"The more constraints one imposes, the more one frees oneself of the chains that shackle the spirit... the arbitrariness of the constraint only serves to obtain precision of execution."

Igor Stravinsky

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This is the argument: we think better when we are not aware that we are thinking; self consciousness is, by definition, inhibiting. Similarly we work better when we are unaware we are working. When asked to be creative many children become self conscious and find they do not know where to begin. This project attempts to offer ways in which limitations and constraints can be imposed upon a task (writing a poem, painting a picture, composing a piece of music) which prevent self consciousness and allow creativity to flourish.

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The arguments for the importance of arts education is explored in my 'aesthetics' pages.  The rational for 'endless limitations' is outlined in the 'thinking and not thinking' pages. 

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When conducting a tea ceremony a tea master will expect guests to abide by strict rules of etiquette.  Such formality ensures there is no doubt in the minds of those participating what is expected of them.  Such limitation serves to free inhibition.  During the ceremony, for example, guests will be expected to examine the vessels from which they will drink and comment upon its aesthetic qualities.

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In December 2001 Central Trains issued cards to passengers upon which were outlined topics of conversation.  Commuters on British trains are often reluctant to share conversation with others;  the cards vainly attempted to spark otherwise reserved travellers into early morning banter.

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Creativity is often misunderstood – the words ‘creative’ and ‘freedom’ sit together more comfortably than the words ‘creative’ and ‘restriction’ – yet it is my thesis that only by creating restrictions can a child’s creativity be allowed to really develop. 

Many teachers believe that children’s artistic creativity and, to some extent, musical creativity can be addressed by allowing children freedoms that teachers would not grant in subject areas such as science or maths. 

Since my appointment as headteacher at Llanbister Primary School in Powys I have noticed what is almost an entrenched aversion to creative activities.  I have noticed how children feel bewildered when asked to be creative.  

In his astonishing book “Hare Brain, Turtle Mind” Guy Claxton shows how students respond better when their ‘unconscious’ mind is allowed to operate: it is my contention that when children are asked to ‘draw a picture’, ‘write a poem’ or ‘compose some music’ the fewer limitations there are the less creativity is generated.  What is needed is a complete rethinking of what ‘creativity’ means and how a more disciplined approach to creativity would allow children’s ‘unconscious’ learning to be freed.

These web pages, funded by the General Teaching Council of Wales are influenced by a literary and artistic movement which has had significant influence on the continent but very little here in the U.K..  The ‘Oulipo’ movement, as it is termed, has developed a multitude of creative methods which are used to provoke works of art – poetry, painting, music, sculpture.  The movement, however, is wholly situated within a very intellectual and academic context – what I will attempt to do is reinterpret many of these ideas to make them useful to teachers working within mainstream  education.