The educational importance of creativity in the lives of young people has long and rich history of scholarship. While much of this has concerned creativity and the arts, in the UK the publication in 1999 of the report All Our Futures by the National Advisory Committee on Creativity, Culture and Education (NACCCE) was regarded by many as an important call to extend the horizon of creativity beyond what has often been perceived to be the exclusive territory of the arts – performing, visual, written and verbal. Much of what followed in UK contexts saw a new alignment of creativity with such things as innovation, problem solving and entrepreneurialism; in short a repositioning of the value of creative activity and creative outcome primarily for economic competitiveness and benefit. Meanwhile, educational research in the domain of creativity was pointing to some of the stark differences between Western and Eastern conceptions of creativity (Craft, 2005; Lubart, 1999) and how this might necessarily shape our understanding, engagement and evaluation of creativity as a both a cultural and educational practice. In the field of pastoral education and welfare, the value of creativity has been tacitly acknowledged but rarely fully explored and developed as a curriculum and pedagogical field of concern. The aim of this special edition, then, has been to begin to address this ‘blind spot’ and in doing so to examine the ways in which both fields of endeavour can be mutually connected through an inter-relationship of creative pastoral education. Not surprisingly, the call for papers has revealed three primary concerns for submitting authors – firstly, the power of visual methods in the representation of the lifeworld experiences of children and young people; secondly, the overwhelming desire to position children as reliable witness and co-participants in the research endeavour; and thirdly, a return to the expressive power of the arts to help heel, nurture and illuminate the interior world through imagination and creativity. In this configuration pastoral creativity focuses on the possibilities of creative reflection and personal development. Not surprisingly, the overwhelming number of contributions came from those working with visual methods in researching pastoral issues. In the first of the papers, Francesca Lorenzi and Irene White contextualise the landscape of creativity research. In setting out a theoretical overview of the field they specifically draw attention to two important features of creative work and the connection to pastoral education; the liminal and the interstitial. In their account of creativity, the liminal deals with the transformative qualities of PASTORAL CARE IN EDUCATION 2019, VOL. 37, NO. 3, 187–189 https://doi.org/10.1080/02643944.2019.1646533

中文翻译：

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教牧教育和关怀的创造力

创造力在年轻人生活中的教育重要性有着悠久而丰富的学术历史。虽然其中大部分都与创造力和艺术有关，但在英国，国家创造力、文化和教育咨询委员会 (NACCCE) 于 1999 年发表的报告《我们的未来》被许多人视为扩大视野的重要呼吁超越通常被认为是艺术的专属领域——表演、视觉、书面和口头的创造力。在英国背景下发生的许多事情都看到了创造力与创新、解决问题和企业家精神等方面的新结合；简而言之，重新定位创意活动和创意成果的价值，主要是为了经济竞争力和利益。同时，创造力领域的教育研究指出了东西方创造力概念之间的一些明显差异（Craft，2005 年；Lubart，1999 年），以及这如何必然影响我们对创造力的理解、参与和评估和教育实践。在牧民教育和福利领域，创造力的价值已被默认，但很少被充分探索和发展为关注的课程和教学领域。因此，本特别版的目的是开始解决这个“盲点”，并以此来研究通过创造性田园教育的相互关系可以将这两个努力领域相互联系的方式。不出所料，论文征集揭示了提交作者的三个主要关注点——第一，视觉方法在表现儿童和年轻人的生活世界经历方面的力量；其次，强烈希望将儿童定位为研究工作的可靠见证人和共同参与者；第三，回归艺术的表现力，通过想象力和创造力帮助脚跟、培育和照亮内部世界。在这种配置中，田园创造力侧重于创造性反思和个人发展的可能性。毫不奇怪，绝大多数的贡献来自那些使用视觉方法研究牧区问题的人。在第一篇论文中，Francesca Lorenzi 和 Irene White 将创造力研究的景观背景化。在对该领域进行理论概述时，他们特别提请注意创造性工作的两个重要特征以及与教牧教育的联系；阈值和间隙。在他们对创造力的描述中，阈限处理了 2019 年教育中的教牧关怀，VOL 的变革性品质。37，没有。3, 187–189 https://doi.org/10.1080/02643944.2019.1646533