Dr. V.K.Maheshwari, M.A(Socio, Phil) B.Sc. M. Ed, Ph.D
Former Principal, K.L.D.A.V.(P.G) College, Roorkee, India
Creativity is a great motivator because it makes people interested in what they are doing. Creativity gives hope that there can be a worthwhile idea. Creativity gives the possibility of some sort of achievement to everyone. Creativity makes life more fun and more interesting.
Edward de Bono
So much confusion surrounds the term creativity that it is most difficult to discuss and use it. Ausubel believes that we should use it to refer to “rare and unique talent in a particular field of endeavor. Creative achievement—- reflects a rare capacity for developing insights, sensitivities, and appreciations in a circumscribed content area of intellectual or artistic activity. “Thus, the creative individual who embodies this capacity is, by definition, an uncommon individual who embodies this capacity is, by definition, an uncommon individual, much rarer than the intelligent person.
Creativity is a process which generates ideas that have value to the individual. It involves looking at familiar things with a fresh eye, examining problems with an open mind, making connections, learning from mistakes and using imagination to explore new possibilities.
Creativity can be defined on a variety of levels: cognitively, intellectually, socially, economically, spiritually, and from the perspective of different disciplines within the arts, sciences, and humanities. All students can develop their creative capacities if they have access to rich learning opportunities in environments that nurture and support their creative development.
There are two other concepts to keep in mind: imagination and innovation. Imagination is the root of creativity. It is the ability to bring to mind things that aren’t present to our senses.
Creativity is putting your imagination to work. It is applied imagination. Innovation is putting new ideas into practice. There are various myths about creativity. One is that only special people are creative, another is that creativity is only about the arts, a third is that creativity cannot be taught, and a fourth is that it’s all to do with uninhibited “self-expression.”
None of these is true. Creativity draws from many powers that we all have by virtue of being human. Creativity is possible in all areas of human life, in science, the arts, mathematics, technology, cuisine, teaching, politics, business, you name it. And like many human capacities, our creative powers can be cultivated and refined. Doing that involves an increasing mastery of skills, knowledge, and ideas.
Crucially, creativity can be the hook which engages learners, influencing their attainment and achievement. In addition, as they are core to employability, creativity skills can help learners not only prepare for the world of work but also to shape their own job opportunities.
Definitions of Creativity
According to Plucker, Beghetto, and Dow (2004) “Creativity is the interaction among aptitude, process and environment by which an individual or group produces a perceptible product that is both novel and useful as defined within a social context.‘‘
Over the course of the last decade, however, we seem to have reached a general agreement that creativity involves the production of novel, useful products‘‘
Mumford (2003) defines creativity as “Creativity is the ability to produce work that is both novel (i.e., original, unexpected) and appropriate (i.e., useful, adaptive concerning task constraints)‘‘
In accordance toSternberg and Lubart (1999). . . creativity must entail the following two separate components. First a creative idea or product must be original . . . However, to provide a meaningful criterion; originality must be defined with respect to a particular socio-cultural group. What may be original with respect to one culture may be old news to the members of some other culture . . . Second, the original idea or product must prove adaptive in some sense. The exact nature of this criterion depends on the type of creativity being displayed‘‘
On the basis of above definitions we can conclude
1) Creativity is universal
2) It is innate as well as acquired
3) It produces something new or novel
4) It is adventures and open thinking
5) Creativity is a mean as well as end in itself
6) It carries ego involvement
7) It has a wide scope
Creativity and intelligence necessarily does not hand in hand.
9) Creativity rest more on divergent thinking than on convergent thinking.
10) It can‘t be separated from intelligence
11) It is full of original ideas and thoughts
12) It is more sensitive and ambitious.
13) It can‘t be measured as IQ.
14) It is an individualistic ability
15) It may or may not be hereditary.
Difference between Creative Teaching, Learning, Skills and Change:
Creative Learning – learners are using their creativity skills
Creative Teaching – educators are using their creativity skills
Developing Creativity Skills – where learners skills are expressly being ‘taught’ or developed
Creative Improvement – where creativity is used to innovate systems, administration and strategy
Educationalist Eric Booth sees creativity as the key that can unlock Curriculum for Excellence. Planning for creativity can make both teaching and learning experiences more challenging, engaging and motivating for everyone.
