Innovative Pedagogical Frameworks for Creative Arts: A Critical Review of Cross-Disciplinary Methods

Innovative Pedagogical Frameworks for Creative Arts: A Critical Review of Cross-Disciplinary Methods

Mat Redhuan Samsudin¹, Rushana Sulaiman², Mohd Shahrul Hisham Ahmad Tarmizi³, Siti Safura Zahari⁴, Nur Fatiyah Roslan⁵, Suriana Alias⁶

^1,2,3,4,5College of Creative Arts, Universiti Teknologi MARA (UiTM) Kelantan Branch, 18500 Machang, Kelantan Darul Naim, Malaysia

⁶College of Computing, Informatics and Mathematics, Universiti Teknologi MARA (UiTM) Kelantan Branch, 18500 Machang, Kelantan Darul Naim, Malaysia

DOI: https://dx.doi.org/10.47772/IJRISS.2025.9010015

Received: 22 December 2024; Accepted: 26 December 2024; Published: 27 January 2025

ABSTRACT

Students in the arts field need to apply generic skills such as creativity, innovation, and critical thinking to generate new ideas in the production of artistic products. However, traditional learning and teaching methods have been found to be less effective in meeting the needs of interdisciplinary knowledge in the context of arts education. As a result, students often face difficulties in generating new ideas that are creative and innovative. There is no approach that combines knowledge across disciplines, causing the learning process to be unsystematic, less structured, and less focused. This situation hinders students’ efforts to achieve their full potential in creating works of art. This cross-disciplinary approach encourages holistic development and innovation in the arts, aligning with sustainability principles. Despite its potential, implementing cross-disciplinary methods in creative arts education faces challenges such as resistance to change and resource limitations. This study critically reviews existing cross-disciplinary learning methods and proposes a new pedagogical framework aimed at integrating sustainable and innovative practices. Drawing on the theories of Sternberg and Amabile, the review highlights the importance of knowledge, creative thinking, and intrinsic motivation in fostering creativity. The proposed framework encourages students to engage in cross-disciplinary learning, critical problem analysis, ideation, and evaluation, preparing them to solve complex, real-world issues. By promoting creativity, critical thinking, and innovation, cross-disciplinary learning helps students develop the skills needed to address both artistic and global sustainability challenges.

Keywords: Cross-Disciplinary Learning, Creative Arts, Innovative Pedagogical Framework

INTRODUCTION

The field of creative arts education has undergone significant transformations in recent decades, driven by advancements in technology, shifting societal expectations, and the growing demand for innovative approaches to learning. Traditional methods of teaching in creative arts, often characterized by discipline-specific practices, are increasingly viewed as insufficient to address the complexities of the modern world (Gustina & Sweet, 2023). In this context, cross-disciplinary learning has emerged as a vital pedagogical strategy, bridging knowledge across various domains to foster holistic and sustainable development in the arts.

Cross-disciplinary learning, the integration of knowledge and approaches from multiple academic fields, has emerged as a powerful tool for enhancing the effectiveness of education and research. By drawing on diverse perspectives and methodologies, this approach enables learners and researchers to develop a more holistic understanding of complex issues, fostering the 21st century skills of critical thinking, creativity, communication, and collaboration. (Ye & Xu, 2023)

Numerous studies have highlighted the advantages of cross-disciplinary learning. One case study, for instance, demonstrated how an interdisciplinary thematic curriculum could cultivate students’ “4C skills” – critical thinking, creativity, communication, and collaboration – by breaking down academic boundaries and connecting knowledge across subjects. (Ye & Xu, 2023) Similarly, a framework for assessing cross-disciplinary learning emphasizes the importance of activating, transforming, and integrating resources from prerequisite disciplines to make sense of unfamiliar phenomena in novel contexts. (Borda et al., 2020)

The benefits of cross-disciplinary learning extend beyond the individual level, with implications for the advancement of scientific knowledge and the tackling of global challenges. As described in “The Science of Team Science,” cross-disciplinary teams can strive to combine and integrate concepts, methods, and theories from disparate fields, leading to broader-gauged analyses and more robust scientific integration (Stokols et al., 2008). Furthermore, STEM education research has underscored the value of integrating core concepts and skills from multiple disciplines to deepen understanding and foster the application of knowledge to real-world problems. (English, 2016)

Despite the recognized advantages of cross-disciplinary learning, significant challenges remain in its implementation. As noted in the research, factors such as the specific disciplines being integrated and the nature of the integration such as multidisciplinary, interdisciplinary, transdiscip-linary can influence the learning outcomes in unexpected ways. Nonetheless, the potential of cross-disciplinary learning to equip students and researchers with the necessary skills and perspectives to navigate an increasingly complex world cannot be overstated. (Borda et al., 2020) (Ye & Xu, 2023) (English, 2016) (Stokols et al., 2008)

Cross-disciplinary approaches to education, which integrate concepts and skills from diverse fields, provide students with a broader perspective and equip them with the adaptability to thrive in dynamic environments. For the creative arts, this means blending techniques from disciplines such as design, technology, environmental science, and even business to create learning experiences that are not only innovative but also aligned with the principles of sustainability. This shift is crucial, given the rising emphasis on green practices and the need for creative solutions to environmental challenges in the modern creative industry (Tang, 2022; Tang, 2022).

