspects of each scenario; 

-  Organising a conference on game-based learning; 

- 

Creating an online repository of 60 game-based learning scenarios. 

124 

 
 
Funding 
arrangements 

Funded by the Erasmus+ (Lifelong Learning Programme). 

Conceptualisation 
of creativity 

PROACTIVE defines creativity as an imaginative activity that needs to produce outcomes that are 
both original and of value. It draws on three main sources to build a comprehensive understanding 
of the dimensions, elements and components of creativity. 

- 

- 

- 

The definition developed by the UK National Advisory Committee on Creative and 
Cultural  Education  (1999).  This  conceptualisation  recognises  four  characteristics 
imaginative  activity 
of  creative  processes:  thinking 
purposeful; generating something original; having an outcome of value in relation 
to the objective.  

imaginatively;  making 

The initiative was inspired by the manifesto 'European Ambassadors for Creativity 
and  Innovation'  (2009),  particularly  the  statement  'to  be  creative  means  to 
imagine  something  that  did  not  exist  before  and  to  look  for  new  solutions  and 
forms'. Creativity is thus linked with innovation and problem-solving.  

The initiative consortium adopted the 4Ps (Person, Process, Product, Press) theory 
about  the  dimensions  of  creativity  (Rhodes,  1961).  The  'person'  concerns  the 
creative  abilities  of  an  individual,  e.g.  divergent  thinking.  The  'process'  refers  to 
the procedure used by the person to develop the product, e.g. brainstorming. The 
'product' is the result of the creative process, which usually has to be both novel 
and useful for innovation to take place. Lastly, 'press' is the environment in which 
the  person  operates  that  can  be  conducive  or  prohibitive  to  creativity,  e.g. 
organisational culture or resources.  

The initiative tackled creativity primarily as mediated by the pedagogy of game-based learning. It 
required creativity to be taught by:  

- 

- 

- 

- 

embedding creativity through ICT tools. The tools need to stimulate novel learning 
and teaching strategies into active learning approaches such as creative problem 
solving, discovery, learning by doing, experiential learning, critical thinking, and co-
designing 2D or 3D learning games; 

creating  learning  scenarios  for  students  that mimic the  real-world. In real-world 
learning  situations,  learners  combine  several  approaches  to  learning:  imitation, 
participation,  acquisition,  exercise  and  discovery.  The  game  design  process  was 
guided by these five metaphors of learning.  

promoting  a  constructivist  approach  to  game-based  learning  (i.e.  game  design) 
that  allows  for  flexibility,  learner  autonomy  and,  subsequently,  more  effective 
learning. 

covering the four stages of game-based learning: designing game-based learning, 
creating game-based learning scenarios, game-based teaching, and game-based 
learning. 

Pedagogical 
approaches and 
methods 
promoted 

Not applicable 

Assessment 
approaches and 
methods 
promoted 

Results 

Key outputs of the PROACTIVE were: 

- 

- 

- 

- 

18 deliverables, of which 14 were reports and 4 products, software and website; 

Several public events to disseminate the findings from initiative; 

Two game editing versions specifically tailored for the initiative (prepared based 
on the analysis of user needs); 

A collection of templates and libraries for the production of creative game-based 

125 

 
learning scenarios; 

- 

- 

- 

- 

A  handbook  for  the  production  of  creative  game-based  learning  scenarios  that 
contains  tutorials  for  designing  and  developing  these  scenarios  as  well  as 
tutorials for using the produced tools; 

Evaluation  framework,  which  identifies  tools  and  procedures  for  validating  the 
proposed methodology for lifelong learning; 

A community of teachers and trainers interested in game-based learning; 

ProActive  psycho-pedagogical  framework  for  fostering  teacher’s  creativity 
through the design of GBL scenarios prepared based on literature review. 

The attendance to the workshops and feedback from participants suggest that the initiative had 
several positive outcomes. First, more than 3000 participants attended the workshops and events, 
created  22  educational  games  and  60  game-based  learning  scenarios.  Secondly,  students  and 
teachers involved in the initiative evaluated the use of game-based learning positively. One reason 
highlighted  was  that  the  tools  and  methods  prompted  provided  flexibility  for  and  collaboration 
among the teachers involved (learner autonomy). 

The  initiative  also  had  a  positive  impact  on  a  higher  level.  The  initiative  contributed  to  the 
development of quality lifelong learning in the three sectors of the Lifelong Learning Programme 
(school  education,  higher  education  and  vocational  education  and  training).  It  successfully 
promoted  collaboration  in  the  sector  and  among  EU  countries  on  how  game-based  learning  can 
promote  creativity  as  a  transversal  skill:  using  real-world  scenario  making  in  games  to  enhance 
creativity, imagination and real-world problem-solving. Not only did it plant a seed of knowledge 
through the dissemination of new knowledge and challenging the participants' prior beliefs, but it 
seeded a community of teachers that continued to collaborate and be passionate about GBL for 
creativity.  

Lessons learned 

Some success factors of the initiative were: 

-  Having  a  multidisciplinary  and  international  team  consisting  of  teachers, 
psychologists  and  computer  scientists  that  could  draw  on  best  practices  from 
their own countries; 

- 

- 

Creating guidelines and frameworks, e.g., the psycho-pedagogical framework, that 
the participants can use for their game-based learning in the future.  

The five learning metaphors (acquisition, imitation, experimentation, participation, 
and discovery) did not just guide the game design process, but also fostered the 
educators’ reflection on new ways of teaching creatively. 

126 

 
 
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