Major Characteristics of Creativity
Creativity is about fresh thinking, its major characteristics are:
- Creativity also involves making critical judgments about whether what you’re working on is any good, be it a theorem, a design, or a poem.
- Creative work often passes through typical phases. Sometimes what you end up with is not what you had in mind when you started.
- It’s a dynamic process that often involves making new connections, crossing disciplines, and using metaphors and analogies.
- Being creative is not just about having off-the-wall ideas and letting your imagination run free. It may involve all of that, but it also involves refining, testing, and focusing what you’re doing. It’s about original thinking on the part of the individual, and it’s also about judging critically whether the work in process is taking the right shape and is worthwhile, at least for the person producing it.
- Creativity is not the opposite of discipline and control. On the contrary, creativity in any field may involve deep factual knowledge and high levels of practical skill. Cultivating creativity is one of the most interesting challenges for any teacher. It involves understanding the real dynamics of creative work.
- Creativity is not a linear process, in which you have to learn all the necessary skills before you get started. It is true that creative work in any field involves a growing mastery of skills and concepts. It is not true that they have to be mastered before the creative work can begin.
Creative Capacities
These capacities can be defined as the means the individual has for expressing whatever creativity he possesses. These abilities are somewhat general and can be applied to a variety of tasks. They are not associated with particular subject matter or disciplines, these abilities together constitute creative thinking. The distinctive aspect of creative thinking is divergent thinking which is characterized, by, among other things, flexibility, originality, and fluency.
Integrating creativity education into arts, academic, and training programs can help learners develop their creative capacities—the skills and attitudes that contribute to imaginative, creative, and innovative thinking. The creative process often involves identifying a problem, exploring multiple solutions, and accepting the risk of failure as the best solution emerges. A base of disciplinary knowledge enables creative work.
v Think Critically, inquire. Pose questions that arise from curiosity.
v Find, Frame, and Solve Problems. Question, analyze, and synthesize ideas
v Identify, articulate, and solve problems.
v Integrate Ideas,see patterns, find relationships, and make connections among ideas.
v Reflect. Contemplate and evaluate ideas.
v Take Action.Initiate action and follow through in bringing ideas to fruition.
v Skills.Collaborate.Work productively with others to bring ideas to fruition.
v Communicate.Express ideas in a variety of ways using a variety of media.
v Attitudes. Curious.Risk-taker. Flexible and adaptable
v Comfortable with ambiguity. Comfortable with more than one right answer.Open and responsive to diverse perspectives
The Creative Process
According to international education expert Sir Ken Robinson, the creative process involves being imaginative, creative and innovative – three distinct but related concepts.
See - Imagination, Seeing something in the mind’s eye
Think – Creativity, Using imagination to solve problems
Produce - Innovation, Applying creative ideas and implementing solutions
Similarly, business consultant Linda Naiman defines creativity as “the act of turning new and imaginative ideas into reality.”
“Creativity involves two processes: thinking, then producing. Innovation is the production or implementation of an idea. If you have ideas, but don’t act on them, you are imaginative but not creative.”
According to these experts, learners who exercise creativity combine imagination, creative thought, and innovation to produce something novel that has value. The ability to imagine, create, and innovate are key components of what it means to be creative – a quality that is fast becoming a key to future success.
Stage of the Creative Process
Creativity means bringing into being; it involves the generation of new things or ideas or the transformation of those previously existing. Creativity is the process of having original ideas that have value.
Association-integration Stage
The first stage of the creative process, the association-integration stage involves the association of previously unrelated elements of inner and outer experiences, forming new associations among what is perceived through the senses, thoughts, memories, ideas, and emotions. This process can involve different degrees of consciousness such as automatic creation ,sudden insight, it can be achieved while we perform any other apparently unrelated activity, a process that has been known as incubation or it can involve a conscious and playful combination of elements.
Elaboration Stage
The second stage, the elaboration involves all the subsequent conscious and voluntary work that is required to transform the associations developed in the previous stage into tangible works.
Communication Stage
The final stage communication, involves sharing the work with others, a process that can be challenging and requires special courage. Sharing the creative outcome with others often unleashes new creative processes in other individuals, making creativity “contagious”.
