Volume 11 - Issue 59
/ November 2022
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http:// www.amazoniainvestiga.info ISSN 2322- 6307
DOI: https://doi.org/10.34069/AI/2022.59.11.15
How to Cite:
Boichenko, M., Kozlova, T., Kulichenko, A., Shramko, R., & Polyezhayev, Y. (2022). Creative activity at higher education
institutions: Ukrainian pedagogical overview. Amazonia Investiga, 11(59), 161-171. https://doi.org/10.34069/AI/2022.59.11.15
Creative activity at higher education institutions: Ukrainian
pedagogical overview
Креативна діяльність у закладах вищої освіти: український педагогічний вимір
Received: November 4, 2022 Accepted: December 15, 2022
Written by:
Maryna Boichenko48
https://orcid.org/0000-0002-0543-8832
Tetyana Kozlova49
https://orcid.org/0000-0001-5879-6054
Alla Kulichenko50
https://orcid.org/0000-0003-1469-3816
Ruslana Shramko51
https://orcid.org/0000-0002-9258-9128
Yuriy Polyezhayev52
https://orcid.org/0000-0001-9160-6945
Abstract
Professional training in Ukrainian higher
education institutions is primarily focused on
strengthening the creative potential of future
educators, as it promotes their professional and
personal growth, as well as the comprehensive
outcome of students’ creative abilities.
Therefore, the purpose of this article is to outline
the Ukrainian pedagogical experience in
enlarging the creative process in higher
education institutions. Another aim is to
ascertain the concepts of “creative process”,
“creativity”, “creative skills” in the up-to-date
Ukrainian pedagogical discourse. It is a point of
discussion that in Ukrainian pedagogical
literature the term “kreatyvnist” (“creativity”)
dominates over “tvorchist” (“creative process”).
Creative abilities are interpreted as a
combination of inner human traits that emerge in
the process of activity resulting in innovation.
Creative activity integrates the mechanism of
generating something new via education and
cognition, while the ability reveals itself in
responding to new non-standard situations when
future-to-be teacher’s creative skills emerge.
48
Doctor of Pedagogical Sciences, Professor, Head at the Department of Pedagogics, Sumy State Pedagogical University named after
A. S. Makarenko, Ukraine.
49
Doctor of Philological Sciences, Associate Professor, Professor at the Department of English Philology and Lingvodidactics,
Zaporizhzhia National University, Ukraine.
50
Doctor of Pedagogical Sciences, Associate Professor, Associate Professor at the Department of Foreign Languages, Zaporizhzhia
State Medical University, Ukraine.
51
Candidate of Philological Sciences, Associate Professor, Associate Professor at the Department of English and German Philology,
Poltava V. G. Korolenko National Pedagogical University, Ukraine.
52
Candidate of Sciences in Social Communications, Associate Professor, Associate Professor at the Department of Foreign Languages
for Professional Communication, National University “Zaporizhzhia Polytechnic”, Ukraine.
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Ukrainian pedagogical discourse presents an
urgent teacher’s need to be a manager of the inner
self-improvement based on their cognitive
activity. Moreover, two aspects tend to be crucial
for the implementation of pedagogical work in
higher education institutions in Ukraine. Firstly,
the promotion of students’ creative self-
development; secondly, the stimulation of
students’ unique techniques for managing similar
activities within the future professional
framework.
Keywords: creativity, pedagogical experience,
personal evolution, soft skills, Ukrainian higher
education institution.
Introduction
Ukraine’s drive into the European and global
community integration has necessitated high-
standard professional training for future
educators. The striving leads to the emergence of
the societal demand for the increasing creative
potential of Ukrainian universities. The latter
direct their efforts to appropriate contents, modes
and methods of training lecturers, teachers, and
coaches, especially their creativity, and fostering
their self-evaluation and self-improvement.
