“Fostering Creativity in Teaching Enhances Students’
Learning”
Preface
Berättarministeriet (Ministry of Storytelling) offers free support for teacher training and development specifically for Swedish schools in areas with a high socio-economic index. The index reflects detrimental factors to the students’ academic outcome. It is the mission and task of the Swedish school system to compensate for such differences and to ensure equal and good education for all children.
Berättarministeriet provides support where these needs are the greatest, in order to contribute to the school’s compensatory mission. Additionally Berättarministeriet conducts recurring surveys on the needs of associated teachers with the aim of providing an overall picture and relevant support.
This report summarises Berättarministeriet’s latest survey of Swedish teachers’ use of creativity in teaching. Creative and critical thinking are considered crucial future skills in an increasingly complex society, as pointed out by the Pisa 2022 Creative Thinking assessment. Publication is set to June 2024.
1. Summary
Ramboll Management Consulting (Ramboll), commissioned by Berättarministeriet (The Ministry of Storytelling), has explored the use of creativity in socioeconomically underprivileged Swedish schools. An index of socioeconomic status is used to identify these schools. Focus has been on two subjects: Swedish and Swedish as a Second Language (SAS). The purpose of the study has been to examine the degree to which creativity is integrated into teaching practices and how this affects the students’ language and knowledge development. The aim has also been to identify any needs of professional development among teachers related to fostering creativity in teaching.
The study has been conducted through quantitative surveys with the sample consisting of schools with Swedish and SAS teachers, grades 4–6, and with a high socioeconomic index. The study was then complemented with qualitative interviews with a selection of teachers from schools included in the study. In conducting the study, Ramboll has relied on the OECD framework for assessing creativity in schools.
Fostering creativity in teaching generates substantial positive impact
The study shows significant positive impact of integrating creativity into teaching. According to the survey results, most teachers in responding schools strongly believe that creativity enhances students’ motivation and desire to learn, contributes to language and knowledge development, and helps to meet the diverse needs of different student groups. This aligns with the findings from the literature review, which attributes a central role to creativity in preparing students for future challenges. Teachers in the follow-up interview study emphasise that integrating creativity into teaching helps to engage and include students with diverse backgrounds and learning needs. These teachers also report that creative methods enable students to communicate and demonstrate their understanding in various ways, which is particularly beneficial for students in need of additional support to develop their language skills.
Creativity is widely used but adequate prerequisites are lacking Most schools state that they employ creativity to a high or fairly high degree in their teaching. Out of the OECD’s domains of creativity, written creative expressions is most used, followed by visual creative expressions. However, there is significant variation in how schools perceive the conditions for using creativity in teaching. Half of the survey respondents state that the use of creativity is not encouraged in their school environment. Some of the recurring limiting factors identified include a lack of time, materials, and resources, as well as collective collegial planning and collaboration with colleagues. The results remain consistent when controlling for background variables such as municipal group, teacher certification, and years in the teaching profession. The study thus highlights a discrepancy between effects, prerequisites, and usage of creativity. Although many teachers experience positive effects of creativity, even more believe they lack the right prerequisites for integrating creativity into their teaching. Nevertheless, most teachers still use creativity in their teaching.
The results indicate that creativity is of importance for students’ development and in preparing them for future societal challenges and the job market. Mastering various aspects of creativity is crucial for students’ learning and the development of their intellectual and social skills. Considering this, it is essential to ensure that schools can effectively integrate creativity in their teaching. According to the teachers in this study this would require further peer learning, collaboration with outside partners, teaching material, and methodological support, according to the survey answers.
2. Introduction
2.1 BACKGROUND
In recent years, the importance of creativity in education has attracted growing attention worldwide. This is reflected in OECD’s1 decision to include an assessment of creative thinking in PISA2 2022. With this, PISA acknowledges the central role of creativity in preparing students for future challenges. The development underlines a growing understanding that creative thinking is a critical skill for navigating an increasingly complex and changing world. Exploring how creativity is integrated and promoted in teaching, and its impact on students’ learning and development, is therefore a task of increasing importance.3
The OECD states that educational systems have a responsibility to help students develop their creative and critical thinking. Yet, teachers often lack sufficient opportunities and resources to develop professional knowledge about how to support students’ creative abilities and critical thinking, as well as how to implement these practices effectively within the contexts.4
The latest PISA survey from 2022 shows a growing gap in performance between students with different socioeconomic status in Sweden. Similar trends can also be observed in several other countries. Socioeconomic status is becoming an increasingly significant factor for the performance level. The PISA survey also reveals declining results among 15-yearolds in mathematics and reading comprehension in Sweden, and most other OECD countries, compared to previous years.5
2.2 RAMBOLL’S ASSIGNMENT
Berättarministeriet6 has commissioned Ramboll (we) to investigate the degree to which creativity is integrated into teaching practices in schools with a high socioeconomic index and how this promotes students’ language and knowledge development.7 The study also includes the perspective of the school’s compensatory mission, that is, the teaching should
1 Organisation for Economic Co-operation and Development.
2 Programme for International Student Assessment.
3 OECD, “PISA 2022 Creative Thinking Framework”, in PISA 2022 Assessment and Analytical Framework (Paris: OECD Publishing, 2023).
4 OECD, Supporting Teachers to Foster Creativity and Critical Thinking: A draft professional learning framework for teachers and leaders (Paris: OECD Publishing, 2023).
5 Skolverket, PISA 2022 - 15-åringars kunskaper i matematik, läsförståelse och naturvetenskap (Stockholm: Skolverket, 2023).
6 Translation to English: Ministry of Storytelling. Berättarministeriet was founded in 2011 and is a non-profit, non-partisan foundation striving for a society where all children are confident with the written word.
7 The schools’ socio-economic index for 2023 is published by the Swedish National Agency for Education and is produced by Statistics Sweden (SCB). It is based on a model that describes students’ expected conditions for qualifying for a national program in upper secondary school based on socioeconomic background factors. The model includes: i) the educational level of the guardian, ii) the year the student immigrated to Sweden, iii) the income of the guardian, iv) the gender of the student, v) financial assistance to the guardian, vi) whether the student is registered at the same address as both guardians, vii) the number of siblings registered in the home, viii) the socio-economic status of the residential area where the student is registered. A school with an index of 100 and above is expected to have worse conditions for its students based on these factors.
consider students’ diverse needs and circumstances and actively strive to address disparities in students’ abilities to conduct equitable education.8
The focus of the study has been on teachers’ perspectives on creativity in teaching, including their experiences of how this promotes students’ language and knowledge development. The study also aims to highlight any needs of professional development among teachers, related to creativity in teaching.
The study has not been able to consider the results of taken PISA’s report on creativity, as this is due to be published in June 2024.9 This report may however be updated with a section that relates to PISA’s findings after its publication.
2.3 ABOUT BERÄTTARMINISTERIET
Berättarministeriet is a foundation working to mitigate the negative consequences of segregation on children’s education. This is done by supporting teachers and students in socioeconomically underprivileged Swedish schools in their daily teaching and helping teachers’ professional development. Berättarministeriet conducts cost-free school programmes based on proven methodology and scientific principles, offering teaching materials of high creative quality as well as interaction with societal institutions. Through the programmes, students are encouraged to develop their linguistic, knowledge-based, creative, and critical thinking abilities, regardless of their initial level of knowledge. All school programmes are interdisciplinary and based on the Swedish curriculum.
Based on proven methodology, Berättarministeriet recognise that fostering creativity in teaching can serve as a tool to support students’ joyful learning and development, as well as strengthen schools’ compensatory mission and the conditions for conducting equitable education moving forward.
8 Skolverket, Läroplan för grundskolan, förskoleklassen och fritidshemmet (Lgr22) (Stockholm: Skolverket, 2021); Skolinspektionen, Enskilda huvudmäns styrning av det kompensatoriska uppdraget i gymnasieskolan (Stockholm: Skolinspektionen, 2021).
9 PISA 2022 Creative Thinking, OECD. Retrieved 2024-03-05.
3. Literature Review
This chapter provides a definition of creativity in teaching and a summary of the current state of knowledge regarding its use. The aim is to give an overview of previous research and national policy documents regarding the role of creativity in teaching as well as the development of language, knowledge, and future skills. Curricula and other materials from the Swedish National Agency for Education, reports from the OECD, and previous PISA measurements have formed the basis for the review.
