Exploring Creative Pedagogies in Higher Education: Creative Posters and the Quest of Enhancing Students’ Understanding of Southeast Asian Geopolitical Dynamics

1. Introduction

Teaching IR subjects has never been more demanding than it is now. At the level of substantive coverage, the dynamics that have surfaced in world politics have created complexities in international affairs that require a great deal of skill for lecturers to simplify for students. With events taking place in Asia ranging from trade wars between the US and China, great power rivalries in regional areas, to the contestation of resources and boundaries (Mistreanu, 2025; SETKAB, 2019; Shambaugh, 2020; Zha, 2022), mastering the complexities of IR subjects can be a daunting task for students.

To add to these complexities, how one teaches IR subjects is a topic that is less explored within academia. There is a general expectation that students who enroll in IR courses express interest in working as diplomats in the future (Clausen, 2021; Hagmann & Biersteker, 2012). However, graduate profiles in IR tend to be diverse, ranging from policymakers in the government sector to managing non-governmental organizations (NGOs) to working as researchers. Because of the uncertainty around the IR graduate profile, higher education institutions demand that IR graduates be equipped with a long list of skills to ensure all potential employment prospects remain open. These skills include communication, language, teamwork, negotiation, creativity, and cross-cultural understanding (Alencar et al., 2016; Campillo et al., 2021). To maximize a graduate’s prospects of securing an ideal job in the workforce, special attention is needed to review the methods undertaken within the class.

Two prominent factors highlight the issues students face in their IR courses. At the first level, the focus has been on what is being taught. IR is predominantly Eurocentric scholarship, focusing on theories and concepts derived from the West. This is primarily why scholars from the Global South have voiced such concerns and called for more inclusive IR studies by examining what norms, histories, and values the Global South can teach us about IR (Acharya, 2014b; Putra, 2024). A second issue is how the substantive is being taught. One of the signature pedagogies of IR studies is the traditional one-way teaching method, in which the instructor provides all the information needed to students, with the expectation that students would maintain focus and understanding throughout a class (Ala et al., 2021; Horn et al., 2016; She, 2021; Simpson & Kaussler, 2009). This pedagogy is problematic. For one, studies have examined the significance of student-centered learning as the basis for creative teaching in the social sciences (Bhardwaj et al., 2025; Morris et al., 2025; Shah et al., 2024). Redefining the teaching method in classes may allow students to grasp ideas less pressurized, with a higher chance to elevate their long-life learning skills (O’neill & McMahon, 2005).

The IR subject of this study concerns Southeast Asian studies. Regional dynamics in Southeast Asia are often incorporated into IR programs at Asian higher education institutions, especially Southeast Asian universities. One thing to highlight is that this is a diverse region, consisting of states with different histories, political systems, economic outlooks, and differing alignment strategies in realism’s terms. Consequently, teaching Southeast Asian studies requires not only the lecturer’s virtues but also students’ active participation in the learning process to maximize the class’s teaching and learning output.

Against this backdrop, this exploratory teaching note study examines the prospects and benefits of adopting a creative pedagogy in Southeast Asian studies courses through the use of creative posters. As a method, the exploratory study utilized here allows for an investigation that generates new insights, identifies patterns, and develops new claims about the suitability of the proposed pedagogy. Scholars have noted that the use of innovative methods such as posters, simulations, and policy briefs can be beneficial for students, as it requires them to place value on what practitioners are doing (Calder, 2006). A large portion of the Southeast Asian regional politics study is also future-oriented, in which students are expected to analyze past events and provide recommendations for resolving a particular tension arising in the region. Several examples in the case of Southeast Asian studies are the South China Sea conflict, border tensions (land and sea) among Southeast Asian states, regional solidarity in the Association of Southeast Asian Nations (ASEAN), regional norms, and responses to great power influences (Edwards & Bradford, 2023; FAO, 2017; Johnson et al., 2021). Therefore, the course could benefit from students’ greater creativity, with their opinions given greater prominence in the teaching and learning process. As past studies have noted, creative pedagogical methods foster the idea that no correct answers exist, emphasize the importance of collaborative work, counter classroom stagnation, and encourage the exploration of topics that excite students (Alencar et al., 2016; Clausen, 2021).