Despite its potential, the implementation of Cross-disciplinary methods in creative arts education faces significant challenges. These include resistance to change, lack of resources, and limited expertise in merging diverse disciplines into cohesive educational frameworks (Zhi-ju, 2022). To address these barriers, it is imperative to critically examine existing teaching and learning methodologies, identify their limitations, and propose a conceptual framework that optimizes the integration of cross-disciplinary and sustainable practices. This critical review aims to explore the process of producing artwork in cross-disciplinary learning methods within creative arts education, analysed their effectiveness, and propose a new conceptual framework to advance pedagogical innovation. This study seeks to contribute to the growing discourse on sustainability and innovation in the arts, ensuring that creative arts education.

Objective

1. Identifying approaches and best practices that support cross-disciplinary learning in the creative arts.
2. Proposing a new sustainable and innovative pedagogical framework based on a critical analysis of cross-disciplinary learning methods.

METHODOLOGY

This study employs a critical literature review approach aimed at evaluating and critiquing various cross-disciplinary learning methods in the field of creative arts. This approach was chosen because it enables the author to gather, organize, and analyze various previous studies and relevant theories in the arts domain. Furthermore, it offers an opportunity to develop a sustainable and innovative pedagogical framework based on findings from prior research. This research approach does not involve the collection of primary data, such as interviews or surveys, but instead emphasizes the analysis and synthesis of existing literature to gain a deeper understanding of the studied topic.

This study utilized databases such as Scopus, indexed by the University of Technology’s (UiTM) PRIME database, as primary data sources. Data selection followed established inclusion and exclusion criteria. Only publications from the past five years and those focused on cross-disciplinary studies in arts and education were considered. Articles that were unrelated to arts or pedagogy, or lacked clear methodology, were excluded. A search strategy incorporating specific keywords such as cross-disciplinary learning, creative arts education, sustainable pedagogy, and innovative teaching methods guided the selection process. The filtered data was then analyzed through the keyword to identify Cross-disciplinary trend in the existing literature.

Table 1: The numbers of Data by keywords

Theoretical Underpinnings

The foundation for this critical review lies in the growing body of research that advocates for the integration of Cross-disciplinary learning in various educational contexts. Sternberg’s theory explains there are six characteristics and resources that a creative person requires: “intellectual abilities, knowledge, creative thinking, personality, motivation, and environment (Sternberg, 2003). While the theory of Amabile proposed a componential model of creativity to include the confluence of multiple variables (Amabile, 2013). In this model, Amabile included three dominant components, such as domain-relevant skills, creativity-relevant skills, and task motivations. These theoretical perspectives emphasize the importance of bridging diverse knowledge, skills, and cognitive processes to foster creativity and innovation.

In the context of creative arts education, the need for cross-disciplinary learning is further reinforced by the principles of sustainable development. Cross-disciplinarity has become a cornerstone of sustainability, as the complex challenges facing the world today require integrated solutions that go beyond the boundaries of individual disciplines (Turvey, 2023). As articulated in source, cross-disciplinarity has become a cornerstone of sustainability. However, the focus of cross-disciplinary collaboration has remained firmly rooted in the sciences, rarely integrating artistic or humanist perspectives. There is widespread recognition that sustainability challenges require scientific, technical, and cultural solutions and focus on solutions that couple empirical and cultural approaches to tackle the challenges we are facing (Shrivastava et al., 2012; Cardenas & Rodegher, 2020).

Domain of Cross-Disciplinary

Three domains were adapted from Sternberg and Amabile’s theory, such as the first, which is knowledge, where creativity requires a solid knowledge base in a particular field. Knowledge provides the tools to build new ideas based on deep understanding. The second is creative thinking, where it’s related to the way a person sees the creative work. Creative individuals usually have a flexible thinking style and can see multiple options or approaches to an issue. Last is motivation, where creativity requires motivation, especially intrinsic motivation, which is when a person is driven to create or solve problems because of deep interest and not just because of external rewards.

Knowledge

Cross-disciplinary learning in creative arts education involves the intersection of diverse knowledge domains, such as design, technology, environmental science, and mathematics (Gustina & Sweet, 2023). This approach encourages students to draw upon a broader range of information, concepts, and methodologies, fostering a more comprehensive understanding of complex issues. For instance, a fine art student may incorporate principles of data visualization and information architecture from the field of mathematics, blending these technical skills with their mathematical element to create new designs.

