Boyer (1990) requested the definition of scholarship be broadened to include different forms. After reviewing the literature in the area of textile and apparel design and education, as well as several tenure and promotion documents, a definition of creative scholarship was not found. A definition was therefore needed to provide guidance to professionals within and outside the textile and apparel design discipline.
The research brought attention to the value of creative scholarship. The literature mentioned that creative scholarship was necessary because it reached more people than traditional scholarship (Bowen & Roberts, 1993; Cantor & Lavine, 2006; Diamond & Adam, 2004; Hays, 1989). One criterion academia uses to rank journals is circulation, which typically includes solely academics. An exhibit of creative scholarship can reach a larger audience because these exhibits are not restricted to just academics (Bowen & Roberts; Cantor & Lavine; Diamond & Adam; Hays). Some members of academia are beginning to understand the importance of creative scholarship. However, Damhorst (2000) stated that the runway show and exhibit were viewed more as entertainment for members instead of a means to disseminate new knowledge. Creative scholarship provides academia with a return to its original purpose of sharing knowledge with the public (Bowens & Roberts; Boyer, 1990; Cantor & Lavine; Diamond & Adam; Hays).
|Keywords:||Creative Scholarship, Textiles and Apparel Design|
Associate Professor, Department of Fashion Management, University of the Incarnate Word, New Braunfels, Texas, USA
Associate Professor, Department of Family and Consumer Sciences, University of Wyoming, Laramie, Wyoming, USA
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