Divergent thinking, a style of thinking that produces a number of different possible answers, is necessary during all the stages of the creative process. However, some degree of convergent thinking (which leads to a single solution) is also required, particularly during the elaboration phase of the creative process when it is essential to discriminate and choose between alternatives (convergent) while at the same time generating new ideas (divergent).
Identifying Creative Potential
Highly creative individuals display exploratory behavior when encountering novelty, are optimistic, tolerant of uncertainty, pursue their goals with intensity,; display responsibility, are directed to their goals, are able to utilize resources, are self accepting and congruent, and they display empathy, tolerance, and integrated consciousness . Highly creative individuals have a tendency to be physiologically over reactive to stimulation .Further, over excitabilities, which refer to patterns of intense responses, have been found to be indicators of creative potential and giftedness.
There are five types of over excitabilities: emotional, sensual, intellectual, imaginational, and psychomotor. According to Dabrowski, over excitabilities are critical components of one’s potential for development, which allows a person to become authentic and autonomous. The Over excitability Questionnaire II (OEQII) is a 50-item instrument that evaluates the five over excitabilities, it has been used in cross cultural studies involving China, Mexico, Spain, Turkey and USA.
The Torrance Tests of Creative Thinking (TTCT) created by E.P. Torrance (1990) are the most widely used instruments that assess creative potential. These tests have been used for identification of the creatively gifted and are reliable in multicultural settings. The TTCT provide a creativity index (CI) and scores for the following dimensions: flexibility, fluency, originality, elaboration, resistance to premature closure, and abstractness of titles.
The TTCT have shown high reliability and high predictive validity for future career image, and for academic, and style-living creative achievements .
Environments that Support Creative Development
Both the “culture” and physical space of a learning environment can support learners’ creative development. Nurturing such learning environments is an important role of learning leaders—the teachers, principals, administrators, and business and cultural leaders of a community. Whether in a school, business, or community organization, creative learning environments often share the following characteristics:
Culture of a Creative Environment
- The creative environment is welcoming; it is a place where learners feel safe in taking risks. A sense of community and teamwork exists among learners.
- Learning is situated in an authentic context and work is focused on important learning goals. Time is allowed for ideas to incubate .Ideas are challenged.
- Inquiry and investigation are important components of the learning process, as the outcomes of creative work are often unknown at the beginning of a project.
- Diverse perspectives are welcomed and explored to deepen and strengthen the creative process and products of creativity.
- “Mistakes” are viewed as a normal part of the learning process and viewed as opportunities to improve. Curiosity is encouraged and respected as an important first step in learning.
- Project-based learning is common; learners often explore open-ended problems.There is an excitement about learning; learners take ownership of their work.
The Physical Environment
v The physical learning environment allows for flexibility so learners can work alone, in small groups, and in larger groups.
v The environment itself is stimulating and may serve as a provocation for questions and investigations.
v Learning often extends beyond the confines of the physical environment. Creative work is visible, communicating the importance of process and production.
v Creativity is a renewable resource that fuels learners’ ability to navigate the unknown. Developing creative capacities among learners will improve schools, communities, and workplaces.
Models to Facilitate Creativity
There are several models useful to facilitate creative thinking that can be used in the classroom. Let us review of these Models :
1- Creative Problem Solving Model
2- Incubation Model of Teaching
3- Graham Wallis’ Model of the Creative process
Creative Problem Solving Model
Creative Problem Solving is a model to make creative processes more visible, explicit and deliberate by organizing the creative approaches to problem solving, therefore enhancing productivity and effectiveness. It can be used at personal, organizational or social levels. Creative Problem Solving uses research-based techniques, such as brainstorming, future problem solving, and creative role playing. Creative Problem Solving contains components and stages that correspond with the stages of the creative process and involves divergent thinking and convergent thinking tools. Creative Problem Solving is helpful to gain clarity about a challenge, to create ideas, to visualize and overcome that challenge, and to develop solutions and plans.
The Incubation Model of Teaching
The Incubation Model of Teaching involves three stages:
(1) Before the lesson: heightening anticipation to create the desire for learning, engaging students’ attention, stimulating curiosity and imagination and enhancing intrinsic motivation.
(2) During the lesson: the purpose is to deepen expectations. What was anticipated in the first stage must be fulfilled and new expectations are created so students will want to go deeper into what is being taught.