Undoubtedly, today creativity in the professional
field has become a prerequisite, a booster and a
criterion for intensive renewal of the pedagogical
sphere. It is worth mentioning that the leading
focus of professional training in Ukrainian higher
education has shifted to the maximization of the
future educators’ readiness to perform the
creative activity proceeding in the further
designation of the own hard skills growth and
personal values’ reinterpretation. Also, it is about
the stimulation of students’ soft skills – creative
abilities as the powerful background of
professional solo and team communication or
project work.
The core of the State National Programme
“Education” (Ukraine XXI Century) (1993), the
Laws of Ukraine “On Higher Education” (2014)
and “On Education” (2017) as well as other
official documents contains systematizing tasks
and elaborating mechanisms of creative
advancement of gifted students and those who
possess a talent for personal evolution.
Nowadays, it is highly desirable to run and
maintain the augmentation of students’ creative
skills at Ukrainian higher education institutions
as a key to their positive self-assessment and
future professional progress.
To become more competitive in the global labor
market, Ukraine needs to raise a new generation
of creative and proactive youth. Educating an
individual within a creative framework requires
a clear awareness of the very phenomenon of
creative activity. The concept of creative activity
has not been interpreted consistently at different
periods of Ukrainian history. Moreover, modern
Ukrainian educators and psychologists have
offered various definitions of such concepts as
“creativity”, “creative abilities”, and “creative
activity”. Ascertaining the meaning and
functions of these terms has become an important
issue in todays’ Ukrainian educational theory and
practice.
The purpose of this research serves to outline and
analyses pedagogical experience in future-to-be
educators’ creative activity enhancement at
comprehensive Ukrainian higher education
institutions. Therefore, its core focus is on
locating and highlighting various modes of the
Ukrainian experience implementation due to
certain tasks, involving students’ creative
abilities in the modelled standard and non-
standard pedagogical situations.
The article objective calls for performing several
goals, the crucial ones are the following:
Boichenko, M., Kozlova, T., Kulichenko, A., Shramko, R., Polyezhayev, Y. / Volume 11 - Issue 59: 161-171 / November, 2022
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• to identify the essence and to overview the
difference in interpreting such term as
“tvorchist” (“creativity”, “creative process”)
in the Ukrainian pedagogical framework;
• to establish its connection with students’
self-assessment, self-will and future-to-be
professional productivity;
• to set a range of pedagogical modes,
upgrading students’ creative skills within the
higher education institution in Ukraine.
Theoretical Framework
In Ukraine, the term “tvorchist” (“creative
process”, “creativity”) is being referred to in
various, sometimes even opposite, ways. The
current definition (Ponomariov & Cheremskyi,
2019) has played a seminal role in Ukrainian
educational discourse, stating that the creative
process reflects a person’s inner world,
overwhelmed with dreams, feelings and desires.
Meanwhile, it promotes an individual’s urge to
ascertain the environment, stimulates
imagination and other mental phenomena,
particularly thinking and will-power as well as
psycho-emotional sphere (emotions). Creative
process produces new ideas for art, scientific
discoveries, and technical innovations.
A more general approach (Medvedieva (n.d.))
presents “tvorchist” as a productive human
activity that leads to the creation of new socially-
relevant material or spiritual virtues in diverse
spheres of human’s science, technology,
literature, and art. The sources of such creative
process are found in man’s theoretical and
applied frameworks related to the purposeful
transformation of nature and society, and in labor
as the fundamental form of human action.
It has also been suggested (Pashchenko, 2012)
that “tvorchist” is an unformalized process by its
very essence, when a person discloses new
information, material or immaterial values, based
on human’s thinking that goes beyond the
known, on specific viewpoint on the objects,
tasks or problems stated, and on the conscious
rejection of stereotypical beliefs, ways of
thinking or acting.
The given research makes an attempt to prove
that in Ukrainian scientific paradigm the term
“tvorchist” has recently given way to
“kreatyvnist”, which corresponds to the
universally recognized term “creativity”. The
word “creativity” is of Latin origin and derives
from the noun “creatio” (onis f), meaning
“begetting of children; making or producing;
election or appointment of an official”, and the
verb “creo” (avi, atum, are), meaning “to create;
beget; produce; elect; bring forth” (Latin
Dictionary (n.d.)). Thus, in Ukraine, creativity
can be represented as a kind of process during
which something new comes into being.