This study argues that adopting creative posters can be one of the pedagogical strategies in IR’s most popular course, Southeast Asian Studies. In doing so, this study will provide some step-by-step guidelines on its implementation, situated within the discourse of creative posters as a student-centered learning method. This is followed by an explanation of the unique benefits of using creative pedagogy in IR classrooms. The following section will first explore how existing studies have interpreted the vast pedagogy of IR. It looks first at the one-way teaching method, the signature pedagogy of IR studies, its deficiencies, the importance of creativity to be imposed in classrooms, and how existing studies perceive posters as potentially complementing past methods. In the discussion section, this study begins by exploring the idea of new thinking in IR, in which knowledge can be generated from a non-Western perspective, fostering diversity in opinions on how to engage in IR studies. It then provides an example of a step-by-step approach to adopting creative posters in Southeast Asian studies, including the vast benefits that it promises for IR students.

2. Enhancing creativity in international relations studies: A literature review

What is the most common pedagogy in the study of IR? The most preferred teaching means within the academic discipline can be understood by bridging the ‘signature pedagogy’ conception introduced by Lee S. Shulman. Shulman stated that signature pedagogies are the most common teaching methods in a given academic discipline (Shulman, 2005). Within IR teaching, it is definitely the traditional one-way teaching that dominates the teacher and the learning process. Nevertheless, with the exploration of new pedagogies in social sciences, IR’s signature pedagogy has encountered many criticisms. Clausen, for example, stated that lecturers in IR act as the ‘master,’ while students maintain the role of listening (Clausen, 2021). The dominance of talk does not undermine the knowledge disseminated by the lecturers. However, a critical examination of such a teaching method looks deeply into how the students perceive such a method and questions to what extent they can absorb the knowledge provided (Clausen, 2021; Freire, 1970).

The consideration of outdated teaching methods inspired many studies in the past to explore creative methods as an alternative IR pedagogy. The aim of adopting more creative teaching modes has been to foster divergent thinking and counter stagnation in the teaching and learning process (Baer & Garrett, 2010). It is precisely because of such considerations that creative learning has been introduced in many science subjects in higher education institutions, as well as in understanding social change (Cropley, 2014; Kaufman & Baer, 2004; Lundin, 2009; Nakano & Weschsler, 2018). In the context of IR teaching, the incorporation of creative methods provides the unique opportunity to establish a learning environment in which no right answers exist, to foster collaborative work, and to create a challenging and fun learning environment that ignites critical thinking (Alencar et al., 2016).

Against the backdrop that IR’s signature pedagogy depends on the methods imposed by IR lecturers in classrooms, one could explore the potential of alternative teaching strategies to ignite creativity. In a 2017 study by Ludert and Stewart, they showed that using alternative student-learning activities, such as posters, simulations, debates, and creative presentations, can enhance students’ understanding of the case studies (Ludert & Stewart, 2017). Similarly, past studies have shown the effectiveness of using games and simulations to enhance familiarity with key concepts in the study of IR, which can be difficult for students to grasp (Arnold, 2015; Newmann & Twigg, 2000; Simpson & Kaussler, 2009). Another creative method is the graphic novel. Several past studies have assessed the benefits of graphic novels, particularly their importance as a method in the social sciences and other academic disciplines (Hecke, 2011; Rocamora-Pérez et al., 2017). Perhaps the highlight of such a method is that it allows the use of images to enhance students’ creativity, training them to develop a sense of empathy and emotional attachment to topics evaluated in class (Garrison & Kanuka, 2004; Williams, 2008).