The literature review indicates that creativity has received increased attention in recent years. This shift is reflected, among other things, by OECD’s inclusion of a creativity thinking assessment in PISA 2022.10 Additionally, in the curriculum, the Swedish National Agency for Education acknowledges the role of creativity in preparing students for future challenges and as an important part of developing future skills.11
3.1 OECD DIVIDES CREATIVE THINKING INTO FOUR DOMAINS
The OECD framework for assessing creativity in schools encompasses four domains: written expression, visual expression, social problem-solving, and scientific problem-solving. The first two fall within the broad thematic content area that the OECD refers to as creative expressions, while the latter two are part of problem-solving.12
10 OECD, “PISA 2022 Creative Thinking Framework”, in PISA 2022 Assessment and Analytical Framework (Paris: OECD Publishing, 2023).
11 Skolverket, Läroplan för grundskolan, förskoleklassen och fritidshemmet (Lgr22) (Stockholm: Skolverket, 2021).
12 Vincent-Lancrin, S., et al., Fostering Students’ Creativity and Critical Thinking: What it Means in School, Educational Research and Innovation (Paris: OECD Publishing, 2019).
Written expression involves the ability to use language in a creative and effective way to express ideas, emotions and thoughts with logical consistency. It encourages students to think critically and express themselves uniquely through writing, which is fundamental for their language development and communication skills.
Social problem-solving focuses on the ability to use creativity to address social, interpersonal, or group-related issues. It promotes collaboration skills, empathy, and the ability to perceive and resolve conflicts in innovative ways.
Scientific problem-solving involves applying creative thought processes to solve scientific or technical problems. It enhances students’ analytical abilities, critical thinking, and the capacity to apply scientific methods in creative ways. Creative expressions Problem-solving
Visual expression involves using visual means such as art, design and multimedia to communicate and express ideas. This supports students’ ability to think in images, develop aesthetic awareness and express creative solutions to visual problems.
The domains reflect the varied ways in which creative thinking can manifest and be applied across various school subjects and situations. According to the OECD, the four domains work together to support a holistic development of students’ creative abilities, with each domain contributing to different aspects of students’ intellectual and social skills. It is important for students to develop within these domains for enhancing comprehensive learning and development.13
Written and Visual expression provide students with tools to communicate ideas and emotions, which is fundamental for personal expression and cultural understanding. Social problem-solving promotes empathy and teamwork skills, essential for group interactions and understanding social dynamics. Scientific problem-solving, in turn, develops analytical thinking and the ability to apply logical methods, essential for scientific insight and technological competences. The capabilities complement each other and contribute to students becoming balanced, innovative, and well-equipped to face future challenges.14 By integrating all these aspects of creativity into teaching, schools can prepare students to shape their lives freely, both within and beyond the classroom.
13 Vincent-Lancrin, S., et al., Fostering Students’ Creativity and
(Paris: OECD Publishing, 2019).
Figure 1. The OECD framework for assessing creativity in schools and its four domains.
3.2 PISA EMPHASISES THE IMPORTANCE OF FOSTERING CREATIVITY
Creative thinking is a crucial skill for learning, according to the OECD. In the PISA 2022 Creative Thinking Framework report, the OECD explains why creative thinking is included in the assessments and how creativity is an important skill that should be developed through teaching. The report describes creativity as essential for equipping young people with key competences for adapting to societal challenges, the evolving job market, and managing as well as innovating new technologies. By including creativity in its assessment portfolio, the OECD not only acknowledges creativity’s role in preparing students for future challenges but also highlights the need for teachers to have adequate support to recognise and foster creative thinking in the classroom. This approach the growing recognition that creative thinking is a critical skill for navigating an increasingly complex and dynamic world.15
“The social, creative, and emotional abilities will be most crucial in preparing today’s youth for the future.”
Andreas Schleicher, Director of the OECD Educational and Skills Department
Through its work with PISA, the OECD highlights creative thinking as a critical tool for student learning, especially as a key skill in complex, globalised, and increasingly digitalised economies and societies.16 The OECD emphasises that creative thinking is essential not only for artistic and cultural expression but also for problem-solving in academic and everyday contexts. According to the OECD, creative thinking is a fundamental skill for navigating the modern world, helping students develop the ability to think flexibly, adapt to new situations, and generate innovative solutions to complex problems.17
The PISA framework for assessing creative thinking states that creative thinking is an adaptable skill, possible to develop through practice and teaching.18 By integrating creative thinking into elementary school curricula and teaching strategies, schools can effectively support students’ cognitive development, critical thinking, and ability to face future challenges.19 The OECD Centre for Educational Research and Innovation (CERI), highlights,
15 OECD, “PISA 2022 Creative Thinking Framework”, in PISA 2022 Assessment and Analytical Framework (Paris: OECD Publishing, 2023).
16 Ibid.
17 Vincent-Lancrin, S., et al., Fostering Students’ Creativity and Critical Thinking: What it Means in School, Educational Research and Innovation (Paris: OECD Publishing, 2019).
18 OECD, “PISA 2022 Creative Thinking Framework”, in PISA 2022 Assessment and Analytical Framework (Paris: OECD Publishing, 2023).
19 Vincent-Lancrin, S., et al., Fostering Students’ Creativity and Critical Thinking: What it Means in School, Educational Research and Innovation (Paris: OECD Publishing, 2019).
based on the project Fostering and Assessing Creativity and Critical Thinking, the importance of integrating creativity into teaching practices and the curriculum. They also stress the significance of professional dialogue, collegial support, and adherence to students’ needs.20 Furthermore, the OECD underlines that creative thinking is crucial for all students, regardless of their future career paths, as it contributes to a more comprehensive educational process and prepares students for for an ever-changing society.21
“Creative thinking is the competence to engage productively in the generation, evaluation and improvement of ideas that can result in original and effective solutions, advances in knowledge and impactful expressions of imagination.”
PISA 2022, Creative Thinking
Another aspect of creativity is its potential to create a sense of focus and well-being. Research shows that positive emotions enhance creativity, and that engaging in everyday creative activities also yields positive effects. Consequently, psychologists are increasingly advocating for the role of creative activities in enhancing both individual and societal well-being.22
3.3 THE CURRICULUM UNDERLINES THE IMPORTANCE OF DEVELOPING STUDENTS’ CREATIVITY AND PROBLEM-SOLVING SKILLS
The Swedish curriculum for middle school, Lgr22, highlights the importance of fostering creativity in teaching. According to the curriculum, primary schools are tasked with stimulating students’ creativity, curiosity, and self-confidence, as well as encouraging their willingness to test and implement ideas in action to solve problems. This expression underscores the significance of creative thinking and its role in students’ overall development, both individually and in collaboration with others. Furthermore, the curriculum emphasises the development of students’ independence, initiative, and collaboration skills, which are important aspects of creativity. A key aspect is for students to understand and navigate the impact of digitali-
20 OECD, “Supporting Teachers to Foster Creativity and Critical Thinking: A draft professional learning framework for teachers and leaders” (Paris: OECD Publishing, 2023).
21 Vincent-Lancrin, S., et al., Fostering Students’ Creativity and Critical Thinking: What it Means in School, Educational Research and Innovation (Paris: OECD Publishing, 2019).
22 Vincent-Lancrin, S., Skills for Life: Fostering Creativity (Inter-American Development Bank, 2021).
sation on both individuals and society. This entails equipping students with the knowledge and skills to use digital technology effectively and critically. Students are encouraged to develop a responsible approach to digital technology, which includes identifying opportunities, understanding risks, and evaluating information.23
“The school should stimulate students’ creativity, curiosity, and self-confidence, as well as their willingness to experiment with and translate ideas into action to solve problems.”
Swedish National Agency for Education, Lgr22.
3.4 THE PERFORMANCE OF STUDENTS IS INCREASINGLY AFFECTED BY SOCIOECONOMIC STATUS
In Sweden, several studies have indicated that students with lower socioeconomic status tend to reach lower levels of comprehension, compared to their peers.24 Studies indicate that this trend risks leading to lifelong marginalisation for an entire generation of children.25
The gap between high- and low-performing students, as well as between socioeconomically advantaged and disadvantaged students, has also widened over time. This has been confirmed by both national data and international PISA surveys.26 When PISA assessed mathematics and reading comprehension among ninth-graders, in 2022, the results showed a drop among students from socioeconomically low status areas, compared to the results from 2018. Meanwhile, students with a more advantaged background maintained their performance levels across both assessments. Due to the increased disparity in results across
23 Skolverket, Läroplan för grundskolan, förskoleklassen och fritidshemmet (Lgr22) (Stockholm: Skolverket, 2021).
24 Tonér, S., Language and executive functions in Swedish preschoolers (PhD dissertation, Department of linguistics, Stockholm University, 2021); Stockholms Handelskammare, Hårda Fakta – Så segregerat är Stockholm (Stockholm: Stockholms Handelskammare, 2018).