Methodology
The multifaceted nature of this study required an
integrated approach of methods applied. Thus,
analysis and synthesis were consecutively used
to investigate the nature of the terms “creativity”,
“creative process” as well as to systematize
approaches, adopted in the Ukrainian
pedagogical framework on the topic under
consideration, meanwhile descriptive method
formed the base of the terms’ peculiar features
representation.
Comparative method allowed to highlight the
difference in interpreting the term “tvorchist”
with the help of lexemes “creative process” and
“creativity” as its correspondents in the
comprehensive Ukrainian pedagogical discourse.
Productive establishment of inter-
/intraconnections between the activity of the type
and person’s self-assessment, mood, self-will,
self-development, and future professional
productivity was grounded on the interpretative
method.
Critical analysis of the relevant psychological
and pedagogical literature made it possible to
elaborate the results of the current studies; it also
helped to evaluate pedagogical modes, upgrading
students’ creative skills in Ukrainian higher
education institutions.
In addition, a terminological analysis was carried
out to clarify the concepts and terms used in the
study.
Results
As some Ukrainian researchers assert
(Horbunova, 2002), the word “tvorchist” implies
the personal element and is universally applied to
human activity. In this sense, the term seems to
be accepted as a conventional lexeme to denote a
mental act that manifests itself in the
embodiment, reproduction or recombination of
our conscious mind data in a new form of abstract
thought, artistic activity or practice. The
emphasis also lays on the fact that “tvorchist”
involves an element of novelty that drives
original and highly productive activity, problem-
solving, imagination and taking stock of what has
been achieved. The creative process ranges from
an unconventional solution to a standard task to
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the realization of person’s unique potential in the
professional field.
This term is a scientific and philosophical unit of
maximum volume, incorporating a wide range of
forms, methods, means, tools, mechanisms,
techniques or procedures, in addition to human
activities to implement change. At the same time,
it is a concept of minimal content, which makes
it difficult to deal with the psycho-situational,
logical and semantic aspects of this category
(Shandruk, 2015).
Creative process (“tvorchist”) itself is
traditionally associated with artistic activities,
namely drawing, weaving macramé, acting,
composing poetry and music, playing and the
like, while creativity (“kreatyvnist”) additionally
encompasses productive behaviour in all life
situations where novelty, uncertainty and the
inclination to comprehensive thinking are
presented. So, creative process and creativity
embody imagination, intelligence and so on.
Their common features tend to be inimitability,
originality, uniqueness of performance and
novelty of the product (Dimitrova-Burlayenko,
2018).
Within the psychological frame creativity forms
binary oppositions (Shrahina, 2010) as follows:
on the one hand, creativity is represented as a
level of abilities development rather than a
phenomenon in its own right. On the other hand,
creativity is a phenomenon related to the four
main aspects of environment, personality,
process and product.
Sometimes creativity gets its interpretation as “a
vector of positive exits from social instability,
conflicts and dissatisfaction” (Nerubasska &
Maksymchuk, 2020, 250). Crucial is the keynote
due to which “bringing creativity to the rank of
major productive force eliminates the
characteristics of alienation of human from
work” (Glazkova et al., 2020, 152).
According to the componential theory, among
the most powerful components of creativity
(Karakatsanis, 2014) one can find these:
• motivational and goal-oriented components,
i.e. interest in a new goal;
• cognitive components, i.e., the ability to
problematize, decentralize, search for
alternatives, synthesize, transform, analyses,
and use intuition;
• value-related elements, i.e., tolerance,
courage to be different, independence,
cognitive openness, willingness to deal with
challenges and risks;
• behavioral creativity, i.e., the ability to make
decisions, express thoughts and feelings,
develop skills and cooperate;
• outcome-judging qualities, i.e., reflexivity,
the ability to make generalizations about the
value of others’ work or to give and receive
feedback.