The last discourse related to this study concerns the use of creative posters in classrooms. In the study of IR, few studies have explored the benefits of this approach for students. Studies by Kodabux and Bleiker have assessed how using such a method visually illustrates IR theories and provides a better understanding of world politics through art (Kodabux, 2019). Their study is also concerned with the dominance of texts within the IR discipline and how the teaching method that has become the signature pedagogy of the study leads to a one-way linear flow of information (Bleiker, 2018). Therefore, by adopting creative posters, students can create mind maps and other visual illustrations to better comprehend complex IR concepts and are pushed to situate their ideas within a poster’s diagram. Through posters, students are required to display their ideas visually, which would encourage creative reasoning.

Meanwhile, the discourse on classroom posters provides some unique benefits, as assessed by past studies. Scholars such as Justina Osa and Linda Musser, for example, opined that posters are an attractive learning media that allows for the enhancement of the learning environment (Osa & Musser, 2004). Other studies examined the significance of this tool by arguing that it develops critical skills by pushing students to make links between different media, images, and texts, structured according to their preferences and understanding of a given topic (Hasio, 2015). Meanwhile, in 2015, Howard opined that through posters, students can find enjoyment in class and simultaneously promote higher-order thinking to prepare them for the challenges to come.

Nevertheless, one thing that seems to be missing within the relevant discourses is the question of how creative posters should be adopted as IR subjects. Creative posters have the potential to spark creativity and develop the skills required by the workforce for IR graduates. Nevertheless, there is still a lack of clarity regarding the implementation of such a method within IR subjects. Sally Duchin and Gwen Sherwood opined that whatever the form, the message displayed in posters must ensure that it is brief, interactive, and constant (Duchin & Sherwood, 1990). This conclusion is essential, but more elaboration is needed to guide lecturers in adopting such a method, a task this article aims to accomplish. Taking the study case of Southeast Asian studies, this study will provide the steps and essential elements of the creative poster method in enhancing students’ understanding of the regional complexities and dynamics in Southeast Asia.

3. Analytical framework: Situating creative posters within student-centred learning

Considering the vast opinions within academia, the prospects of adopting creative posters in Southeast Asian Studies subjects within the IR curriculum are understood in this study as consistent with the conception of student-centered learning. In doing so, this study bridges the thoughts of Geraldine O’Neill and Tim McMahon’s 2005 chapter, ‘Student-Centered Learning: What Does it Mean for Students and Lecturers?’ (O’Neill & McMahon, 2005). The term itself can indicate different terms used in the past, such as ‘experiential learning’ or flexible learning (Burnard, 1999; Taylor, 2000). Nevertheless, student-centered learning can be defined as the shift of power from the teacher to the students as actors of learning (Barr & Tagg, 2023; Rogers, 1983). Therefore, the expectation is that lecturers change their roles in the class by becoming facilitators of learning.

Student-centered learning has been understood differently. Nevertheless, Brandes and Ginnis’ guide provides some essential basics to consider when lecturers plan to adopt this in their classes. They include (Brandes & Ginnis, 1986), students are responsible for their learning, active involvement of students in learning, an equal relationship between teachers and students, teachers shift their roles becoming facilitators, and the flow of affective and cognitive domains in conjunction. In cognitive theories, studies have argued for the significance of this form of learning, as it leads to learning activities that are “computed in the head” (O’Neil & McMahon, 2005, p. 32), allowing for a deeper understanding of the topic (Cobb, 1999). However, it is important to note that the same studies also acknowledge that knowledge gains varied and depended on the assessments and implementation of the teaching methods.