25 Stockholms Handelskammare, Hårda Fakta – Så segregerat är Stockholm (Stockholm: Stockholms Handelskammare, 2018).
26 Skolverket, PIRLS 2021: Läsförmågan hos svenska elever i årskurs 4 i ett internationellt perspektiv (Stockholm: Skolverket, 2023); Löfstedt, P., “Socioeconomic Inequality and Student Outcomes in Swedish Schools”, in Volante, L., Schnepf, S., Jerrim, J., Klinger, D. (eds) Socioeconomic Inequality and Student Outcomes. Education Policy & Social Inequality, vol 4 (Springer, Singapore, 2019); European Education and Culture Executive Agency, Eurydice, Horváth, A., Krémó, A., Sigalas, E. et al., Equity in school education in Europe – Structures, policies and student performance, Parveva, T.(editor), Publications Office of the European Union, 2020.
both subjects among students with different socioeconomic status, PISA’s assessment of the 2022 results is that equity in Sweden has declined since 2018.27
“The students’ socio-economic background still has a strong impact, and this can also be seen in the fact that the school does not fulfill its compensatory mission properly.”
Lotta Edholm, Minister for Schools
This trend underscores the importance of addressing and counteracting the educational disadvantages associated with a less favourable socioeconomic status.28 In this context, creativity emerges as a potential tool to promote knowledge development and offer new of learning pathways.29
27 Skolverket, PISA 2022 - 15-åringars kunskaper i matematik, läsförståelse och naturvetenskap (Stockholm: Skolverket, 2023).
28 OECD, “Students’ socio-economic status and performance”, in PISA 2018 Results (Volume II): Where All Students Can Succeed (Paris: OECD Publishing, 2020).
29 Vincent-Lancrin, S., et al., Fostering Students’ Creativity and Critical Thinking: What it Means in School, Educational Research and Innovation (Paris: OECD Publishing, 2019).
4. Results
In this chapter, we present teachers’ reflections on how creativity is used in teaching, the conditions for using creativity, and the perceived effects of using creativity.
There is variation in how creativity is interpreted and defined. The findings of the interview study reveal that creativity is interpreted variably across respondents. This diversity in definitions of creativity among teachers could influence their responses in both the survey and the interviews. Although Ramboll used the OECD’s definition of creativity for the survey, as detailed in chapter 2, it is essential to acknowledge the subjectivity of this concept when analysing future results. Additionally, both the survey and interview components are based on self-assessments, which could potentially impact the outcomes.
4.1 SUMMARY OF THE RESULTS
Survey data indicate that teachers use creativity in teaching to a high or fairly high degree. The vast majority also believes that creativity can help meet the needs of different student groups, strengthen student motivation, and enhance students’ knowledge development. According to the survey, the conditions for including creativity in teaching are often challenging. The interviews however provide a slightly more nuanced view, with teachers stating that they have good conditions for incorporating creativity.
Note: The figure shows the answers to eight survey questions. The figure is constructed by calculating the average value of the included survey questions. The questions are categorised into Use, Prerequisites and Effects. The number of respondents varies between questions.
Figure 3. Bar chart presenting average values from the survey.
Figure 3 illustrates this. In the figure, the average values for individual survey questions are compiled, where 1 corresponds to a low degree, 2 to a fairly low degree, 3 to a fairly high degree, and 4 to a high degree. The questions are categorised into Usage, Prerequisites, and Effects.
Figure 3 illustrates a discrepancy between the perceived use of creativity, the conditions for its implementation, and the belief in its effects on students. The average value for the use of creativity is 3.1, while the belief that creativity strengthens students’ motivation and desire to learn is 3.7. At the same time, the average value for the question about conditions in the school is only 2.5.
Figure 4 shows the frequency of each response option for the questions ‘Do you use creativity in your teaching? and “Do you feel that there are conditions at your school for using creativity in your teaching?”. For example, 67 schools report using creativity to a fairly high degree, while 44 schools report that the conditions for creativity exist to a fairly high degree. The figure shows that usage is higher than the conditions for the answer options “to a high degree” or “to a fairly high degree,” but lower for the answer options “to a low degree” or “to a fairly low degree.”
The figure shows the frequency of each response option for the questions ’Do you use creativity in your teaching? and “ Do you feel that there are conditions at your school for using creativity in your teaching?”. The figure includes 97 schools.
The data also provide insight about how these two questions relate and correlate with each other (see Figure 17 in Appendix 3). For instance, two percent of schools report both using creativity to a high degree and that conditions at the school exist to a high degree. The most common combination, at 31 percent, is reporting the use of creativity to a fairly high degree and that conditions exist to a fairly high degree. Twenty-eight percent report using creativity to a fairly high degree while the conditions exist to a fairly low degree. Figure 4 and Figure 17 in Appendix 3, further emphasise what is shown in Figure 3, namely that there is a discrepancy between perceived usage and perceived conditions.
Figure 4. Frequency graph of the number of respondents who indicated answer options for usage and prerequisits in the survey.
Overall, the interviews show that teachers see creativity as an essential part of teaching, as it strengthens students’ language and knowledge development, and as a fundamental tool for developing future competences.
4.2 CREATIVITY IS REPORTED TO BE USED TO A FAIRLY HIGH DEGREE
The survey shows that most schools use creativity in their teaching. However, the use of play as a support for creativity in teaching is reported to be relatively low.
7 out of 10 schools use creativity to a fairly high degree
70 percent of the schools report that they use creativity in teaching to a fairly high degree. 18 percent report using it to a high degree, while 12 percent report using it to a fairly low degree. None of the responding schools reported low degree.
According to the 15 schools who use creativity to a fairly low degree, this depends on lack of time and resources as well as challenging student conditions, among other things. Regarding challenging student conditions, teachers mention that it can be difficult to adapt creative methods to a heterogeneous student group.
Respondents who use creativity in teaching to a high or fairly high degree work with a variety of creative techniques. Of the four OECD domains (see chapter 2), written expression is most recurring, followed by visual expression. Each domain includes several examples of how teachers use creative methods to engage students, from writing and storytelling to visual representation and digital creation. Some teachers in responding schools also use creative techniques for social problem-solving. There are no clear examples of scientific problem-solving.30 Below are some examples of how teachers work with each domain.
30 However, some respondents indicate that
Note: 124 schools have answered the question.
To a fairly low degree (12%)
To a high degree (18%)
To a fairly high degree (70%)
Figure 5. To what extent do you use creativity in teaching?
“I give students random pictures, objects or words and ask them to create a short story.”
Survey response
Written expression
Respondents report, for example, that students are asked to create stories from randomly selected pictures, objects, or words, create their own books with illustrations, finish stories from a starting point, and reflect on the characters in books they have read by answering questions such as, “If you could spend a day with the character from the book we just read, what would you do and why?”
Visual expression
Respondents describe, among other activities, that students are allowed to work with digital tools to draw and create digital stories, work on collages, or assemble a face and then explain what it looks like so that another student can draw it.
Social problem-solving
Respondents note that students engage in debates and discussions on literary themes, characters’ motivations, or authors’ intentions. Students are also allowed to sit in smaller groups to work together on problem-solving, as well as exchange ideas on how to rationalise an ethical problem and, more generally, how they work together.
The interview study aligns fairly well with the survey responses. In the interviews, teachers report using creativity to a high or fairly high degree. They also emphasise the importance of visual and interactive learning, especially when teaching students who are newly arrived in Sweden.
Teachers express their efforts to integrate creativity into various aspects of learning. One teacher mentions that although the work is not entirely creative, a significant portion of the teaching requires creative thinking. Examples highlighted in the interviews of how teachers employ creativity include charades, word games, art and images in writing, exploratory activities like being in nature, creating music, films, or their own books, and photography followed by describing the images. One teacher discusses incorporating different senses into teaching by integrating music and visual arts, which helps students use multiple senses in the learning process.
“We
work with cooperative learning, engage in oral activities, and interact with each other. For example, I organised a learning walk outside... it is very effective to use all the senses.”
Survey response
During the interviews, teachers state that they use creativity to a high or fairly high degree, but our interpretation reveals some subjectivity and variation in how teachers assess their own use of creativity. Three of the interviewed teachers describe how they incorporate a comprehensive creative approach to teaching by applying creative methods across all aspects of teaching. In contrast, in some interviews it appears that creativity is one of many components in teaching, employed with a focus during certain lessons while less prominent in others.
A majority answers that play is used to a fairly low degree
The results shown in Figure 6 indicate that six percent of schools use play to a high degree as support for creativity in teaching. 35 percent use it to a fairly high degree, while 52 percent use it to a fairly low degree. Seven percent state that they use it to a low degree.