Thus, the creativity of students of the Ukrainian
higher education institutions as future-to-be
educators makes “an integrative intrinsic
property of the personality, based on hereditary,
innate inclinations of the subject to creative
activity, manifested in the pedagogical activities,
actions and behaviors” (Kurok et al., 2022, 250).
An all-embraced investigation of the concept
“tvorchist” requires the deep highlight of such a
related term as “tvorchi zdibnosti” (“creative
abilities”), which likewise has got various, even
contradictive, definitions. Primarily, it is a
common idea that such abilities result from the
synthesis (Ravliuk, 2005) or are a combination
(Rahozina, 1996) of inner personality traits with
their relevance to the demands and efficiency of
a particular creative activity.
Despite of the accepted fact that creative abilities
are a combination of different qualities, the
composition of a person’s creative potential
tends to be controversial. So, Moliako (Moliako,
2007) believes that the indicators of intelligence
development and creativity are inextricably
linked, being related to speed of learning, ability
to analyses or synthesize, cognitive flexibility,
efficient and independent thinking.
On the contrary, the psychological approach to
the creative abilities’ genesis determines the idea
that creative talent is not an innate trait, but one
that correlates with a higher level of skill
maturity and creative performance (Muzyka,
2006a; Muzyka, 2006b). As a matter of fact, it
explicates “the development of imagination,
together with dialectical and comprehensive
thinking, as fundamental qualities for an
individual’s creative growth, because the
development of these qualities makes thinking
flexible, original and productive” (Kucher, 2018,
321).
The index of qualifications of a creative
individual allows the supplement of such features
as the concentration of interest in a particular
field of knowledge since childhood; full attention
to the creative process; concentration on a certain
activity; a high level of ability to create;
dominance of creativity and motivation;
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persistence and intransigence in creativity,
occasionally even stubbornness; enthusiasm for
work (Kulchytska, 2006). Enquiring the growth
and the rate of creative abilities, one can rely on
the range of specific indicators like novelty,
originality, efficiency and flexibility of thinking;
the ability to compare objects and their qualities,
to evaluate the attitude of others; the commitment
to act as needed; resourcefulness; motivation,
creative independence, prompting to use creative
skills, self-improvement, conscious development
of one’s own creative abilities; the dynamics of
motor learning, accuracy of movement
execution, plasticity, rationality, economy,
expediency, punctuality, which help to evaluate
motor performance comprehensively (Sereda,
2009).
Human abilities, with their multi-layered
character and individual vector, are combined in
the process of human’s activity and therefore
cannot be analyzed apart from the general
process of mental development (Horbunova,
2002). They do not necessarily result in creative
accomplishments: a “drive” sets the mechanism
of thinking in motion. So, creative achievements
need the “motivational basis of will and desire.
The problem of students’ creative abilities
development cannot be solved without checking
the very mechanism of creativity. The process of
creative response to a problem should follow a
certain scheme” (Protas, 2014, 28).
In fact, crucial individual’s inner traits of
pedagogical mastery and readiness for creative
teaching are interconnected with the level of
pedagogical skills (Potapenko et al., 2005, 18)
achieved. Among the latter one can find:
• communicative skills (to quickly connect
with the audience, involve everyone in the
process and provide discipline);
• perceptual skills (to understand the physical
and mental condition of students, to
empathize with them or to see oneself
through different eyes);
• didactic skills (to explain the material in an
interesting, understandable and concise
way);
• ability to organize students, to stimulate
interest in different types of activities, to
build a teamwork and make it a tool for
pedagogical activities as well as for personal
development;
• suggestive skills (to form a basis for
influencing students’ will);
• scientific and cognitive skills (to acquire
information necessary for competent
teaching and creative use of acquired
knowledge).
To sum up, creative abilities progress via
activities. This concept of creative activity opens
further perspective for a discussion.
