Steven:

You can present them with a problem or issue to discuss and allow them to come up with a solution using their own creativity and intellect but with some guidance from you in directing them to some resources. If you choose the debate, ensure that the topic relates to their prior reading/experiences/societal or global issue so that they will be able to connect to the topic. I have found the latter strategy brings out much creativity and critical thinking in how they structure their arguments in addressing their opponents. Please see my recent conference paper presented at the 2015 Scholarship of Teaching and Learning conference, South Bend, Indiana, U.S.A. in this regard.

Best regards,

Debra

Conference Paper Debating: A Dynamic Teaching Strategy for Motivating Student...

The strategy is an military squeeze  and I like. But  creation use strathegos?  Strates Egis? In my work I had encounters  types borders. The student's  presentation yours passportS  to across lines. So what's help? Take didactical process, have for youths rights for leathers, space/place (no laboratory) to manifestation. Clap clap : induction,  face/to eyes or create to creation. Showing - curatorial process to create dynamo  for auto-fly    

Let them do something on their own under the able guidance an supervision.. This will be good to understand their interest and for further planning.. Smaller groups will be good to start with..

Interactions can play better role to motivate them for doing their work with creativity and passion. 

Fine arts students schools must take in consideration to make the arts more liberal in context more freedom of expression to the individual  needs to develop the students skill of progression to further refine his/her skills.

I think it's time to focus on the individual students so students that want to excel in great magnitude of there ability and schools would have to develop around not the greater group but to focus on the individual that want to accelerate on the subject of choice...

Technology is the prescription to the old development way of teaching ... Like a cancer the old teachings hampers development it must evolve for the entire ecosystem will collapse under the development of its own infastructure. ....

From my current development I seeker to better my skills in the arts but even in the richest country what I seek I couldn't find this hampered my development to further advance in this skill. ... but I the Internet came the right time as it developed I use its data analytics search engines to further teach my self .... the Internet is the best form of freedom .... 

Three years ago, we proposed to design students an exercise that they should design and build their prototype. We gave students different functions according their profile. They should present the same object but it was made by everyone. It was very nice because they stayed interested and worried about their colleagues attribution. 

You should provoke the students capabilities by asking them to see other artists works. This will give them the chance to interact with the same aesthetic problems that other artists faced and solved. Creativity is the re-order of nature's elements inn one's style.

I appologize if I'm not having the full picture of what is here discuisson about, my perspective (drama/music) might be simple but:

once the aim could be to turn attention to the inner world, to follow the music from outside but observing the reaction of own body (connected to the issue of "embodied cognition") where the source of own creation. I would allways be pleased if some spontaneous moments are recognized; to reach the playfulnes we try to create the place and athmosphere of non-intentional like:

Undr the umbrella "To be" excercises, one exercise is called - expressing languages (AV performative method) :

for exp.:students are asked before to bring music to this lecture, up to their choise to listen togerther.than instructed to follow own body reaction when listening the music, I'm talking about simple sensation, reactions of skin, heart, stomac, where sensations shown) and instruction would be in the next step to transform that body reaction to the visual reaction immediately, no time to think and re-think and understand etc. expression by drawings:

1.allowing the music to fully get under your skin (from the outside it's seen as  producting nothing and its gooood becouse it's only from the outside which for the moment not important if you want to wake up and put in communication the inner source) and the body will know what it means, they're asked to explore and

observe the patterns of own body and thinking patterns

2. find the language to express  the body sensations (words, picture..) transform the inner to outsid

3. Exchange expressions and observations,  no opinions, comments, and no assesing, no interpretations of works

I try to insipire them with creating the inspirative  circumstances  in this case  very simple, with the music that students are asked to bring ..)

In this excercis is proposed to use words:  playfulness, inspiration, expression, spontainety

In theatre we use to say, less is more,  in this spirit I hope yu'll find some seeds in this,my best wishes

Concept of a problem in a task situation includes problem solving and problem posing. Mathematical problem solving could be defined as the student’s process in solving a mathematical problem. The steps to this process are: understanding the problem; devising a plan or strategy; carrying out the plan; and looking back or examining again.,

http://mathted.weebly.com/uploads/7/8/5/0/7850000/tatag_yuli_eko_siswono_final_paper_edited_(1).pdf

as an art student that studied fashion design to product design the first thing i notice in Parsons the New School was the lack of freedom to become more creative in class ..... In Arts Academy University the one of the things that i notice is that it was very structured/ regimented and once again there was no out put for my creative talent to expand .... like i said this is the old way of doing things .... the info structure must evolve to the changing times or collapse in its own derogation and its students that are willing to accelerate there knowledge must have an opportunity to go beyond your regular students that linger in limbo .... if this opportunity opens the student can be capable of greatness and do great things....