Respondents who use play to a high or fairly high degree describes the following overarching categories, listed from most to least frequent: (i) Language and word games, such as verb walks and charades, (ii) Drama exercises and role-playing, (iii) Cooperative exercises and group activities, (iv) Media and technology, such as activities that involve creating talk shows, making films, recording podcasts about books, and using digital games and apps.
Note: 102 schools have answered the question.
The interview study supports these results to some extent. Some of the teachers describe using play as part of teaching, when asked how they work with creativity. One teacher describes activities such as memory games as being perceived by the students as play,
To a low degree (7%)
To a fairly low degree (52%)
To a fairly high degree (35%)
To a high degree (6%)
Figure 6. To what extent do you use play to support creativity in your teaching?
even though the teacher does not see it that way. Two teachers emphasise the use of play in the classroom, where word games are a recurring element.
“They really love the five-minute game.
It’s about the students finding a word I write on the board in the dictionary. The first one to find it wins.”
Teacher, interview
Playfulness serves as an educational tool to open students’ minds and expand their vocabulary in an interactive and stress-reducing manner. By adopting playful learning strategies, teachers describe how they foster a dynamic and inclusive classroom where students are encouraged to actively participate and develop their language skills in a fun way.
“Also, the flyswatter game: a lot of words on the board, they should find the word on the board, hit it with the flyswatter and explain what it means. Once they understand, they love it.”
Teacher, interview
4.3 THERE IS A SIGNIFICANT DIFFERENCE IN PERCEIVED CONDITIONS
Half of the schools report lacking the necessary conditions for using creativity in teaching. A lack of time, materials, and sufficient co-planning and collegial exchange of experience and best-practice are recurring examples of explanatory factors. However, interviewed teachers feel that they have the necessary tools and support.
Perceived conditions vary between survey and interview study
52 percent of the schools report that the conditions for using creativity in teaching exist to a high or fairly high degree, with 45 percent responding to a fairly high degree and 7 percent to a high degree. In contrast, 39 percent state that conditions exist to a fairly low degree and eight percent to a low degree. The 51 respondents who indicate that conditions exist to a low or fairly low degree describes the following recurring themes:
– 88 percent report that lack of time is a significant limiting factor for incorporating more creativity into teaching.
– 67 percent report that a lack of materials and resources hampers conditions. This includes financial resources, staffing, facilities, teaching materials, and other resources that could support more creative teaching.
– 29 percent report a lack of joint collegial planning and collaboration with colleagues. A greater exchange is perceived to create a more creative learning environment for students.
The results from the interview study differ from those obtained in the survey. Teachers present a predominantly positive view of their conditions for incorporating creativity in teaching. Teachers in the interview study feel that they have the right tools and support to be creative in their work. They mention access to digital technology, such as computers and iPads, as an important resource to carry out creative projects. Teachers feel they have the freedom to experiment and tailor their approaches to meet students’ needs.
“… one of the key conditions that I believe is lacking for many teachers to be able to incorporate more creativity in Swedish teaching is time …”
Teacher,
interview
To a low degree (8%)
To a fairly low degree (39%)
To a fairly high degree (45%)
To a high degree (7%)
Figure 7. Do you feel that there are conditions in your school for using creativity in your teaching?
Note: 97 schools have answered the question.
“I believe that more could be done; sometimes it feels like it takes too much time, and I won’t be able to manage it all. Forgetting that it helps, that it could become more efficient.”
Teacher, interview
However, some teachers express that time constraints can hinder their ability to implement creative activities to the extent they desire. Several respondents believe that the lack of time often prevents teachers from fully engaging in creative teaching activities. For instance, one teacher notes that creative projects like theatre and film creation demand significant time investment. Two teachers advocate for more time dedicated to collaboration and meetings focused on fostering creativity. Despite these challenges, interviewed teachers generally feel that they possess the necessary conditions and when time permits, they can successfully integrate creative methods and lessons.
Three teachers highlight that the level of creativity in teaching varies between teachers and can be affected by teachers’ years of experience and motivation to do so. The teachers mention that some colleagues are not accustomed to or comfortable with creative approaches. It also emerges that the use of creativity tends to decrease as students get older. Additionally, some teachers may worry that creative activities could lead to disorder in the classroom or that they are uncomfortable with digital tools. In the interviews, several teachers emphasise the importance of organisations like Berättarministeriet showcasing how creativity can enhance learning and provide inspiration, instilling confidence in the efficacy of creativity as a vital teaching tool.
“The extent to which creativity is used likely varies on an individual basis. Some teachers may feel less comfortable experimenting with new approaches or may lack the energy to do so. This could be attributed to varying levels of commitment. After all, trying out new teaching methods requires additional time and effort.”
Teacher, interview
The majority believe that the curriculum supports good conditions
60 percent of schools report that the curriculum and syllabi to a high or fairly high degree support the use of creativity in teaching. As shown in Figure 8 44 percent respond to a fairly high degree and 16 percent to a high degree. This can be compared to the 37 percent who state to a fairly low degree, and three percent to a low degree.
In the interviews, several teachers highlight that the curriculum and syllabus support and encourage the use of creativity in teaching.
The experience of encouragement for creativity varies greatly The perception of whether teachers at schools are encouraged to use creativity by colleagues, school management, and principals varies. 38 percent of schools report that they are encouraged to a fairly high degree, while 37 percent report that they are encouraged to a fairly low degree. 14 percent report that they are encouraged to a low degree, and 10 percent to a high degree. Overall, 51 percent state that they are encouraged to a low or fairly low degree.
However, in the interviews, teachers describe a culture of peer learning regarding creativity in teaching. It appears to be an integrated part of several teachers’ work, where they share responsibilities and inspire each other in the development of teaching methods and learning activities. The teachers appreciate being able to share ideas and strategies with each other, leading to a shared understanding and a strengthened ability to integrate creative methods into teaching.
To a low degree (3%)
To a fairly low degree (37%)
To a fairly high degree (44%)
To a high degree (16 %)
Figure 8. Do you feel that the curriculum and syllabus support the use of creativity in teaching?
Note: 91 schools have answered the question.
To a low degree (14%)
To a fairly low degree (37%)
To a fairly high degree (38%)
To a high degree (10%)
Figure 9. Are you encouraged to use creativity in teaching (e.g. by colleagues, school management or principal)?
Note: 91 schools have answered the question.
According to one teacher, some colleagues drive the work with creativity by encouraging and inspiring each other and how the lead teacher31, has held lectures on lesson design. Another teacher reports that she/he continuously encourage their colleagues and provide positive examples of how they can incorporate more creativity into teaching and offer to participate in the lessons and act as support. Another teacher describes how there are always two teachers in some lessons to be able to work with creative activities such as charades in connection with reading comprehension. The interviews thus show that teachers do not only work creatively within their own classrooms, but also in collaboration with other teachers and subjects.
Most teachers describe that the principal encourages the use of creativity. According to one teacher, it is encouraged by the principal through further education and supported by the fact that everyone in the teaching staff works with cooperative learning32 and the circle model.33 One teacher states that the support from the management is critical. The school management not only provides necessary resources, such as technological tools and teaching materials, but also encourages teachers to think innovatively and be innovative in their classrooms. This creates an environment where teachers feel free to experiment and adapt their teaching to engage their students at deeper levels.
In summary, the descriptions of the teachers indicate that there is a good collegial encouragement, where collegial exchange of ideas, strategies, and tools is encouraged by both colleagues and school management.
The results regarding conditions are robust across the teacher body Figure 10 presents the results for the condition index based on the background variables municipality group34, whether the teacher has teaching certification, and the number of years the teacher has worked. The figure shows that the findings are robust across the entire teacher body, with no trends in the data based on the background variables. The results hence indicate that regardless of differences in selected background variables, schools respond similarly and are relatively homogeneous in their survey responses related to the prerequisites index.
31 A lead teacher in Sweden is an experienced educator who has been awarded the distinction of first-grade teacher through an application process and assessment by the Swedish National Agency for Education. They are expected to serve as mentors for other teachers, lead development projects, and contribute to raising the quality of education.
32 Elevaktiva samtal för meningsfull och demokratisk undervisning, se bland annat Kooperativt lärande (NE), Retrieved 2024-03-24.
33 Cirkelmodellen är en metod som används inom genrepedagogik för att stödja elevernas textskrivande, se bland annat Lärarens guide till cirkelmodellen, Retrieved 2024-03-24.
34 SKR:s kommungruppsindelning: A. Storstäder och storstadsnära kommuner, B. Större städer och kommuner nära större stad eller C. Mindre städer/tätorter och landsbygdskommuner.