Some Ukrainian researchers (Bykanova &
Syrotenko, 2014) believe that up-to-date
educational paradigm prioritizes the formation of
a creative competitive person capable of
independent thinking and appropriate decision-
making. There are such features of creative
activity (Zub, 2011, 140) to highlight as:
contradictions, problematic situations and
creative tasks; social and personal significance
and progressiveness (i.e., contribution to the
societal as well as personal improvement);
objective (social or material) prerequisites for
creativity; personal qualities as subjective
prerequisites for creativity; novelty and
originality of the process or result; the goal of
creative activity to enable real progress of
society. It finally results in “formula” of creative
activity (Shtefan, 2018, 7), appealing to the
subconscious mind, which creates the image that
plays out in the conscious mind. The latter is
essential in giving the image a specific form and
determining the manner of its manifestation. The
conscious awareness of human’s subconscious
impulses and enlightenments enables the
consistent embodiment of images with specific
tools.
Since we focus an in-depth attention on the point
that creative activity is interlinked with teaching,
the term of “pedagogical creativity” had to get its
thorough analysis, therefore, it has been
interpreted in different ways. The Pedagogical
Dictionary defines it as “conscious pedagogical
activity characterized by the teacher’s
participation, independent creative search and as
aimed at improving the educational process by
the implementing the achievements of
psychological and pedagogical science and best
practices” (Honcharenko, 1997, 326). It has the
own range of phases to manage (Bykanova &
Syrotenko, 2014), among key of them are those:
pedagogical plot; selection and updating of
professional knowledge and skills, evaluation of
person’s pedagogical experience in the
implementation of the pedagogical act;
information gathering; designing the pedagogical
collaboration with the learners; putting the
pedagogical plot into practice, etc.
On the contrary, some Ukrainian pedagogues
(Kichuk, 1991, 33) doubt if pedagogical
creativity involves general and peculiar traits of
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a teacher, moreover, such processes as creative
thinking and intellectual activity are outlined as
key features of a pedagogical creativity. In the
modern Ukrainian scientific paradigm, it is
generally ascertained that “pedagogical
creativity has a significant impact on the creative
talent of the learners” (Sysoieva, 2005, 6). Since
teaching efficiency has much to do with
pedagogical creativity, today’s realia place
additional demands on teachers to be a) experts
in creative search and non-standard response to
pedagogical problems; b) experimenters in
adapting professional activity to societal
challenges.
The issue of teachers’ readiness for pedagogical
creativity is still on the core focus of the modern
scientific findings in Ukraine. Thus, Antonova
(Antonova, 2005) presents results of a survey
designed to understand the nature of pedagogical
creativity. The respondents, 57 school teachers
with different professional accreditation in
Zhytomyr (Ukraine), were interviewed using the
questionnaire and the Johnson Quick Test of
Creativity and Creative Self-Expression. The
survey, specifically designed to assess creativity,
provided an objective overview of teachers’
creative process based on their introspective
evaluations. These tests revealed high and
average indicators of creativity among the
teachers. No correlation was found between
teachers’ creativity level and their length of
service or occupational group.
Further analysis exposed the fact that the
majority of persons defined pedagogical
creativity as an integration of subjective factors,
namely the abilities to improve professional
competences, to use appropriate tools with
effective impact on learners, and to combine
popular and original teaching methods.
Originality, a lot of initiative, high efficiency and
satisfaction with the process itself rather than the
result are dominant attributes of a creative
teacher. Such an educator should have the ability
to focus and shift attention, a good memory, a
high level of intelligence and critical thinking.
To sum up, findings of the kind have
strengthened the idea that creative activity is a
process, leading to new original or innovative
educational products, which shows an
appropriate response to new educational
challenges and explicates teacher’s creative
potential.
Discussion
Modern education relies on various means of
information transmission. Sounds are drawn in
the content oral presentation given by the lecturer
and its auditory perception by the learners.
Graphemes provide visual input in reading
textbooks and assignments (Artemova, 2008).