Two conceptions of student-centered learning will be connected with using creative posters in the Southeast Asian studies subject. First, the logic that O’Neill and McMahon mentioned as the “either end of a continuum” (between teacher-centered learning and student-centered learning) (O’neill & Mcmahon, 2005, p. 32). The understanding is that the decision about whether to center the learning on the teacher or the student is not a black-and-white one. Instead, the focus is on what teacher-centered or student-centered learning will create in relation to the student’s learning experience. On the latter, the argument introduced is that student-centered learning leads to a higher level of student choice, active participation of students, and the power is mainly in the hands of the students (O’neill & McMahon, 2005). A continuum that leans slightly more toward student-centered learning benefits IR students, given the expectations for their skills upon graduation. Therefore, using creative posters in IR classes is perceived as providing more room for students to be active in the learning process to maintain their motivation.

The second concept used in this study is the student-centered learning approach in classrooms: Problem-Based Learning. Creative posters can address many aspects of the substantive coverage of Southeast Asian studies. However, to enhance critical thinking, this study proposes that introducing a set of problems or issues could prompt students to undertake more serious independent learning and develop their own learning goals. The students, therefore, aim to fill in a gap in existing knowledge and enhance the student’s responsibility due to the creative thinking needed to address the problem. Hence, the choice of topic is important not only for creative posters but also for the enhanced responsibility of resolving problems and visualizing solutions, which will require the student’s active participation throughout the learning process.

4. Creative posters in Southeast Asian studies subject

There are multiple ways and approaches to adopting the creative poster method in Southeast Asian classes. Therefore, it is not the intention of this study to establish the following guidelines as the only means to ignite students’ creativity through posters. The term ‘posters’ itself can refer to different forms. Within academia, the most common type of poster is ‘academic posters,’ which are a form of poster that tends to be made by researchers and postgraduate students to simplify the project that they are working on, with other researchers being the viewers (Gundogan et al., 2016; Sousa & Clark, 2019). The creative poster recommended in this study differs from such a form. This is primarily because the topics of those academic posters tend to be advanced and deeply invested in explaining a novelty within their respective fields of study. They situate their solutions through creative displays. However, one thing that can be taken from such a poster is the keyword ‘simplifying.’

Bridging to the study of Southeast Asia, one can examine the potential benefits of creative posters, which aim to simplify complex explanations, histories, and concepts relevant to Southeast Asia’s context. The form, therefore, should not be confined to certain substantives or elements. The key for lecturers in determining the content within the creative poster should only consist of guidelines on an ideal structure. This could include, for example, background, timeline, problem setting, and solutions. For example, the case assessed by a student in their creative poster is democracy in Southeast Asia. Rather than delving into the complex definitions of democracy imposed by Southeast Asian states (Emmerson, 2005, 2007), one could simply display a map of Southeast Asia and pinpoint the unique developments in democracy across its different parts. It could point to the success of democracy in Indonesia’s history (Rosyidin & Kusumawardhana, 2024) and also examine the unique case of authoritarianism established by the military junta of Myanmar (Abdelkader, 2017; Guilloux, 2010; Maizland, 2022). With the diversity of forms and ideas students can use, their creativity is not confined, allowing them to dig deep into their creative toolbox.

Having seen that the structure of a creative poster should not be fixed, one then turns to the question of what needs to be prepared before launching the project to IR students. In a typical Southeast Asian course, lecturers are expected to cover relevant background issues such as the region’s history, demographic divides, national systems, and how Southeast Asian states respond to global dynamics. This phase is typically undertaken using the traditional teaching method. However, some essential concepts are vital to consider before allowing students to work on their creative posters. The first, and perhaps the most significant regarding IR teaching and learning, is ‘contrapuntal reading.’ As described in Bilgin’s study, and taken up by Ettinger in 2024, contrapuntal reading is the idea that multiple histories exist simultaneously and influence one another (Bilgin, 2016; Ettinger, 2024). Exploring these different histories allows students to uncover an integrated understanding of world and regional politics, and that there is no single right or false answer when it comes to interpreting history.