(3) After the lesson: strategies to keep the creative and the learning processes going, even years after the lesson is over. The purpose of the Incubation Model of Teaching, as envisioned by Torrance, is to provide teachers the tools necessary to go beyond simply good practice and become great teachers who are capable to inspire, arouse and motivate students and keep them thinking.
Graham Wallis’ Model of the Creative Process
1. Preparation- In the preparation stage, we define the problem, need, or desire, and gather any information the solution or response needs to account for, and set up criteria for verifying the solution’s acceptability.
2. Incubation- In the incubation stage, we step back from the problem and let our minds contemplate and work it through. Like preparation, incubation can last minutes, weeks, even years.
3. Illumination. In the illumination stage, ideas arise from the mind to provide the basis of a creative response. These ideas can be pieces of the whole or the whole itself, i.e. seeing the entire concept or entity all at once. Unlike the other stages, illumination is often very brief, involving a tremendous rush of insights within a few minutes or hours.
4. Verification- In verification, the final stage, one carries out activities to demonstrate whether or not what emerged in illumination satisfies the need and the criteria defined in the preparation stage.
Psychologist Graham Wallis, many years ago, set down a description of what happens as people approach problems with the objective of coming up with creative solutions. He described his four-stage process as follows:
The first and last stages are left brain (Quadrant A and B) activities, whereas the second and third stages belong to the right brain (Quadrant D and C).
This model of the creative process has been placed on to Ned Herrmann’s Four Quadrant model of the human brain. The following approaches can help teachers to promote creativity in the classroom.
Ensuring that planning incorporates a range of teaching and learning styles.
Providing regular opportunities for hands-on experimentation, problem solving, discussion and collaborative work.
Creating opportunities where pupils are encouraged to actively do the work and question what is going on.
Making use of creative thinking techniques such as Brainstorming, Thinking Hats.
Sharing the learning intentions with pupils and providing them with opportunities for choosing how they are going to work.
Encouraging pupils to improvise experiment and think outside the box. Actively encouraging pupils to question, make connections, envisaging what might be possible and exploring ideas. Asking open-ended questions such as ‗What if…?‘ and ‗How might you…?‘ Joining in with activities and modelling creative thinking and behaviour.
Encouraging pupils to develop criteria that they can use to judge their own work, in particular its originality and value. Facilitating open discussion of the problems pupils are facing and how they can solve them. Encouraging pupils to share ideas with others and to talk about their progress. Using failure or setbacks as opportunities to learn.
Ensuring that assessment procedures reflect and reward creativity, enterprise and innovation. Making effective use of encouragement, praise and positive language.
Creating opportunities to learn through the imagined experience, giving them a safe context to explore ideas using drama techniques.
Creativity in the Classroom
When students are being creative in the classroom they are likely to:
• question and challenge. Creative pupils are curious, question and challenge, and don’t necessarily follow the rules
. • make connections and see relationships. Creative pupils think laterally and make associations between things that are not usually connected.
• envision want might be. They imagine, see possibilities, ask ‘what if?’, picture alternatives, and look at things from different view points.
• explore ideas and options. Creative pupils play with ideas, try alternatives and fresh approaches, keep open minds and modify their ideas to achieve creative results
• reflect critically on ideas, actions and outcomes. They review progress, invite and use feedback, criticize constructively and make perceptive observations.
To encourage the above is likely to require a change in the way schools are run and the way teachers teach.
“The most powerful way to develop creativity in your students is to be a role model. Children develop creativity not when you tell them to, but when you show them.” Source: Robert J Sternberg
, How to Develop Student Creativity
Creative Teaching
“We humans have not yet achieved our full creative potential primarily because every child’s creativity is not properly nurtured. The critical role of imagination, discovery and creativity in a child’s education is only beginning to come to light and, even within the educational community, many still do not appreciate or realize its vital importance.”
Creative teaching may be defined in two ways: firstly, teaching creatively and secondly, teaching for creativity. Teaching creatively might be described as teachers using imaginative approaches to make learning more interesting, engaging, exciting and effective. Teaching for creativity might best be described as using forms of teaching that are intended to develop students own creative thinking and behaviour. However it would be fair to say that teaching for creativity must involve creative teaching. Teachers cannot develop thecreative abilities of their students if their own creative abilities are undiscovered or suppressed.