These situations usually necessitate the
implementation of traditional educational
methods due to the fact traditional methods are
unsuitable for training future-to-be teachers or
for creative teaching performance in line with the
new legal framework in Ukrainian education. It
would be, no doubt, beneficial to combine
conventional and innovative methods within the
current context of preparing future-to-be
educators as well as developing their creativity.
First and foremost, lecture tends to be a vivid
educational mode in upbringing creativity. It is
primarily regarded as a traditional method of
offline teaching, while its effectiveness would
increase with a range of innovative methods.
They actually integrate problem-solving, pair
work or deliberate mistakes. The powerful
impact of a problem-solving lecture is achieved
mainly by discussing some important or
previously unresolved issues, contrasting
alternative opinions, appealing to real-life
situations and encouraging students to comment,
explain, draw conclusions and make judgements
about the accuracy of the information, or by
putting students in the position of experts,
opponents or critics. Another innovative way to
hold a lecture can be disclosed via “to teach
together” approach, which opens the perspective
to discuss a given topic from different scientific
viewpoints or through interconnections of
different subjects. In lectures with deliberate
mistakes, students work together to challenge
their lecturer by correcting intentional errors
(either in the text of a lecture or on a separate
sheet) and helping to justify the elimination.
Secondly, the purpose of diagnostic seminars
lays in raising students’ awareness of the
technologies used to diagnose personal and
professional traits. This approach aims to get
students to try their own competences, namely
creativity, critical or divergent thinking.
Objective indicators show which competence
should be improved. Diagnostic techniques are
important for students’ self-correction as well as
for the enhancement of their professional
qualities, skills and abilities.
Thirdly, debates encourage students to explore
opposing viewpoints or divergent approaches to
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controversial issues. However, debates do not
provide students with a clear-cut answer because
they are designed to stimulate students to find
alternative solutions.
Moreover, pedagogical situations’ analysis helps
students to take a closer look at real-life
situations based on some factual material or
complex case descriptions, find appropriate
solutions, and apply them to problematic issues
that future-to-be educators will have to deal with
in their professional framework.
Learning games are designed for practical group
activities and pursue the aim to find the best
solution of a pedagogical problem while
presenting real events in a game-like form.
Learning games include business talk and role-
playing games, which help future-to-be
educators to advance their management skills,
teach learners to make management decisions in
various professional situations, and allow
students to represent creativity while studying at
higher educational institutions.
It is worth mentioning that fostering students’
creative potential incorporates creating a positive
microclimate within the group, using diverse
pedagogical communication styles, and dealing
with communication or creativity barriers. It also
encourages students’ creative interaction,
creative teamwork and thinking. Creative
activity in teaching university students is a key
factor that contributes to psychological
adjustment, socialization and integration into a
multicultural and multilingual community.
Under these terms, a teacher acts as a broad-
based, educated mentor who helps students to
optimally develop creative skills they urge to
learn and work in the mentioned above
environment. Besides, a teacher’s role aims to
provide for the cultural integration of all
members of the group by means of cultivating a
creative sociocultural environment, shared
cultural values, a common worldview and
language, and modes of self-reflection that are
essential to bringing together all participants in
the educational process as well as promoting
inclusion.
Technologies, promoting active learning, are
important for upbringing the creativity of the
future-to-be educators by supporting their
individuality, stimulating life learning,
improving the quality of education, enhancement
of professional competence and creative
response to professional challenges. Nowadays,
Ukrainian higher education institutions tend to
priorities project-/ teamwork to foster further
learning, creative skills, critical thinking, and
independence in applying previous experience as
a base for innovation.
Project-/ teamwork as a method is applied to
achieve desired learning outcomes by solving
problems with real practical value. The method
engages students into collaborative educational
process, fosters their individual qualities and
social activities, enables them to cooperate with
other group members, and to take personal or
shared responsibility. As a learning method, it is
essential for socializing students, increasing their
professional activity and creativity.