Contrapuntal reading on Southeast Asian studies is vital to establish that students can engage in a topic differently. As in the case of IR paradigms, once a student is confronted with the task of understanding global politics, one can use a realist, liberalist, or constructivist paradigm. In Southeast Asian studies, lecturers introducing different analytical approaches would help students understand that whatever route they choose for their creative posters will not be deemed wrong. As in the case of the ‘new thinking’ in IR studies, there is a whole range of opinions out there that questions what IR would look like if the discipline were not invented in the West (Acharya, 2014a; Acharya & Stubbs, 2016; Blaney & Tickner, 2017a, 2017b; Buzan, 2016).

The next step is to create themes for the students’ creative posters. In this process, learning from the concept of a ‘renegotiated curriculum’ could provide some interesting insights into the active involvement of students in determining what they will learn (Clausen, 2021; Nunan, 2013). Rather than imposing a specific student/group to present a specific creative poster theme, it would be wise for the lecturers to provide a list of options for students to choose from. Doing so allows students’ motivation to remain high, as they would select a topic of interest, which could lead them to engage in independent learning throughout the poster construction process. Ideally, creative posters are presented in groups. Doing so opens up the opportunity to learn from one another, discuss and weigh advantages and weaknesses to the substantive of the creative poster, and negotiate to find common ground. Considering that this is a region-focused course in IR programs, which is typically elected in a later phase of one’s undergraduate studies, igniting creativity within teamwork would help develop the skills required of an IR graduate.

Perhaps the question of what themes students can choose from needs the most attention. Southeast Asian studies programs across universities differ in the specific curriculum taught or in the class outcomes. However, several themes should represent most of the subjects taught. These include the history and system of ASEAN, the most prominent regional organization in the region. ASEAN was established by the founding of five nations out of concerns for the Cold War and the influence of great powers in the region (Anwar, 1994). Although understanding this could be a relatively straightforward task for the typical IR student, understanding the complexity of the organization’s structure can be daunting, given the hundreds of forums ASEAN hosts each year (Acharya, 2015; Haacke, 2003; Leifer, 1996).

Therefore, one topic that students can elect for their creative posters is centered on the theme of ASEAN as a regional organization, its systems, decision-making process, and perhaps, how it compares with other regional intergovernmental organizations such as the European Union (EU) and the African Union (to name a few). Such a topic demands that a group delve deep into understanding how ASEAN works, the unique norms it upholds (non-interference, consensus-based decision-making, pacific settlement of disputes), and the extra-regional forums it hosts. Students can also have the option of choosing a specific case study in regards to the ASEAN, with adoptable questions ranging from “Is the ASEAN Way relevant today,” “Should the pacific settlement dispute norm be tweaked to be an active resolver of disputes,” or “How is ASEAN different to the EU?” These forms of questions are consistent with Problem-Based Learning, as students seek creative solutions to the given problem and demand to simplify their opinions through visual arts. As mentioned earlier in this article, since the lecturers do not specify what the creative poster should look like, it is up to the student to determine the visual content that addresses the questions they wish to answer.

Another option that could interest students undertaking the Southeast Asian studies course in their IR programs is the South China Sea issue. The South China Sea has been a source of contestation among claimant states, which includes China, Vietnam, the Philippines, Brunei Darussalam, and Malaysia (Fravel, 2011; Li, 2017; Yahuda, 2013). However, it has also affected the intensity of conflict management efforts in the body of ASEAN, as they have struggled for decades to manage tensions at sea (Odgaard, 2003; Parameswaran, 2016; Storey, 2018). As a topic for students to explore in their creative posters, the specific sub-themes that can be addressed include measures for ASEAN to increase its chances of managing the tensions, the national interests at stake for Southeast Asian states, the history of the tensions, or how individual Southeast Asian states have responded to the crisis. As the creative poster outlines the importance of visualization, the group of students displaying the South China Sea, including the different claims held among the claimant states, provides a better picturization for the students working on the topic being presented. Students can choose from various items, including textual summaries, images, dialogues, and explanatory tables.