The condition
Certification for teachers Years as a teacher
Note: The index is constructed from the questions “Do you feel that the curriculum and syllabus provide support for using creativity in teaching?”, “Do you feel that there are conditions (e.g. knowledge, teaching materials, guidance, time) at your school for using creativity in your teaching?” and “Are you encouraged to use creativity in your teaching? (e.g. by colleagues, school management or principal)”. The three questions must be answered for the school to be included.
4.4 FOSTERING CREATIVITY IS PERCEIVED TO HAVE POSITIVE EFFECTS
Both the survey and interviews indicate that nearly all schools and teachers believe that creativity in teaching creates positive effects for students’ language and knowledge development, motivation, and desire to learn. Most also believe that creativity enhances teachers’ ability to meet diverse groups of students.
Creative elements are perceived to help meet the diverse needs of student groups
95 percent of schools believe that creative elements to a high or fairly high degree help teachers meet the needs of different student groups. Respondents who report to a high or fairly high degree are asked to elaborate on their answer by providing examples of how creative elements can contribute to meeting the diverse needs of student groups through text. Several respondents have observed that the
11. Do you feel that creative elements in teaching can help you meet the different needs of different groups of students?
Note: 94 schools have answered the question.
Figure
Figure
use of creative approaches, such as dramatisation, art, music, and movement, either in group work or individually, can engage students who otherwise struggle to learn through traditional methods. This includes students with language challenges, special needs, and those who are inclined towards practical activities. By offering various forms of expression and pathways to learning, students with different learning styles and backgrounds can fully participate.
“Creative elements in teaching promote students’ learning in various ways and benefit relationship building. Both aspects contribute to better understanding the diverse needs of student groups.”
Survey response
Incorporating creativity into teaching also contributes to increasing motivation and creating an inclusive environment. At the same time, it helps students express their knowledge in various ways and supports customised teaching. This is particularly beneficial for students who do not have Swedish as their first language and need support to develop their language skills. Additionally, creative activities promote collaboration and interaction in the classroom, helping students build social bonds and boosting their confidence and willingness to participate. In this way, the multifaceted approaches of creativity can help all students feel valued and motivated in their learning.
The interview study is highly consistent with the survey responses. According to interviewees, creative strategies such as games, interactive activities, and the use of digital tools, can be tailored to different students’ learning styles and help them engage with the material in a deeper and more meaningful way. This is particularly beneficial in classes with a diversity of needs, as the creative elements create an inclusive environment where each student can succeed and feel valued, which is fundamental to the school’s compensatory mission. One teacher suggests that creativity is particularly relevant when working with newly arrived students, where it is necessary to explain and visualise the study material using words and images. However, another teacher believes that students who struggle with the Swedish language tend to get stuck on certain creative elements. For instance, if students in Swedish or SAS are tasked with creating a PowerPoint presentation, some may focus so much on the design, colour choices, and layout that it distracts them from the core task in Swedish.
“I believe that you can capture the interest of more students. It’s a bit like tricking them into knowledge through fun ways. Then there are many who also need to grind and practice, but that can also be done in creative ways, of course. I believe that creativity is good for all children. Also, for the compensatory mission that the school has.”
Teacher, interview
Furthermore, teachers also highlight how creativity can increase students’ confidence and independence in the learning process and provide space for more students to participate, who typically do not. When students are given the opportunity to express themselves creatively and explore their own learning, it can strengthen their belief in their ability to handle and understand new information and skills. This can be particularly significant for students who do not feel competent in more traditional academic environments and who struggle with traditional learning methods. Teachers describe that creative tasks and projects can provide students facing various difficulties with an alternative path to success. Through project-based learning, artistic expressions, or practical activities, students can find areas where they can succeed, which can balance the challenges they face in other subjects.
“Creative approaches involve all pupils, including those with greater difficulties. All students can feel that they can succeed and achieve something every day.”
Teacher, interview
The teachers agree that creativity plays a crucial role in the school’s compensatory mission. They see creative learning activities to meet students’ individual needs and a source of motivation and engagement, helping to reduce educational disparities and promote a more inclusive and equitable school environment.
Creativity can strengthen students’ motivation and desire to learn 96 percent of schools report that they perceive creativity in teaching to a high or fairly high degree strengthen students’ motivation and desire to learn. 74 percent respond to a high degree and 22 percent to a fairly high degree. According to these respondents, creativity in teaching can be significant for strengthening students’ motivation and desire to learn. By integrating various creative methods such as dramatisation, project-based learning, and artistic expressions into the curriculum, teachers observe increased enthusiasm and engagement among students. Creativity gives students the opportunity to explore and learn on their own terms, leading to a sense of ownership and a deeper connection to the material. Variation and participation in the learning process are emphasised as key elements to break the monotony of learning and create a more enjoyable and meaningful teaching environment. Prominent themes found in the responses are as follows:
– Variation in teaching through different creative elements helps reduce monotony and increase student engagement.
– Creative tasks provide students with opportunities to develop self-esteem by exploring and learning in new ways. Creative projects that lead to success can also strengthen students’ self-belief and motivate them to learn more.
When students perceive learning activities as fun and enjoyable, their motivation to participate and continue learning increases.
In the interview study, teachers confirm that creative elements in teaching contribute to students’ motivation and desire to learn. They state that when students are given the opportunity to express themselves through creativity, they become more engaged in their school work. This motivation is further strengthened by the fact that creative methods often allow for practical and interactive learning, making teaching more dynamic and engaging. Teachers describe how word games and other interactive methods can engage students
To a low degree (1%)
To a fairly low degree (3%)
To a fairly high degree (22%)
To a high degree (74%)
Figure 12. Do you think that creativity in teaching can enhance students’ motivation?
Note: 93 schools have answered the question.
while improving their vocabulary. Finally, teachers stress that creativity not only improves engagement but also builds students’ confidence. When students are given space to explore their interests and strengthen their skills in a supportive environment, their self-esteem grows, and they develop a sustainable motivation for continued learning.
The responses underscore that creativity in teaching is perceived as a catalyst for students’ motivation and desire to learn. Creative elements stimulate students’ curiosity and give them a sense of satisfaction through active participation and practical creation. This pedagogical strategy seems particularly effective when tailored individually and when students feel they have control over their learning process. By offering a mix of creative methods, from playful projects to dramatisation, teachers can create a dynamic and inclusive teaching environment that welcomes all students’ contributions and enhances their natural desire to learn.
The language development is described as particularly significant for certain groups
According to 88 percent of schools, creativity in teaching has contributed to increasing the language and knowledge development of students to a high or fairly high degree. 40 percent state to a high degree and 48 percent a fairly high degree. The respondents for example describe that creative teaching methods are crucial for creating a stimulating language and knowledge development environment. Creativity in the classroom engages students by making language learning more active and dynamic. According to the respondents, this leads to a deeper understanding and memorisation. Furthermore, creative strategies help make language learning more inclusive and accessible for students with different backgrounds and levels of knowledge. Providing an environment where students can explore and experiment with language on their own terms promotes their desire to learn and express themselves, which is fundamental to language development.
Note: 80 schools have answered the question.
Drama exercises and role-playing give students’ opportunities to explore and use language in a more relaxed and engaging manner, often leading to a richer vocabulary and improved language comprehension. When given the chance to create and communicate through various media, such as digital tools or visual art forms, students’ motivation is stimulated, and
To a low degree (1%)
To a fairly low degree (11%)
To a fairly high degree (48%)
To a high degree (40%)
Figure 13. Do you feel that creativity in teaching has contributed to increasing the language and knowledge development of students/a student?
they become more deeply engaged in their learning. Cooperative learning activities, where students work together and use language in social contexts, strengthen their ability to use language practically. Furthermore, tasks that are directly relevant to students’ daily lives and interests have been shown to be particularly effective in making learning meanigful and lasting. By embracing creativity in the classroom, respondents believe they can create an environment where each student’s language development can be enhanced.
In the interviews, teachers emphasise that creativity is essential for language development for certain groups of students, especially for those learning Swedish as a second language. By using creative methods such as games, storytelling, and project-based learning, students are engaged in language learning in a more active and enjoyable way. These methods encourage communication and interaction, which are imperative for the development of language skills.
“Creativity ties together different elements and involves multiple senses in teaching. Involving multiple senses helps students learn quickly and remember.”
Teacher, interview
Creative tasks involving different forms of expression also help students learn new words and concepts, improve their understanding, and use language in various contexts. A teacher describes that “students experience things as a game, but it helps them learn words, concepts, and content.” An important part of this is also making the student aware of how they learn, “metacognition”. According to the same teacher, this can particularly empower students who receives little support from home regarding schoolwork.