Structured techniques of creativity lead to more creative ideas than free thinking, such as brainstorming. I suggest to use structured techniques, such as morphological synthesis, creact, CPS, and so on, depending on the content, problem or goal. There a some books on creativity techniques. 

Stream of Consciousness, Brain storming, Mind Mapping, or writing down dreams. Also there are books, Betty Edwards, "Drawing on the Right Side of the Brain" is one of my favorites. Sometimes I ask my non creative people to do "blind contours". The results also gives a little inspiration and it is fun.

You can find some strategies here: http://artandpedagogy.blogspot.co.uk/2012/11/strategies-and-processes.html

Hello! Here are some ways I could think of ( which I used or were used by others on me):

1. Encourage them to find their own mythology. As I like to say: Everyone needs a mythology in order to exist. As the word implies, the story they create for themselves does not have to be true, it only has to be powerful, thus empowering.

2. Restrict their acces to tools and techniques: by doing so, you can generate an artificial crysis which they have to strive to surpass. Nothing is better for brain activity enhancement than trying to do more with less. Fixed forms and traditional genres are often the place for great battles of creativity: imagine seeing a beautiful lanscape or face and struggling to keep it in your memory because you do not have your camera with you (memory IS construction, as we all know).

3. Give them purposes to strive for, like themes, and, after a brief analysis of the results, gently but firmly decline them the right and need to celebrate their achievement by challenging them to try to overpass those results, maybe by taking another path. Do not use the word ”wrong” for what they did, but try to make them understand if and why the path they chose was going in the needed direction and if or how they could come out with a different, not explicitly „better” solution.

Hope that helps!

So much depends on where they are in the program and what sort of skill-set they are learning. If students are moving between different skills areas, (they might be undertaking a video module and then a sculpture module) it is often useful to get them to think about the 'wrong' things, how to make a sculptural idea using video and how to make a video sequence using sculpture. They can then be introduced to media specificity, and asked to reverse all their initial ideas. 

I think anything we consider as a creative ability depends on two things: context and purpose. However, either in you need to develop your students' skills for a more structured environment, or if you just need them to wander freely, I think you always have to go back and answer the same basic set of personal questions.  Since I come from filmmaking and not fine arts, I can only suggest that you read Dannenbaum, Hodge and Mayer's "Creative Filmmaking from the Inside Out" in order to find those questions and some valuable answers.  On the other hand, a friend of mine once suggested that I watched Michael Apted's 1997 documentary "Inspirations", in order to get some ideas for a workshop with product design students. There you'll see people like Japanese architect Tadao Ando, painter Roy Lichtenstein or singer David Bowie talking about the minutiae of their respective creative processes, very much the same way that Dannenbaum, Hodge and Mayer's subjects reflect upon their own. 

Now, in short, I'm not sure it is something you can make your students do, as much as it is about the questions you ask, the time they give themselves to answer those questions, and the places they go in order to find the answers.

I'd also suggest a small book I read as a student and made the job fairly well: Gianni Rodari's "The Grammar of Fantasy: An Introduction to the Art of Inventing Stories". Although it seems centered in creative writing, some of its strategies can be easily adapted for other creative contexts related to the arts.

Here are links to find methods for designer. They are used to find creative solutions.

http://www.dennis-oswald.de/BLOG/

http://www.dennis-oswald.de/BLOG/

strategies to help develop students' creative abilities: 

Every person is a creative person in his/her own way. It is just that at times  teacher's ideas &  ideas of students match. That works like a high powered engine for students. Till then it is like best is yet to come.

 You have to get the students experience. It is almost like getting into user's shoes. 

If an architecture student is designing a school for blind, he/she has to blindfold and experience the light in pitch dark.

We have the insight function for what we can not yet represent and we can only discover as soul or origin and we also have the symbolic function for which it is possible to represent, as we do with the color green. Some emotions are considered unconscious, so it is necessary to objectify them " make them “conscious". Such process is not always done when we symbolize because we have to externalize the "unconscious" for the objectification of these emotions. This shows that we do it because we feel the security of doing so, that is. we have no doubt as the answer has been found with our insight  function, which integrates the continuity of time and space.