Another security concern in the Southeast Asian region that tends to be covered in IR programs is the presence of non-traditional security threats. These include issues of terrorism, illegal fishing, human trafficking, drug trafficking, and environmental damage (Caballero-Anthony, 2018). Within the Southeast Asian region, all of those cases mentioned are prominent cases that have been difficult for Southeast Asian states to counter. In this, students can explore different sub-themes, including addressing the concerns posed by non-traditional security threats faced by other Southeast Asian states, the regional approaches undertaken (including their successes and failures), and how different cultural contexts respond to emerging challenges. While researching these topics, students can benefit from investigating different state systems in Southeast Asia, including the divergences of governmental stakeholders involved in addressing a crisis. Non-traditional security threats have existed in the region for decades, and a creative poster encourages students to distill those dynamics into a few strips without losing accuracy to the actual data.

Lastly, students can explore the topic of great power rivalries and the exertion of influence in the region. Indeed, this is one of the topic flashpoints when it comes to Southeast Asian studies within IR, considering the rise of China and the increase of the US’s presence in Asia (Goh, 2016; Kuik, 2022). As a result, academics in the IR discipline have introduced complex theories and concepts to make sense of these developments, which can be challenging to teach to undergraduate students. To address this, creative posters can highlight a country’s favorable foreign policies, for example, by focusing on its outreach to multiple great powers in the region. Or, students can opt to choose a sub-theme that focuses on seeing the development and reach of China’s Belt and Road Initiative (BRI), which has significantly affected the politics of the smaller nations of Southeast Asia, such as Laos and Cambodia (Kuik, 2021; Mit, 2024). This topic is interesting, as it helps students grasp complex IR concepts relevant to Southeast Asian studies and use their creative thinking to re-explain those dynamics in simple visuals and terms.

Besides those topics, other options could be explored. They include human rights issues in Southeast Asia, environmental challenges in the region, emerging and challenging Southeast Asian norms, democracy, etc. The examples in this discussion serve as guidelines for breaking the big topics into smaller sub-themes so students can focus their work and dig deep into the research process for their creative posters. Given the diverse dynamics in the Southeast Asian region, creative posters offer an innovative platform for students to explore their curiosity and enhance their skills by simplifying complex concepts and dynamics into visuals understandable to their peers.

These creative posters are expected to be presented to other students later. For lecturers, how creative posters are presented can take two forms. First, groups present their posters to the lecturer; second, students move from one group to another, giving each member the opportunity to explain their version of the creative poster. This article favors the latter. By providing a chance to see different creative posters up close, students benefit from learning something new in a simplified, visually information-dense format. By facilitating different students, a group member could also potentially enhance their interpersonal skills by making small talks on their poster and addressing questions that may arise from other groups. As mentioned earlier in this article, the key to IR teaching is to ensure that IR graduates are equipped with the skills to succeed in their respective workforces. Negotiation, interpersonal skills, confidence, speaking, and research are all essential skills that the creative poster method enhances throughout the poster’s construction and during its presentation. As a study mentioned in 2021, “The use of images generates interest and greater awareness in the reader” (Campillo et al., 2021). Assessments of the presented posters can be made by evaluating their content, delivery, use of references, and creativity in images.

The methods proposed in this study align with both conceptions of student-centered learning. At the first level, the use of Problem-Based Learning is evident in the selection of themes that students would eventually explore. Although there should be an option to uncover elements of history and systems, the themes selected should revolve around a particular problem set. Doing so would enhance students’ creativity in exploring different solution options and develop their critical thinking skills in proposing the most feasible solution for a given crisis. Potential themes for the creative posters include the South China Sea, the influence of great powers in the region, the evolution of regional norms, and non-traditional security threats, all recurring issues that policymakers have yet to resolve. By electing those problems as themes, students can place themselves in the position of policymakers and discuss with their teams outcomes that are visually possible to display to the class.

