CREATIVITY - Northampton

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Transcript CREATIVITY - Northampton

CREATIVITY
THE CREATIVE PERSON,
CREATIVE PROCESS, AND
CREATIVE DRAMATICS
CREATIVITY CONTINUED
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When I examined
myself, and my
methods of thought, I
came to the conclusion
that the gift of fantasy
has meant more to me
than my talent for
absorbing positive
knowledge.
Albert Einstien
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There must be
motivation and …
persistence, courage,
and love of one’s
work. There has to be
“the blazing drive.”
E. Paul Torrance
(1995, p. 267)
CREATIVITYCONTINUED
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Two interrelated purposes of gifted
education:
1- to help gifted children and adolescents
become more self-actualized, creative
individuals.
2- to better enable gifted children to make
creative contributions to society.
CREATIVITY CONTINUED
Cropley and Urban (2000) states:
“modern research on creativity, intelligence,
and achievement showed that although
students with high IQs obtained were
consistently outstripped by those with not
only a high IQ but also high creativity”
(p. 485).
CHARACTERISTICS OF CREATIVE
PERSONS
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Creative persons frequently are high in self
confidence, independence,
adventurousness, risk-taking, energy,
enthusiasm, curiosity, play-fulness, humor,
idealism, and reflectiveness.
They tend to be more perceptive and
intuitive.
They tend to have aesthestic and artistic
interest attracted to the complex and
mysterious.
CHARACTERISTICS OF CREATOVE
PERSONS CONTINUED
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They need privacy and alone time.
They are willing to tolerate the ambiguity that
accompanies engaging in creative problem
solving.
The admirable characteristics of
independence and high energy, combined
with nonconformity and unconventionality,
may lead to stubbornness, resistance to
teacher or parent dominatio.
CHARACTERISTICS OF CREATIVE
PERSONS CONTINUED
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They can also appear to be uncooperative,
indifferent to accepted conventions, cynic,
assertive, sloppy, question authority, disregard
details, overactive, forgetful, uncommunicative.
They are often misdiagnosed as ADHD.
A vast majority of historically eminent persons,
writers and artists were mentally disturbed.
(Walberg, 1988 and Richards, 1990, 1999).
CREATIVENESS IN THE KINESTHETIC
AND AUDITORY AREAS (TORRANCE)
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Shows skillful, manipulative movement in
crayon work, typing, piano playing, cooking,
dressmaking, etc.
Shows quick, precise movements in mime,
creative dramatics and role playing
Works at creative movement activities for
extended periods of time
Displays total bodily involvement in
interpreting a poem, story, or song
CREATIVENESS IN THE KINESTHETIC
AND AUDITORY AREAS (TORRANCE)
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Becomes intensely absorbed in creative
movement or dance
Interprets songs, poems, or stories through
creative movement or dance
Writes, draws, walks, and moves with rhythm
and is generally highly responsive to sound
stimuli
Creates music, songs, etc. (perseveres) .
CHARACTERISTICS CONTINUED
Recognizing these characteristics should
help teachers be more patient with the
obnoxious students who show too many of
the negative traits. These traits require
constructive redirection.
 Note that many average and below average
students will demonstrate marvelous creative
talent.
Is it Easy to Recognize Creative Talent?
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CREATIVE ABILITES, TORRANCE
Fluency
Flexibility
Originality
Elaboration
Problem finding
Visualization
Ability to regress
Analogical thinking
Evaluation
Analysis
Synthesis
Transformation
Extend boundaries
Intuition
Predict outcomes
Resist premature
Aesthetic thinking
Concentration
closure
Logical thinking
VIEWING THE CREATIVE
PROCESS
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The traditional approach is to describe a
sequence of stages through which one might
proceed in solving a problem creativity.
The creative process can be viewed as a
change in perception ( seeing new idea
combinations, new relationships, new meanings
or new applications not seen before.
Examine creative thinking techniques to produce
new creative products.
CREATIVE PROCESS MODELS
The Wallas Model (1926)
–
Preparation
–
Incubation
–
Illumination
–
Verification
CREATIVE PROCESS MODELS
CONTINUED
A Two-Stage Model
1. Big Idea Stage – creative person is
looking
for a new idea or problem.
2. Elaboration Stage – idea development,
elaboration, and implementation.
CREATIVE PROCESS MODELS
CONTINUED
Creative Problem Solving Model (CPS), Alex
Osborn, 1963
- fact finding
- problem finding
- idea finding
- solution finding
- acceptance finding
CREATIVE PROCESS/CHANGE IN
PERCEPTION
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The usually abrupt experience of “seeing” a
new idea combination, new relationship, new
meaning, new applications, or new
perspective on a problem.
This sudden change ( coined the “Eureka”) in
perception is not well understand.
CAN CREATIVITY BE TAUGHT?
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Yes/No
It is absolutely true that everyone’s personal
creativity can be improved.
Integrate problem solving activities in daily
lessons.
Use divergent thinking exercises as
brainstorming activities. (223)
GOALS OF CREATIVE TRAINING
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Raising creativity consciousness, creative
attitudes, and strengthening creative
personality traits
Improving students’ understanding of
creativity
Strengthening creative abilities through
exercises
Teaching creative thinking techniques
Involving students in creative activities
PRINCIPLES OF CREATIVE
THINKING
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Creativity will help you live a more
interesting, successful, and enjoyable life.
Creative people are not rigid; they look at
things from different points of view.
Creative people are aware of pressures to
conform—to be like everybody else.
Creative people use their talents, not waste
them.
PRINCIPLES OF CREATIVE THINKING
CONTINUED
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Creative thinking includes taking risks and
making mistakes—and the more creative the
idea, the greater the risks of mistakes and
failures.
Creative people play with ideas, consider lots
of possibilities, use techniques, think
analogically, evaluate their ideas, and get
their ideas, and get their ideas into action.