Creativityis important for students to acquire future skills
In the interviews, teachers explain that they see a direct connection between allowing students to work creatively and the development of future skills in students. They emphasise that creative skills, such as problem-solving, critical thinking, and innovation, are essential for students’ adaptability in a rapidly changing world. Teachers feel that creativity promotes curiosity and an ability to think outside the box, whch are important qualities in future workplaces and societies where flexibility and creative approaches are increasingly valuable. The teachers also describe critical thinking as part of the creative process and an important future skill in itself.
The results regarding effects are robust across the teacher body
Figure 14 presents the results for the effects index based on the background variables municipality group35, whether the teacher has teaching certification36, and the number of years the teacher has worked. The figure shows that the findings are robust across the entire teaching body, with no trends indicating that the background variables affect the answers of the respondents. This means that schools are relatively homogeneous in their survey responses related to the effects index.
Figure 14. Effects index by municipality grouping, teacher certification and number of years as teacher.
Note: The index is constructed from the questions “Do you feel that creative elements in teaching can help you to meet the different needs of different student groups?”, “Do you think that creativity in teaching can strengthen students’ motivation and desire to learn?” and “Do you feel that creativity in teaching has contributed to increasing the language and knowledge development (e.g., literacy, reading skills) of pupils/students?”. The three questions must be answered for the school to be included.
4.5 TEACHERS REQUEST COLLABORATION AND PEER LEARNING
Survey data highlights peer learning, collaboration with external stakeholders, new teaching materials, and mentoring as success factors for increasing the use of creativity in teaching. At the same time, interviews show that teachers perceive that they have favourable conditions and the necessary working methods and digital tools.
Peer learning is highlighted in the survey as a key success factor
Figure 15 presents responses to the question “What do you think could increase the use of creativity in teaching?”.
35 SALAR municipal group classification: A. Large cities and municipalities near a large city, B. Larger cities and municipalities close to larger cities, or C. Smaller cities/towns and rural municipalities.
36 Having a teaching certificate in Sweden means that an individual has completed the required education and training to work as a teacher in Swedish schools. This includes obtaining a degree in education or a related field, completing a teaching practicum, and meeting the criteria set by the Swedish National Agency for Education.
Note: 124 schools have answered the question. Respondents can choose multiple answers.
Respondents have been able to choose multiple options. As shown in Figure 15, most respondents request support and knowledge development regarding both collaboration within and outside the school, new teaching materials, and guidance. Furthermore, the use of creativity could increase with method support, access to guidelines on the use of creativity, and higher technical proficiency.
“We need to be challenged in different ways of working to reach all students.”
Teacher, interview
Interviews show that teachers perceive they have good conditions and do not see any critical needs for new working methods or digital tools. However, one teacher emphasises that there is always room for improvement and that it is important to constantly challenge oneself and participate in professional learning.
Figure 15. What do you think could increase the use of creativity in teaching?
Key findings
There is consensus among schools that creativity enhance students’ motivation and desire to learn, contributing to language and knowledge development, and addressing the diverse needs of student groups. Creativity is as a fundamental tool for developing future competences.
There is a discrepancy between perceived use, conditions, and positive effects of creativity. The report shows that schools report using creativity to a higher degree than they perceive that there are conditions for using creativity.
A majority indicate that collegial learning and collaboration with external stakeholders can increase the use of creativity in teaching. New teaching materials, guidance, and methodological support are also highlighted as possible success factors. It is important to have well-selected, flexible, and interactive teaching materials that are visually and auditorily stimulating. Pedagogical flexibility is important, as is the need for teaching materials to be tailored to students’ individual needs and the teacher’s creative teaching methods.
The findings are robust across the entire teaching collective, with no trends indicating that the background variables affect the answers of the respondents.
The survey: 4 Themes, 20 Questions, 199 teachers, 125 schools – all over Sweden.
16. Geographic Distribution
Figure
During the interviews, teachers provide general insights that can enable increased use of creativity in teaching:
Peer learning: A school culture that encourages collaboration among teachers is considered fundamental. Being able to share successful projects and ideas with colleagues can serve as a source of inspiration and peer learning. This aligns with the survey results.
Collaboration with external stakeholders: Berättarministeriet is highlighted as a key stakeholder to collaborate with. A teacher also emphasises that network meetings with other teachers in the Stockholm area who teach SAS are very valuable.
New teaching materials: Two teachers request teaching materials that promote creativity, such as Project Based Learning materials and resources for creative writing, art, and music, which would enrich the creative content in teaching.
Professional learning: Training opportunities for teachers, including courses and workshops focused on creative teaching methods, are highlighted as important for inspiring new ideas and approaches in the classroom. Two teachers also mention that there may be a need for more direct pedagogical guidance and concrete tools from school management to help teachers further incorporate creativity in the classroom.
Digital tools and technical knowledge: Access to modern technology, such as computers, tablets, and interactive boards, is considered crucial to incorporate interactive and creative elements into the learning process. Being able to work with these tools enables a variety of pedagogical applications, from digital art to interactive problem-solving.
School management support: Clear and active support from the school’s management, including principals. This entails encouraging the use of creative teaching methods and providing the resources needed to implement them.
The effectiveness of teaching materials in fostering and encouraging students’ creativity is highly dependent on context
The open-ended responses from the survey regarding the importance of teaching materials for developing and encouraging students’ creativity in school present a somewhat complex picture. They emphasise that both the quality of the teaching materials and the teacher’s role are crucial in stimulating students’ creativity. There is a clear perception that teaching materials need to be interactive, engaging, and promote critical thinking. At the same time, teachers need to be able to adapt and supplement the teaching materialas according to
the students’ needs and learning context. The responses also highlight challenges such as time constraints and resource limitations that affect the opportunities to use teaching materials in a creative manner. Below are the main themes that emerge from the openended responses in the survey:
– It is important to have well-selected, flexible, and interactive teaching materials that are visually and auditorily stimulating.
– The teacher’s ability to engage, plan, and adapt teaching materials is central to fostering creativity.
– Pedagogical flexibility is important, as is the need for teaching materials to be tailored to students’ individual needs and the teacher’s creative teaching methods.
– Teaching materials that encourage reflection, promote critical thinking, and self-expression are seen as more effective in stimulating creativity.
Challenges or obstacles to the effective use of teaching materials include time constraints and limited resources.
Analysis of the responses reveals a noticeable variation in perceptions regarding the impact of teaching materials on fostering creativity, highlighting the significant contextual dependency of their effectiveness. There is a demonstrated need for pedagogical strategies that integrate both teaching materials and teacher competence to effectively stimulate students’ creativity. Time constraints and resource limitations emerge as significant challenges, pointing to larger systemic issues. Achieving optimal use of teaching materials in stimulating creativity requires a balance between high-quality teaching materials, teacher creativity and adaptability, and sufficient resources and time for implementation.
The results from the interviews align with the survey responses. In the interviews, teachers emphasise the important role of teaching materials in fostering creativity in teaching. Teachers stress that well-designed teaching materials that encourage creative thinking and problem-solving can be powerful tools for engaging students and stimulating their creative abilities. Teaching materials with project-based tasks, interactive exercises, and open-ended questions can inspire students to explore and express their ideas in new ways. Teachers underline the importance of teaching materials not only conveying knowledge but also encouraging active participation and creative exploration, which is crucial for deeper understanding and more meaningful learning.
5. Ramboll’s Conclusions
This chapter presents Ramboll’s conclusions, based on the analysis of the data collected. The results from the survey are robust across the teacher community. When we control for various background factors, we find no clear trend that affects how teachers responded based on our categorisations of the survey questions. This means that within our sample of schools that responded to the survey, the school’s municipal group, teacher certification or number of years as a teacher have no clear impact on the survey questions related to creativity.
There is a discrepancy between perceived use, conditions, and positive effects of creativity. Our analysis shows that schools report using creativity to a higher degree than they perceive that there are conditions for using creativity. At the same time, almost all respondents state that they have a strong belief in the positive effects of creativity in the school environment. This result highlights that there is a discrepancy and that the focus should be on improving perceived conditions to increase the use of creativity. Furthermore, our analysis shows that there is a big difference in how schools perceive the conditions for using creativity in teaching. Almost half of the schools in the survey feel that the conditions for using creativity are low or fairly low, and half of the schools feel that they are encouraged to use creativity in teaching to a low or fairly low degree by colleagues, school management or the principal. However, in contrast to the survey responses, the teachers we interviewed feel that they have good conditions for fostering creativity in teaching.