Teaching with creativity and teaching for creativity include all the characteristics of good teaching – including high motivation, high expectations, the ability to communicate and listen and the ability to interest, engage and inspire. Creative teachers need expertise in their particular fields but they need more than this. They need techniques that stimulate curiosity and raise self esteem and confidence. They must recognize when encouragement is needed and confidence threatened. They must balance structured learning with opportunities for self-direction; and the management of groups while giving attention to individuals.
Teaching for creativity is not an easy option, but it can be enjoyable and deeply fulfilling. It can involve more time and planning to generate and develop ideas and to evaluate whether they have worked. It involves confidence to improvise and take detours, to pick up unexpected opportunities for learning; to live with uncertainty and to risk admitting that an idea led nowhere. Creative teachers are always willing to experiment but they recognize the need to learn from experience. All of this requires more, not less, expertise of teachers.
Creative teachers need confidence in their disciplines and in themselves. There are many highly creative teachers in our schools and many schools where creative approaches to teaching and learning are encouraged. But many schools and teachers do not have access to the necessary practical support and guidance in developing these approaches. Consequently there are important issues of staff development.
It is important to reduce or eliminate the factors which inhibit the creative activity of teachers and learners and give priority to those that encourage it. There are, in education, extraordinarily high levels of prescription in relation to content and teaching methods. There are huge risks of de-skilling teachers and encouraging conformity and passivity in some.
We have an interesting paradox. We have industry commentators saying that, for a successful future, we need people who think, are creative and innovative and yet our education systems seem to be working against this. At a national level government has a responsibility to reduce these risks and to promote higher levels of teacher autonomy and creativity in teaching and learning.
Teachers Encouraging Creativity
Carolyn Edwards and Kay Springate give the following suggestions on encouraging student creativity:
• Give students extended, unhurried time to explore and do their best work. Don’t interfere when students are productively engaged and motivated to complete tasks in which they are fully engaged. • Create an inviting and exciting classroom environment. Provide students with space to leave unfinished work for later completion and quiet space for contemplation.
• Provide an abundant supply of interesting and useful materials and resources.
• Create a classroom climate where students feel mistakes are acceptable and risk taking is encouraged. Appropriate noise, mess and autonomy are accepted.
School Leaders Encouraging Creativity
Teachers can do a lot to encourage creativity in their classes but it’s a job only half done without the support of the school leadership. School leaders have the ability to build an expectation of creativity into a school’s learning and teaching strategies. They can encourage, recognize and reward creativity in both pupils and teachers.
School leaders have the ability to provide resources for creative endeavours; to involve teachers and pupils in creating stimulating environments; to tap the creativity of staff, parents and the local community and much more.
They have the ability to make creativity art of the staff development programme; to include creativity in everyone’s performance reviews; to invite creative people into the school and most important of all, to lead by example.
Measurement of Creativity
Most empirical work on creativity has employed one of three assessment techniques.
- An objective analysis of products.
- Subjective judgments of products or persons as creative.
- Vast majority-used creativity tests.
Creativity Test (I)
Personality test-from creativity scales
v Gough‘s(1957)-California Psychological Inventory
v Cattell & Eber‘s(1968)-Sixteen Personality Factor Questionnaire
v Gough & Heilbrun‘s(1965)-Adjective Check List
v Heist & Yonge‘s(1968)-Omnibus Personality Inventory
Creativity Test(II)
Biographical inventories-an intuitive basis and rated (high, low or average)
ü Alpha Biographical Inventory-includes several hundred items
ü The Biographical Inventory- creativity includes 165 items into five categories
ü 50-item biographical inventory made from Taylor(1963)
Creativity Test (III)
Behavioral assessment-similar as traditional intelligence tests.