To gain the knowledge required for such cross-disciplinary projects, students must read some literature to identify the theme, main idea, and make critical problem analysis to synthesize information from different sources (Vijayalakshmi et al., 2018) highlighted cross-disciplinary learning calls for the sharing of methods, values, and knowledge, expanding opportunities for solving more complex problems. This kind of learning has been shown to promote problem solving, critical thinking, and the ability to use multiple perspectives, which are critical skills in design education and practice.

According to the ORCVIK theory in design, it refers to a conceptual framework used primarily in the field of design and design thinking. The key elements of this theory are observation, reflection, conceptualization, and validation (Nix et al., 2016). Incorporating these elements into cross-disciplinary learning can help students develop a more holistic understanding of a problem and generate innovative solutions. (Areeisty et al., 2020) suggest mind maps can be an effective tool for visually representing the interconnections between different disciplines, helping students to synthesize information and develop integrated perspectives.

Cross-Disciplinary Learning Challenges and Effectiveness

The field of cross-disciplinary learning has gained significant attention in recent years as a means of addressing the growing complexity of modern problems. However, the implementation of effective cross-disciplinary learning frameworks has proven to be a significant challenge, with researchers identifying numerous pedagogical, curricular, and structural barriers. (Ye & Xu, 2023).

One of the key issues identified in the literature is the lack of a systematic and structured approach to interdisciplinary learning curricula. (Ye & Xu, 2023) The dominance of traditional discipline-specific curricula in the educational system has made it difficult to effectively integrate and evaluate cross-disciplinary skills and knowledge. Additionally, there is a pressing need to provide teachers with the necessary pedagogical support and curricular resources to facilitate the implementation of cross-disciplinary learning in the classroom. (Ye & Xu, 2023)

Despite these challenges, researchers have proposed several frameworks to address the complexities of cross-disciplinary learning. These frameworks highlight the importance of developing a deeper understanding of the processes involved in resource activation, transformation, and integration across different disciplines. Furthermore, the ability to frame complex problems and empathize with diverse perspectives has been identified as critical skills for transdisciplinary learning and research. (Pearce et al., 2018).

Creative thinking

Cross-disciplinary learning in creative arts education can foster the development of flexible and divergent thinking skills. By engaging with multiple disciplines, students are exposed to diverse data collection approaches, methodologies, and ways of thinking. This exposure challenges students to step outside their comfort zones, consider alternative perspectives, and explore unconventional solutions.

(Selhorst-Koekkoek & Rusman, 2023) suggests that Cross-disciplinary learning has been shown to promote problem solving, critical thinking, and the ability to use multiple perspectives, which are critical skills in design education and practice. This aligns with the findings from Sternberg’s theory, which emphasizes the importance of creative thinking abilities, such as willingness to take risks, tolerance for ambiguity, and openness to new experiences, in the development of creativity.

Furthermore, the design thinking process, which is visual data collection related to subject, object, and issue. Besides that, categorize the subject matter and issue. Next is analyzing the sketches and idea development. Last is used, where all the data collected will be used for producing the new artwork. All the processes need to be integrated into cross-disciplinary creative arts programs to encourage students to engage in iterative cycles of ideation, prototyping, and testing. This approach cultivates a mindset of exploration, experimentation, and continuous learning, which are essential for fostering creative and innovative thinking (Kim et al., 2019).

Motivation

Feldman’s theory is a model used in art evaluation to analyze and assess artworks comprehensively. According to this theory, the evaluation process consists of four main aspects that can be applied to various fields of art, including assessing work or achievements in other areas (Feldman, 1959). Feldman’s theory outlines 4 components in assessing the artwork, such as Innovation and Creativity (Originality of Ideas), Technique and Skill (Technical Competence), Expression and Emotional Impact (Conveying Meaning), and Aesthetic Value (Overall Evaluation of Whether the Work Achieves Its Purpose).

Innovation refers to the ability to generate new ideas that differ from the usual. Creativity is closely linked to extraordinary thinking and the courage to challenge norms or traditions. The originality of ideas is key in determining how a work stands out and makes an impact. In the context of evaluation, this aspect assesses how the work reflects new and unique thinking and how it introduces a fresh perspective to the audience or society. Works that demonstrate innovation and creativity are often considered more valuable because they introduce something that has not been seen or thought of before.

Technique and skill refer to the ability to use tools, materials, or methods effectively and proficiently. Technical competence is not just about expertise in executing techniques but also about how accurately and meticulously one can achieve in the creative process. In visual arts, for example, this technique can include the use of color, form, and composition in the artwork. Evaluation of technique and skill focuses on how the creator master’s and utilizes available tools and resources to produce high-quality work that meets its creation goals.