In addition to active learning technologies,
teachers have selected a heuristic approach that
has proven its effectiveness in teaching creativity
to university students. Its implementation allows
students to become fully aware of their personal
motivation to learn, the design of the educational
process, its goals and content. The heuristic
learning method is suitable for building
knowledge in a specific area when students
reveal their own educational potential, research
environment and activities. The role of the
teacher aims to help students to compare the
results (knowledge, experience, etc.) with the
cultural or scientific heritage, to improve, extend
or modify what has been discovered, and to
check whether the material component
corresponds to the inner, moral one. A student’s
personal educational success, including the
knowledge, experience, skills, or material
products acquired, remains an unchanging
priority.
In fact, the initiated discussion would be
incomplete without the analysis of means of
teaching creativity to students of higher
education institutions in Ukraine. Some
approaches integrate pedagogical literature,
plans and programs in different courses,
information and communication technologies
(ICT), technical laboratories, creative
workshops, etc. The given paper draws the main
focus on the ICT as well as on creative
workshops, therefore they are a unique
combination of traditions and innovations within
the comprehensive Ukrainian educational
discourse.
Undoubtedly, the new Ukrainian realia, the
integration of the country into the European
educational system, to be specific, have required
the further adaptation to its standards.
Simultaneously to the amount of auditory hours
reduced, the share of students’ self-study is
increasing; nowadays it has become merely the
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dominant mode of education. These changes can
be complemented by the intensification of ICT in
education (Vereitina, 2009, 203). Under the
terms of the newest fourfold approach, in the
higher education institutions in Ukraine the ICT
function in such dimensions: a) an academic
discipline; b) modern means of communicating
and acquiring interdisciplinary knowledge;
c) means of transferring newly acquired
information to the students’ individual system of
knowledge, skills and abilities; d) means of self-
expression and social self-assertion of the future-
to-be educator (Kartashova & Madzihon, 2010).
Creative workshops show another way of
teaching creativity to students in Ukraine. As a
form of extracurricular load, they are based on
students’ professional interests and are closely
connected with the very educational process.
Thus, the role of creative workshops is to provide
an outlet for research and creative process, as
well as opportunities for further cultural self-
advancement of students. In extracurricular
activity, focused on general education,
educational and practical tasks, creative
workshops bear a load of a form of organization
and a kind of educational environment, in which
students mature their autonomy and creativity in
problem-solving. The focus of the creative
workshop is placed on the comprehensive
progress of a person capable of self-correction,
cognition and self-reflection. It also aims to
integrate intellectual, communicative and
reflective activities to enable interiorization of
learners’ knowledge and situational experience:
external action becomes internal mental action;
the usage of a word as a carrier of information,
meaning and communication turns into
reflection.
The creative workshop algorithm composition
opens possibilities to build inner person’s
knowledge, to understand the role of personal
participation in its collective formation, and
provide self-identification. Creative workshops
usually apply learning technologies, the
mechanisms of research, creativity, game,
training and reflection. Therefore, it is advisable
to implement conceptual parameters of these
technologies in designing creative workshops of
the kind. However, this algorithm of the creative
workshop can be modified without changing the
terminology. There will be then such stages:
a) induction (identification of a problem in the
form of a problematic task or situation with the
aim of creating a motivating enquiry); b) self-
construction (creating an individual text,
choosing person’s own action); c) socialization
(discussing the proposed actions and outcomes
within the group); d) reflection (sharing feelings
that arose during the workshop).
A creative workshop reveals its productivity if
the terms are met as follows: problematic
situations requiring a common solution;
collective interaction; a teacher’s role shift from
the informative-interpretative to the consultative
organizing one; active engagement of the
students; the axiological orientation of inner
traits and value system of the person. In Ukraine,
the educational process is traditionally person-
alienating. In order to enrich the students’
personal environment, to increase their
awareness of personal significance and
achievements, certain factors should be taken
into account in the organization of creative
workshops, the most powerful among them are:
personal orientation of all the tasks; voluntary
participation; awareness of purposes and
prospective outcomes of the classes delivered;
the variety and originality of methods;
atmosphere of goodwill, success, trust and
openness; close collaboration between teacher
and students.