- Torrance Tests of Creative Thinking (TTCT) = Minnesota Tests of Creative Thinking
- Torrance Test of Creativity Thinking
- Oral, written, or drawn responses
- It can be scored separately by category
- Teachers given the tests in a group to children
- Four criterion components : fluency, flexibility, elaboration, originality
- Three categories : nonverbal tests, verbal tests using nonverbal stimuli, verbal tests using verbal stimuli
Other Creativity Tests
- Wallach & Kogan tests include five subscales： Instances, Alternate Uses, Similarities, Pattern Meaning, Line Meaning
- Ghiselin, et. al.- Creative Process Checklist-designed to assess states of attention and affect in scientists at the moment of invention
Creativity and Problem solving-
Many authors discuss creativity as creative thinking or problem solving., they define creative thinking as the process of ‘sensing gaps or disturbing or missing elements; forming ideas or hypothesizes concerning them; testing these hypothesizes; and communicating the results. Possibly modifying and retesting the hypotheses’. Gagne also considers creativity to be a form of problem solving which involves intuitive leaps, or a combining of ideas from widely separated fields of knowledge.
Amazingly, sometimes, individuals emphasizes the emotional aspects of the experience_ sudden illumination, the heightened excitement, the esthetic appeal of an idea which has suddenly taken shape and the accident of the experience_ the drinking of black coffee, and the bathing in a bath tub, as in the case of Archimedes or musing under the apple tree as in the case of Newton. What is not emphasized often enough are two factors: These insights which suddenly bridge seemingly unrelated bodies of knowledge can only occur in individuals who have acquired the prerequisite knowledge, and they are often the result of concentrated effort over long period of time. Creativity, at this level, is advanced problem solving. It is very doubtful that any teacher could deliberately foster such creativity.
Creativity and Intelligence
Although certain degree of intelligent for creative thinking yet both are independent abilities. Cognitive process involved in intelligence and creativity may be somewhat different. The differences between intelligence and creativity are summarized below:
Convergent thinking is the basic of intelligence where as divergent thinking is the basis of creativity. Highly creative persons usually possess intelligence to a high degree, but it is not always essential for an intelligent person to be creative, because one may possess high intelligence capacity without having creative abilities. The speed and accuracy of the cognitive behavior are emphasized in intelligence testing, while in testing creativity emphasis is given on flexibility, originality and innovation.
Creativity and Gender difference
No simple conclusions can be drawn from the empirical evidence on gender differences in creativity test scores; there are studies that report that girls and women score higher than boys and men, and there are studies that report the opposite. The former (that is, studies in which girls and women score higher) are more numerous, so it would be hard to make a case for an overall male advantage. The case for a female advantage is also less than conclusive, however, both because there are many studies pointing in opposite directions and there are many that report no significant gender difference.
Vernon argued that although social-environmental influences are certainly major causes of differences in the numbers of highly creative men and women in various fields, these factors are not sufficient explanation for the patterns of achievement that have been observed. “It is entirely implausible that human society should approve of females becoming highly talented performers of music, dance, and drama, and even allowing them to become creative writers, while, at the same time, disapproving of their becoming musical composers or painters. To me, this is the crux of the argument for attributing sex differences in creativity at least, in part, to genetic factors” .
Several theorists have tried to explain why there are so many more creatively accomplished men than women. Helson argued that cultural values, social roles, and sexist thinking are now recognized as key reasons for the comparative. lack of creative accomplishment by women. In comparison to the situation just 30 years ago, we now “realize that social roles have not been structured so that many women would ever become high achievers. It is hard to feel a sense of mystery about ,why there are more eminent men than women” . According to Helson , “differences between men and women in biology and early socialization experience are ‘exaggerated’ by culture” . Among the differences in early socialization experiences that culture exaggerates are differences in the ways parents perceive and interact with their daughters and sons.“Right from childhood, women are less likely to be picked as special by their parents” . These early differences are then intensified by cultural rules, roles, and assumptions. Lack of differences between girls and boys, and between men and women, is the most common outcome for the many studies.
Conclusions
Creativity has been identified as a key component for survival and resilience. If our goal is to teach and nurture future scientists, artists, engineers, entrepreneurs we need to understand and nurture the creative potential because creativity has provided the foundation for art, science, philosophy, and technology. If we want to teach children to become productive human beings, and more satisfied with what they do with their lives we need to support them in the process of discovering and enjoying their creative potential.
Understanding, identifying, and nurturing the creative potential is relevant in education if we want students able to solve academic and personal problems and challenges, to find innovative solutions and alternatives, and to have better tools and resources for success in a fast-changing world. Creative thinking not only enhances our ability to adapt to our environment and circumstances but also allows us to transform those environment and circumstances.
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