Expression refers to the ability to convey feelings or meaning through artwork. This aspect evaluates how the work can connect with the audience, evoke emotions, and create an emotional impact. Emotional impact refers to the effect the work has on individuals who view or experience it. Evaluation here focuses on how the creator conveys messages or themes through elements such as facial expressions, body language, voice, or symbolism, and how it can leave a profound impact on the audience.

Aesthetic value is the overall evaluation of the work based on considerations of beauty, harmony, and satisfaction derived from the artwork. (A Model of Aesthetic Experience, 2023) In this evaluation, the focus is on how the elements of art are combined to create something that touches emotions or stimulates thought. This aspect also assesses whether the work has achieved its intended purpose, whether to entertain, raise awareness, or convey specific values. Aesthetic value focuses on the quality and overall effect of the work and how it creates the desired impact on the audience.

Pedagogical Framework

This framework is divided into three main phases. The first phase is knowledge, where students conduct an in-depth study of the chosen theme and issues, including understanding the context and background of the topic. Following this, in the analysis and mind map for the cross-disciplinary phase, students analysed the collected information and used mind maps to connect elements from different disciplines. This helps in identifying potential collaborations and applying new ideas. Finally, in the Identification of New Disciplines and Application phase, students identify relevant new disciplines and determine how elements from these disciplines can be applied in their research context, linking theory with creative practice. Overall, this framework aims to train students to think cross-disciplinarily and develop more holistic solutions.

The second phase of this framework is creative thinking. In this phase, students need to gather visual data related to the subject, object, or issue they have chosen. The next step is categorized, where students classify the subjects or issues to facilitate understanding and information management. Then, in the analysed stage, students create initial sketches and develop collected ideas to explore potential solutions or new concepts. Finally, in the used phase, students produce a final artwork that reflects the results of their creative thinking and prior analysis. This phase emphasizes the critical and creative development of ideas to produce impactful work.

The final phase of this framework is Motivation, where students conduct a subjective evaluation of the quality and effectiveness of their produced work. This evaluation encompasses several key aspects. First, Innovation and Creativity, where students assess the originality of their ideas, and the level of creativity demonstrated in their work. Second, techniques and skills, which involve evaluating the technical proficiency in executing the work. Third, expression and effects of emotions, where students assess how well the work conveys meaning and emotions to the audience. Lastly, overall aesthetic value examines whether the work achieves its purpose and meets the set objectives. This phase helps students measure the success of their work in terms of innovation, technique, expression, and overall aesthetic value.

Fig 1. Cross-Disciplinary Innovative Pedagogical Framework

CONCLUSION

The role of cross-disciplinary learning in fostering creativity within creative arts education, grounded in theoretical perspectives from Sternberg (Sternberg et al., 2001) and (Amabile, 1982). Sternberg emphasizes six key resources essential for creativity: intellectual abilities, knowledge, creative thinking, personality, motivation, and environment. while Amabile’s componential model highlights the interplay between domain-relevant skills, creativity-relevant skills, and task motivation. Both theories underscore the importance of combining diverse knowledge and cognitive processes to promote innovation. Furthermore, sustainability principles strengthen the case for cross-disciplinary learning, advocating for integrated approaches that transcend disciplinary boundaries to address global challenges by merging scientific, technical, and cultural perspectives (Ye & Xu, 2023).

Cross-disciplinary learning encompasses three main domains: knowledge, creative thinking, and motivation (Razak, 2023). In the domain of knowledge, the integration of diverse fields such as design, technology, and environmental science broadens students’ understanding and equips them with tools to address complex issues innovatively. Techniques like mind mapping and frameworks such as ORCVIK enhance problem conceptualization and solution development. Creative thinking is similarly enriched through exposure to diverse disciplines, fostering flexible and divergent thinking. Processes such as design thinking, which involve iterative cycles of ideation, prototyping, and testing, encourage students to explore unconventional solutions and adopt a mindset of continuous learning. Motivation, particularly intrinsic motivation, plays a crucial role in driving creativity. Feldman’s model evaluates creativity based on innovation, technical skill, emotional expression, and aesthetic value, with an emphasis on originality and the ability to effectively convey meaning through artistic work.

In conclusion, cross-disciplinary learning in creative arts education promotes critical thinking, problem-solving, and innovation by integrating diverse knowledge domains and methodologies. This approach not only nurtures creativity but also prepares students to address complex challenges with sustainable and innovative solutions.

ACKNOWLEDGEMENT

The authors wish to express their gratitude to the Universiti Teknologi MARA (UiTM), Kelantan Branch for funding this research project through the Internal Grant Scheme (600-TNCPI5/3/DDN (03) (016/2022).

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