The material, prepared for a creative workshop,
has to be appropriate to the teaching objectives
and tasks, informativeness, comprehensibility,
interest, and pedagogical orientation that would
enable the actualization of students’ creative
abilities. Students’ autonomy would enhance
their creative quest and ingenuity. Individual
participation in a creative workshop provides
learners with a set of tasks to ensure that they can
independently decide on the amount and content
of the materials they need to study and make
progress in learning.
The tasks are structured to help students identify
some key features of a concept, understand
terminology or symbols, grasp the meanings of
words, define the scope of a concept, establish
the relationship between concepts, and learn
about their usage and structure. The algorithm of
the tasks breaks down psychological barriers and
encourages intellectual activity. After
completing the activities of a creative workshop,
decisions and suggestions for the new topic are
made together.
Improvisation is of particular importance in the
sphere of extracurricular activity, it encourages
creativity in students at higher education
institutions. Creative workshops stimulate
surprise and unpredictability, lead to publicity,
novelty, convergence of creation and realization.
Therefore, a creative workshop can be defined as
a multidimensional, integrative educational
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technology, that provides space for creative
learning and play, and dialogical collaboration
between teacher and students in intellectual,
emotional, ethical, communicative and
psychological areas.
Creative workshops provide ample opportunity
to cultivate a creative, rational and productive
personality in an atmosphere where information
gathering is non-violent. Extracurricular
workshops intensify students’ cognitive activity,
create favorable conditions for their personal
self-improvement and their creative potential
unfolding. Such form of activity enables students
to upgrade their skills necessary for the creative
process.
The paramount advantage of workshops is that
they teach students to generalize and reason,
analyses failures or mistakes, and find ways to
solve them. Workshops rely on personal-activity
and humanistic approaches in the educational
process structure. Although creative workshops
complement traditional methods, they are more
efficient for the development of students’
cognitive activity, creative potential and
thinking.
Conclusions
The terminological analysis proved its high
efficiency in the study of such concepts as
“creative process”, “creativity”, “pedagogical
creativity”, “creative abilities”, and “creative
activity” in the up-to-date Ukrainian pedagogical
discourse. The findings ascertained the fact that
in Ukrainian pedagogical literature, the term
“kreatyvnist” (“creativity”) is being clearly
preferred to the term “tvorchist” (“creative
process”). Creative abilities are understood as a
combination of inner person’s traits that emerge
in the process of activity leading to innovation.
Creative activity involves the process of
generating something new via education and
cognition, the ability to respond to new
professional situations when the future
educator’s creative skills emerge. Ukrainian
pedagogical experience discloses the value of
mentor’s ability to be an organizer of the inner
growth of future educators and their cognitive
activity. It was proved efficient to combine
research, educational process, a number of other
activities and communication in higher education
institutions.
Two aspects seem to be essential for the
implementation of pedagogical experience in
higher education institutions: firstly, the
promotion of students’ creative enhancement,
secondly, the progress of students’ techniques in
organizing similar activities within the future
professional framework. For this purpose,
different types of lectures are held with problem-
solving, pair work or deliberate mistakes as well
as diagnostic classes, debates, and pedagogical
workshops. Such activities appear fruitful for the
advancement of creativity in students. Moreover,
the practical approach intensifies the creativity of
the future-to-be educators in the classroom. This
is empowered by the elaboration of relevant
methods and collaboration between teacher and
students in search of effective means to
accomplish the tasks. The learning of educational
material, the extension of skills and creative
abilities are facilitated by the involvement of
students in active interesting co-work during
which they are not only performers, but also
teacher’s assistants, co-authors in classes.
The specificity of the educational process at a
higher education institution, the age of students
and their level of education determine the newest
technologies and methods of learning. These
include mainly heuristic methods aimed at
training creativity, independence and proactive
mobility in combination with project training,
etc.
Perspectives of further research may include the
design and experimental testing of creativity
development among students of Ukrainian higher
education institutions.
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