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研究生(外文):Dale Albanese
論文名稱(外文):An education innovation model for Taiwan: two examples of disruptive innovation in performing arts education
指導教授(外文):Wu, Jing Jyi
外文關鍵詞:Educational InnovationDisruptive InnovationEducation in TaiwanU-TheatrePaper Windmill Theatre 319 Townships Art ProjectCreativityArts Education
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近年來,創造力教育受到越來越多守門人的關注,包括企業界領袖、學者專家、政策制定者和教育工作者。另外在學術界和教育界,也有 越來越多的人接受「創造力是可以教」的觀念。因此,追求文化和社會適當的教育創新模式來實施創造力教育是非常重要的。

接觸藝術、學習藝術是培養創造力的重要途徑, 但在正式教育體制很難提供機會平等的平台時,相關的教育守門人就必須創造機會解決此一問題。Christensen、Horn與Johnson (2008、2011)也認為傳統的教育創新只是進行永續性的創新,所以他們進而提出破壞性創新的教育模式,以彌補傳統創新教育模式之不足。


In recent years, creativity in education has received increased attention from gatekeepers - the business leaders, scholars, policy-makers, and educators – around the world. There is also growing acceptance in the academic and educational worlds that “creativity can be taught.” Thus it is now crucial to pursue culturally and socially appropriate models for implementing creativity education.

Encountering and studying the arts is an important approach to developing creativity. However, when traditional formal education systems are unable to provide an equal platform for encountering the arts, relevant gatekeepers must come up with new solutions. Christensen, Johnson, &; Horn (2008; 2011) write that traditionally, educational innovation has relied on sustaining innovation, which they hold is insufficient for new educational demands today. They propose instead a model of disruptive innovation for education, which has greater potential impact on the education system, to help close the gap between educational ideals and practice. Leadbeater and Wong (2010) further categorize innovations in either formal or informal educational settings.

This study examines two cases of disruptive innovation in performing arts education from Taiwan: Paper Windmill Theatre’s First Mile, Kid’s Smile 319 Townships Art Project program and the U-Theatre Performing Arts Class at Taipei Jingwen High School. The research methods employed include document analysis, in-depth interviews, and observations. The research findings conclude that the 319 Project's disruptive innovation model for informal education provided children in remote locations with opportunities to encounter the arts, making a positive impact on their lives. The disruptive innovation model for formal education used by the U-Theatre Performing Arts Class gave students with interests and potential in performing arts a channel for their abilities, both helping them develop their artistic interests and talents and enter university.

Abstract i
Chinese Abstract ii
Table of Contents iii
Acknowledgements v
Notes vi
A Few Notes on Interview Quotations vi
Two Notes on Chinese Names vi
Chapter 1 1
Introduction - Creativity: the Response to Change 1
The Case for Creativity: Research Motivation and Justification 3
Politics, Soft Power, and the New Role of Culture 4
Social Problems Demanding Imaginative Solutions 6
The Creative Evolution of the Innovation Economy 8
Cultural and Creative Industries: The “Final Frontier” 9
Creativity, Education, and the Arts 14
The Expanded Role of Creativity in Education 14
Arts Education for Innovation and Creative Citizens 15
Economic Significance of Supporting the Arts 17
Ethical Significance of Supporting the Arts 18
Educational Significance of Supporting the Arts 19
Research Questions and Goal of the Study 21
Chapter 2 23
Literature Review 23
What are Sustaining and Disruptive Innovations? 23
How Do We Categorize Innovation in Terms of Education? 25
Why Do Schools Need Disruptive Innovation? 29
What is the Status of Creativity Education in Taiwan? 31
Chapter 3 37
Research Plan and Methodology 37
Research Plan 37
Research Methodology 39
Theoretical Approach: The Need for Qualitative Study 45
A Note to Place the Researcher 46
Chapter 4 48
Paper Windmill Theatre’s First Mile, Kid’s Smile: 319 Township Children’s Art Project 48
Paper Windmill History and Introduction 49
First Mile, Kids Smile: 319 Children’s Art Project 51
The Urban-Rural Cultural Divide 52
Civilian, Not Government, Support 55
Agency through Creative Crowd-Funding 57
Communities that Care for the Arts 61
Bringing Theatre to the Masses 61
Influence within the Family 66
Influence within the Community 68
Influence in Expanding Community 73
Influencing Perception of Arts and Arts Education 81
Challenges as a Model 83
Chapter 5 85
Jingwen High School U-Theatre Performing Arts Class 85
Context and Motivation for Development 87
U-Theatre Motivation 87
Parental Motivation 89
Private School Motivation 90
Target Students 92
Disruptively Innovative Curriculum, Philosophy, and Methods 96
The U-Theatre Way of Life 98
The U-Theatre Philosophy 99
Philosophy in the Classroom: play 103
Broader Curriculum: technology 104
Difficulties with Breadth: problem-solving 109
Normal Academic Courses 111
The Role of the Performing Arts Teacher: para-teachers 113
Performing Arts in Four: alternative activities &; places 114
Assessment 116
Three Year Plan and Beyond: productive 118
Performance Experience: productive &; problem-solving 121
Financial and Administrative Issues 125
Outcomes of UPAC Innovations 126
College Admittance and Performance 126
Developing Individual Interests: pull-system 129
Creating a Cohort and Developing Teamwork: peer-to-peer 133
Focus for Youthful Energy: productive 136
Self-confidence and Self-Awareness: play 138
Chapter 6 141
Conclusion 141
Discussion 141
Limitations of Research 143
Future Research 144
References 146
English References 146
Chinese References 156
Appendix 158
Appendix A: Interview Form 158
Appendix B: Interview Sample 159
Sample of interview with Liu Ruo-yu 159

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