There is consensus among schools that there are significant positive effects from fostering creativity in teaching. It emerges that most teachers have strong confidence in creativity enhancing students’ motivation and desire to learn, contributing to language and knowledge development, and addressing the diverse needs of student groups. The open-ended responses from the survey and interviews provide us with many examples that underlines how learning can be adapted to engage and include a wide range of students by incorporating creativity into teaching. Respondents also highlight that creative tasks allow students to communicate and demonstrate their understanding in ways that traditional methods may not permit. Creativity creates a stimulating language and knowledge development environment, which is particularly beneficial for students who do not have Swedish as their first language and need extra support to develop their language skills. A varied learning process where students are involved is emphasised by several respondents as key elements in creating a more enjoyable and meaningful teaching environment. The analysis of the responses also shows that respondents value creative elements in teaching to achieve a more personally tailored and engaging teaching environment.
Various factors have been identified as important for sustainably integrating creativity into teaching. Creativity plays a significant role in preparing students for an increasingly complex and changing world. OECD’s exploration of the theme emphasises the importance of promoting students’ learning and development through creative thinking in teaching. Mastering different aspects of creativity is crucial for students’ learning and development, contributing to various parts of their intellectual and social skills. Against this backdrop, it becomes important to ensure that schools have the right conditions to effectively incorporate creativity into teaching. Since half of the schools in the survey report that the conditions for using creativity in teaching are low or fairly low, there may be a significant benefit in focusing on improving the conditions if there is a desire to increase usage. Some of the limiting factors identified include lack of time, materials, and resources, as well as collaborative planning and cooperation with colleagues. A majority indicate that peer learning and collaboration with external stakeholders can increase the use of creativity in teaching. New teaching materials, guidance, and methodological support are also highlighted as possible success factors.
5.1 CONCLUDING REMARKS
Based on the results, we would like to conclude by emphasising the need for more studies that draw on teachers’ experiences related to the conditions for creative and equitable teaching, based on the school’s compensatory mission. With the experiences and evidence-based studies available, the focus should be on creating conditions for fostering creativity in teaching and ensuring good opportunities for knowledge development among particularly vulnerable student groups. To enable this, it is important to spread understanding and knowledge to schools and teachers about the important role of creativity in students’ knowledge development. The insights from this survey can be valuable for designing curricula and teaching strategies aimed at maximising students’ engagement and motivation, especially in environments where traditional teaching methods may not be sufficiently effective.
6. Methodology and Data
This chapter outlines the methodological framework of the study, drawing from the OECD framework for assessing creativity in schools. The chapter also contains the primary research questions for this study37 as well as our approach to data collection.
6.1 THE STUDY IS BASED ON THE OECD CREATIVITY FRAMEWORK
The following research questions have guided the study:
– How and to what degree is creativity used in teaching in schools?
– Are there conditions in place to facilitate the use of creativity in teaching?
– How can creativity in teaching contribute to strengthening the school’s compensatory mission?
– How might creativity in teaching enhance students’ learning and the development of future skills?
– What are the needs for professional development to sustainably integrate creativity into teaching?
In formulating the methodological framework of the study, we have used the OECD framework for assessing creativity in schools (see chapter 2).
Throughout the execution of the study, we have adopted a structured approach supported by an analytical framework. This analytical tool has helped to organise the data collection and facilitated a systematic and efficient analysis process. The analytical framework outlines the key questions that the project aims to address, how these questions will be evaluated, and the necessary data collection methods for each question. Developed in collaboration with Berättarministeriet during the initial stages of the study, the analytical framework serves as the cornerstone of our analytical process. Based on this framework, Ramboll has developed survey and interview questions, as detailed in Appendix 1.
Furthermore, we have maintained continuous communication with representatives from Berättarministeriet throughout the study to ensure a comprehensive understanding and alignment of objectives at every stage of the project.
6.2 SAMPLING AND DATA COLLECTION
The primary method of data collection has been a national quantitative survey, complemented by an interview study.
Sampling of respondents
The target group for the survey has been schools in the upper quartile based on the 2023 socioeconomic index38 with teachers teaching Swedish and/or SAS in fourth through sixth grade. Berättarministeriet’s work to strengthen students’ language and knowledge development has guided the selection of Swedish teachers as respondents.
The sampling of the population of schools is based on Statistics Sweden’s data on socioeconomic index at the school unit level, which is published by the Swedish National Agency for Education.39 This data was then matched with Statistics Sweden’s school unit register, to identify schools with a socioeconomic index in the upper quartile that teach grades fourth through sixth, and to access contact information for these schools.40 The identified schools constituted the sample offered to participate in the survey, with the school unit level as the primary unit of analysis. This means that each school, rather than each teacher, was treated as a unique unit for data collection and analysis.
The survey
The survey was distributed to the schools in the sample, which were then responsible for distributing it to teachers in Swedish and/or SAS, teaching fourth through sixth grade. When multiple teachers from the same school responded to the survey, their answers were compiled, and an average was calculated for each school. This approach allowed us to ensure a greater number of complete responses from the subjects, i.e., the schools.41
The survey aimed to provide an understanding of how teachers in sampled schools describe their work with creativity in teaching, the necessary conditions for and potential effects of utilising creativity, and the needs for professional learning to sustainably integrate creativity into teaching. The introductory text of the survey presented PISA’s definition of creativity and its four domains, as well as the Swedish National Agency for Education’s recommendation related to creativity. The complete survey is available in Appendix 2.
124 out of the 601 schools that received the survey responded, corresponding to a response rate of 21 percent based on schools as the unit of analysis.42 Additionally, 199 teachers completed the survey, indicating that for many schools, more than one teacher participated.
Figure 16 illustrates the municipalities where the responding schools are situated, representing a satisfactory geographical as well as size wise distribution. According to the categorisation of municipal groups, by The Swedish Association of Local Authorities and
38 Schools with a socioeconomic index in the upper quartile are included in the sample. For the year 2023, the cutoff for the fourth quartile is 129.6.
39 Skolverket, ”Index per skolenhet. Statsbidrag för stärkt likvärdighet och kunskapsutveckling 2023” (Stockholm: Skolverket, 2022).
40 Skolverket, ”Skolenhetsregistret”, 2023.
41 Partial non-response, where questions in the survey are partially answered, is addressed by encouraging multiple teachers at the same school to respond to the survey. With this method we can calculate an average for each school which compensates for partial non-response.
42 737 schools met our selection criteria. However, since some mailings failed, there were 601 schools that received the survey and had the opportunity to respond to it.
Regions (SALAR), 19 schools are located in large cities and their surrounding municipalities, 61 schools are in mid-sized cities close to large cities, and 44 schools are in smaller towns and rural municipalities.43
Construction of index
To identify patterns in the survey data, two indices were created by aggregating responses from correlated survey questions and calculating an average value.44 For these calculations, the response options were converted into numerical values as follows: “To a high degree” is assigned a value of 4, “To a fairly high degree” a value of 3, “To a fairly low degree” a value of 2, and “To a low degree” a value of 1.45 These two indices specifically measure conditions and effects related to creativity in teaching.
Complementary interviews
In the next step, some of the teachers from the school responding to the survey were included in a complementary qualitative interview study. Ensuring good geographical distribution guided the sampling of respondents for the complementary interviews. These interviews were conducted with teachers at selected schools that had taken part in the survey.
The initial objective of the interview study was to conduct focus groups with a wide representation from various educational settings. However, this approach proved to be challenging, leading to a shift in focus to conducting interviews with teachers at the school level. For this report, interviews have been conducted with seven teachers from five different schools.46 It is important to emphasise that the interview study is designed to complement and deepen the understanding gained from the survey and should not be considered generalisable on its own.
The purpose of the complementary interviews was to provide an in-depth picture of working methods, highlight good examples of how creativity can be used in teaching and provide a better understanding of why teachers in some schools may use creativity to a lesser degree in their teaching. The interviews also aimed to explore in more depth teachers’ needs for professional learning. The survey results were used to identify the issues that required further exploration in the interviews.
We would like to thank all the teachers for taking the time to participate in our survey and interview!
43 The municipal group classification by SALAR: A. Major cities and municipalities near major cities, B. Larger cities and municipalities near a larger city, or C. Smaller cities/towns and rural municipalities.
44 A school’s survey response is included in the construction of the index if all questions included in the index have been answered.
44 For example, an index of 3 means that the average value of the survey questions included corresponds to “To a fairly high degree”.
46 Despite efforts to encourage teacher participation, including repeated reminders and adapting the interview formats to their schedules, the response was limited. Initially, only a few teachers responded to our invitation, and after further follow-ups, we were ultimately able to include seven teachers in the study. These teachers represent five schools, which barely meets half of the desired number of 12 schools. The challenges we faced may be due to several factors, such as our approach to contact and the teachers’ workload at that time of year.
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Tonér, S. (2021). Language and executive functions in Swedish preschoolers (Doctoral dissertation, Department of Linguistics, Stockholm University).