Second, it is also important to view this suggestion for using creative posters within a continuum between teacher- and student-centered learning. First, this does not mean that the teaching of Southeast Asian studies needs to adopt a single form. As shown in this study, lecturers are still expected to take a leading role in the learning process during the first several weeks of the class to provide fundamental guidelines for students to effectively engage in understanding Southeast Asian studies. However, the student-centered learning continuum is highlighted in this case, as it is hypothesized to offer distinct benefits that are rare in the traditional teaching method of IR classes. This includes how student-centered learning, in this case through creative posters, could lead to greater student choice, active student participation, and the power of learning in students’ hands. As outlined in the study’s guidelines, students have the right to select a theme that suits their team’s preferences. As the questions are primarily problems to be addressed, the team members engage in learning with one another, actively conducting research and weighing different solution options. Visualizing the results of their research and discussion is also something that needs to be negotiated among the team members without the involvement of the lecturers. However, the role of the instructors in reflecting on the methods used is important, taking note of issues that could be improved in future adoption of similar methods.

Therefore, using creative posters in IR classes may lead to effectiveness. As studies on student-centered learning have shown, there are distinct benefits to adopting this approach in the classroom. Studies have shown that the approach is effective, as it builds a greater understanding of students, increases participation, and boosts confidence (Lea et al., 2003; Lonka & Ahola, 1995). These benefits provide a strong foundation for the skills IR graduates need. To align with the skill descriptions of a diplomat, the use of creative posters in student-centered learning may allow students greater control over the learning process, potentially enhancing skills such as research, negotiation, teamwork, visual presentation, and oral communication.

5. Conclusion

What is the best approach to teaching IR subjects in undergraduate studies programs? In IR teaching, the problem lies not only within the substantive coverage as proposed in the ‘new thinking’ of IR but also in how the study is taught. Looking at the case study of teaching Southeast Asian studies, this study finds that more unique and creative methods are needed to equip IR graduates with the skills required to enter the status quo’s skills-demanding workforce. In doing so, one needs to evaluate to what extent existing methods have been consistent with the development of negotiation, creativity, research, and independent learning skills, which would be beneficial skills to equip oneself with upon graduation.

In doing so, this study bridges the importance of creative posters, situated as a student-centered learning that can be used to shift the power of learning predominantly into the hands of the students. In Southeast Asian studies, multiple themes can be explored. They include questions of outcomes in the South China Sea, managing tensions amid non-traditional security threats, responding to regional environmental degradation, countering the exertion of great-power influence in the region, etc. Using creative posters, the proposed method is that students have the right to select, as a group, a topic that suits their team’s preferences. Creative posters do not have a fixed structure; therefore, it is up to team members to decide which features to include, given the aim of addressing the selected problem. This study finds that such a method can ignite creative thinking, which may elevate the skills expected of an IR graduate in the future. Nevertheless, as an exploratory teaching note, this study acknowledges the limitations of oversimplification that may arise and therefore urges instructors to weigh the pros and cons of the proposed methods before implementation in classrooms.

Two conceptions of student-centered learning are connected to enhance the argument shown in this study. First, the creative poster should adopt a Problem-Based Learning approach when selecting the themes to explore. Take, for example, if students are interested in visualizing solutions to the South China Sea. Doing so would put students in the position of Southeast Asian foreign policymakers, seeking common ground amid the conflicting national interests of Southeast Asian states vis-à-vis China. As studies in the student-centered learning discourse have shown, in Problem-Based Learning students are given greater independence throughout the learning process.

Equally impactful is the conception of teacher-centered and student-centered learning as constituting a continuum. In this perception, rather than seeing the option as black-and-white, the discourse focuses on determining at what stage the lecturers or students should dominate the learning process. As in Southeast Asian studies, there is an acknowledgment that a teacher-centered learning method is required in the early weeks of the class to provide background information on the topics students can choose for their creative posters. However, at a later phase of the course, the expectation is that a student-centered learning continuum would take over, considering its benefits in enhancing student participation in the learning process by selecting a theme that would ignite their creativity.