Vincent-Lancrin, S. (2021). Skills for Life: Fostering Creativity. Inter-American Development Bank.
Vincent-Lancrin, S., et al. (2019). Fostering Students’ Creativity and Critical Thinking: What it Means in School. Paris: OECD Publishing.
Theme General research questions
Creativity in teaching How and to what degree is creativity used in teaching in schools?
Are the conditions in place to use creativity in teaching?
Sub-question
How would you describe/define creativity in teaching? Interviews
Do you use creativity when teaching? And to what degree according to the PISA definition?
If yes – in what way (examples)?
If no – why?
Do you feel that the curriculum and syllabus support you to use creativity in teaching? (e.g., for language development)?
Do you feel that there are conditions (such as knowledge, finances, technology) at your school to use creativity in your teaching?
Interviews
Survey, Interviews
Survey, Interviews
Survey, Interviews
Survey, Interviews
Are there any missing conditions? If so, which ones? Survey, Interviews
Are you encouraged to use creativity in teaching? (e.g., by colleagues, school management or principal)
How do you work with creativity in teaching collectively in the teaching team?
Creativity and equity in teaching
The impact of using creativity in teaching
How can creativity in teaching contribute to strengthening the compensatory mission of schools?
How can creativity in teaching potentially promote student learning and the development of so-called future competences?
How do you think creativity in teaching can strengthen the compensatory mission of schools?
Do you feel that creative elements in teaching can help you meet the different needs of different groups of students?
Do you feel that creativity in teaching can help counteract/reverse the knowledge gap among student groups with low achievement levels?
Do you think that creative approaches to teaching can strengthen students’ motivation and desire to learn? Examples?
Do you feel that creativity in teaching has contributed to increasing the language and knowledge development (e.g., literacy, reading skills) of pupils/students? Examples?
Do you feel that creativity in teaching can contribute to strengthening students’ future competences (e.g., critical thinking, problem solving skills, digital skills, cooperation skills, independence)?
What importance would you attribute to creativity in providing students with future skills?
Are there certain student groups that you feel are particularly positively affected by creativity in teaching?
Survey, Interviews
Interviews
Interviews
Survey, Interviews
Interviews
Survey, Interviews
Survey, Interviews
Interviews
Sustainability
What are the needs for professional development to sustainably integrate creativity into teaching?
What professional development needs do you have to increase the use of creativity in teaching (and strengthen the school’s compensatory mission)?
How should such a professional development activity be designed to provide the greatest benefit to teaching (e.g., courses, peer learning)?
What tools/support would you need to be able to teach with creative elements? (Teaching materials, time, support, other resources)
Interviews
Interviews
Survey, Interviews
Interviews
Interviews
Survey on the use of creativity in Swedish teaching
This survey was produced by Ramboll on behalf of Berättarministeriet (The Ministry of Storytelling).
The survey is intended for teachers of Swedish and/or Swedish as a second language in grades 4, 5 or 6 and aims to investigate the use of creativity in teaching, the potential benefits for students’ literacy and learning, and potential professional development needs (creativity is based on the PISA definition, see below). Several teachers in the same school are welcome to respond to the questionnaire.
The survey takes about 10 minutes to complete. No one outside the Ramboll evaluation team will have access to the responses, as your answers are confidential, and respondents will not be named in the reporting of the project or in the final report.
The Swedish National Agency for Education’s recommendation: “Schools should stimulate pupils’ creativity, curiosity and self-confidence as well as their willingness to try out their own ideas and solve problems. In the teaching, students should be given the opportunity through play to process impressions, try out different identities, develop creativity, and their ability to collaborate and communicate. The teaching should encourage and challenge the students to test their own and others’ ideas, solve problems, and put the ideas into action. Thereby, students should be given the opportunity to develop creativity, curiosity, and confidence in their own abilities.” (Skolverket Lgr22).
The concept of creativity is based on the PISA definition, which describes creativity in four categories: Written expression: Using creative written expression involves getting readers to understand and believe in their imagination, which requires a focus on details and continuity. Stories based on fantasy, for example, must follow a certain set of logical rules and be meaningful within the universe the author has created.
Visual expression: Students explore ideas and experience using various media, i.e. interpreting images and understanding information and design. Digital tools are important today within visual creative expression.
Social problem-solving: Creative thinking for solving personal and social problems involves not just viewing the problem from a technical perspective, but also considering the social aspects and the needs of others. This includes identifying patterns and ideas with emotional significance to come up with innovative and functional solutions.
Scientific problem-solving: Scientific problem-solving can take various forms, such as contributing to new ideas and knowledge, designing experiments, developing practical applications, and implementing innovative plans. Students can demonstrate scientifically creative thinking as they explore and experiment with materials.
If you have any questions about the survey or its content, please contact us!
Kind regards, Berättarministeriet and Ramboll
BACKGROUND QUESTIONS
According to our information, you work at {school}. If not, please write the name of the school:
How many years have you worked as a teacher?
1. 0–2 years
2. 3–5 years
3. 6–10 years
4. 11–15 years
5. More than 15 years
Do you have a teaching certificate?
1. Yes
2. No
3. Ongoing
4. Don’t want to say
CREATIVITY IN TEACHING
Do you use creativity in teaching?
1. To a low degree 2. To a fairly low degree
3. To a fairly high degree
To a high degree
What is the reason that you chose “To a low degree” on the previous question?
What is the reason that you chose “To a fairly low degree” on the previous question?
Can you give examples of how you use creativity in teaching?
To what degree do you use play to support creativity in your teaching?
1. To a low degree 2. To a fairly low degree
3. To a fairly high degree 4. To a high degree
Can you give examples of how you use play in teaching?
How could you develop the use of creativity in your teaching?
CONDITIONS FOR USING CREATIVITY IN TEACHING
Do you feel that the curriculum and syllabus support the use of creativity in teaching?
1. To a low degree
2. To a fairly low degree
3. To a fairly high degree
4. To a high degree
5. Don’t know
Do you feel that there are conditions (e.g., knowledge, teaching materials, guidance, time) in your school to use creativity in your teaching?
1. To a low degree
2. To a fairly low degree
3. To a fairly high degree
4. To a high degree
5. Don’t know
What conditions do you feel are missing?
What is the role of learning materials in developing and encouraging students’ creativity?
2
Are you encouraged to use creativity in teaching?
(e.g., by colleagues, school management or principal)
1. To a low degree
2. To a fairly low degree
3. To a fairly high degree
4. To a high degree
5. Don’t know
PERCEIVED IMPACT OF USING CREATIVITY IN TEACHING
Do you feel that creative elements in teaching can help you meet the different needs of different groups of students?
1. To a low degree
2. To a fairly low degree
3. To a fairly high degree
4. To a high degree
5. Don’t know
Can you give examples of how creative elements can help you meet the different needs of groups of students?
Do you think creativity in teaching can boost students’ motivation and desire to learn?
1. To a low degree
2. To a fairly low degree
3. To a fairly high degree
4. To a high degree
5. Don’t know
Can you give examples of how creativity in teaching can enhance students’ motivation and desire to learn?
2
Do you feel that creativity in teaching has contributed to increasing the language and knowledge development (e.g., literacy, reading skills) of pupils/students?
1. To a low degree
2. To a fairly low degree
3. To a fairly high degree
4. To a high degree
5. Don’t know
Can you give examples of when creativity in teaching has contributed to language and knowledge development?
NEED FOR PROFESSIONAL LEARNING
What do you think could increase the use of creativity in teaching? Select multiple answers if necessary.
1. New teaching materials
2. Peer learning
3. Guidance
4. Technical knowledge
5. Methodological support
6. Cooperation with external stakeholders
7. Clearer policy documents on the use of creativity
8. Other
9. Don’t know
Since other was selected, please answer in free text.
Is there any other information you would like to share with us?
Thank you very much for your participation and contribution to the survey on creativity in teaching!
Kind regards, Berättarministeriet and Ramboll
Figure 17. Cross tabulation of responses on use and prerequisits in the survey.
Toafairlylowdegree–prerequisities Toafairlylowdegree–prerequisites Toafairlylowdegree–prerequisites Toalowdegree–prerequisities Toalowdegree–prerequisites Toalowdegree–prerequisites Toafairlyhighdegree–prerequisities Toafairlyhighdegree–prerequisites Toafairlyhighdegree–prerequisites Toahighdegree–prerequisities Toahighdegree–prerequisites Toahighdegree–prerequisites
Note: The figure shows responses to the survey questions “Do you use creativity in your teaching?” and “Do you feel that there are conditions at your school for using creativity in your teaching?” The figure shows how the different answers correlate with each other. 1 % of the respondents answered “ don’t know”. The figure includes 97 schools.
berattarministeriet.se