ERIC ED335852: [Creativity: Nature and Nurture; Program and Curriculum; Reading and Writing.]

53 Pages·1991·6.7 MB·English

by  ERIC

DOCUNENT RESUME
EC 300 594
ED 335 852
Smutney, Joan Franklin, Ed.
AUTHOR
Creativity: Nature and Nurture; Program and
TITLE
Curriculum; Reading and Writing.
Illinois CJuncil for the Gifted, Palatine.
INSTITUTION
91
PUB DATE
53p.
NOTE
Dr.,
Illinois Council for the Gifted, 500 North Clark
AVAILABLE FROM
Palatine, IL 60067.
Collected Works - Serials (022)
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*Art; Art Education; Childrens Literature;
DESCRIPTORS
Creative
Cooperative Learning; *Ct.....tive Development;
Thinking; *Creativity; Critical Thinking; Cultural
Influences; *CUrriculum Development; Elementary
Secondary Education; Enrichment Activities; rreehand
Drawing; *Gifted; Gifted Disadvantaged;
Interdisciplinary Approach; Leadership; Mathematics
Instruction; Mentors; Productivity; Program
Development; Reading Instruction; Talent
Identificatior; *Writing Instruction
ABSTRACT
provide a
This theme issue contains 17 articles which
to
diversity of views on the nature of creativity and how best
"Creatively Gifted,
nurture it. Five initial articles are:
Mentors" (E. Paul
disadvantaged Children: Their Desperate Need for
and
Torrance); "Creative Productivity: Understanding Its Sources
Identifying the
Nurture" (Donald J. Treffinger); "Creativity:
Sloat); 'The
Unidentifiable (One Person's Opinion)" (Robert S.
Curmudg.:on's Guide
Japanese and Creativity" (Kyoko Nakagawa); and "A
and curriculum are
to the Classroom" (Jane Artabasy). Program
Children's
examined in the following articles: "Developing
Thinking and
Creativity" (LeoNora M. Cohen); "A Model for Integrating
through Gifted Education"
Process Skills into the Regular Curriculum
Thinking
(Steven M. Hoover); "Critical, Creative and Cooperative
(Jean Merzon); "Summer
Activities for Gifted Math Students"
(Diane G.
Enrichment: Time to Try an Interdisciplinary Course"
Education"
Oppenheim); and "Creative Leadership: A New Vision for
are considered
(Deborah A. Weiner). Creativity in reading and writing
Wrtting among Gifted Children"
in: "Techniques for Stimulating Story
Young Readers"
(Beverly Otto); "'Bravo Minski' Brings Big Thoughts to
Processing: A
(William Nikola-Lisa); and "From Antique Books to Word
Gifted Authors"
Whole-Language Approach Inspires Creativity in Young
in the following
(Terese R. Messman). Finally, the arts are examined
(Lynn Schornick); "Drawing:
articles: "A Wide-Eyed View of the Arts"
"A Case for Arts
A Process of Thinking" (Jeanie Goertz); and
Hunt, titled "Reform:
Education" (Joe Boyer). A paper by Edmund B.
Perils of Reform")
The Plight of the Gifted" (excerpted from "The
concludes the issue. (DB)
ILLINOIS COUNCIL
FOR THE
GIFTED
A NOTFORPROFIT ORGANIZATION
JOURNAL
VOLUME 10, 1991
kr:
N eft
6;:*
t-In From the Editor
Creative Leadership:
3
28
A New Vision for Education
Joan Franklin Smutny
,
Deborah A. Weiner
CREATIVITY: NATURE AND NURTURE
CREATIVITY:
Creatively Gifted, Disadvantaged Children:
READING AND WRITING
Their Desperate Need for Mentors
4
E. Paul Torrance
Techniques for SthnulatIng Story Writing
Among Gifted Children
31
Creative Productivity:
Beverly Otto
Understanding Its Sources and Nurture
6
Donald J. Trejfinger
Bravo, Minski Brings Big Thoughts
33
to Young Readers
Creativity: Identifying the UnidentifinAe
William Nikola-Lisa
(One Person's Opinion)
9
Roben S. SW:
From Antique Books to Word Processing:
A Whole-Language Approach Inspires
The Japanese and Creativity
11
35
Creativity in Young Gifted Authors
Kyoko Nakagawa
Terese R. Messman
A Curmudgeon's Guide to the Classroom
14
THE ARTS
Jane Artabasy
38
A Wide-Eyed View of the Arts
CREATIVITY:
Lynn Schornick
PROGRAM AND CURRICULUM
39
Drawing: A Procevs of Thinking
Developing Children's Creativity
16
Jeanie Goertz
LeoNora M. Cohen
A Case for Arts Education
41
A Model for Integrating Thinking and
Joe Boyer
*******************.
Process Skills Into the Regular Curriculum
Through Gifted Education
21
Steven M. Hoover
44
Reform: The Plight of the Gifted
Edmund B. Hutu
Critical, Creative and Cooperative Thinking
Activities for Gifted Math Students
24
"PERMISSION TO REPRODUCE THIS
U.S. DEPARTMENT Of EDUCATION
Jean Merzon
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FROM THE EDITOR
Joan Franklin Smatny, Director of the Center for Gifted, National-Lou& University, Evanston, Illinois
its strengths with mainstream classrooms and upgrade
The title of Robert Sloat's article, "Creativity: Identi-
education for all.
fying the Unidentifiable (One Person's Opinion)," cap-
Jean Merzon took a completely innovative approach to
tures many an educator's feelings on that most illusive type
math instruction, incorporating not only problem-solving
creativity. The articles in this Journal
of giftedness
but simulations, dramatics, puppets, art projects and
reflect the diversity of opinions on the nature of creativi-
creative writing into her math class. Oppenheim shares
ty and how best to nurture it, offering a range of ap-
her exciting summer enrichment experience, where grotips
proachw, teaching methods, and applications, especially
of multi-age children cooperated to create their own coun-
in the area of the arts.
try, complete with a system of government, language,
It would seem an incomplete presentation of creativity
number systems, flags and historical time-line.
indeed without significant statements from E. Paul
Three articles focus on creativity applied to reading and
Torrance and Donald Treffinger. Torrance, education's
writing. Nikola-Lisa highlights a delightful book, Bravo,
earliest pioneer on the nature of creativity, focuses on a
Minski, which is a tale of an extraordinarily gifted child
particular population: disadvantaged, creatively gifted
children, and suggests that the most effective way to
who rivals the inventiveness of Ben Franklin and the talent
of Mozart. Terese Messman also draws on past and pres-
nurture them is through mentors. Treffinger explores the
ent to create a novel, creative writing experience for her
sources of creativity and the best avenues for effectively
rniddle-schoolers. With antique books from a used book
supporting the development of creative expressions.
store, she and her students explore classic elements of
Kyoko Nakagawa, a professor at Seiwa College in
literature that has stood the test of time. She incorporates
Hyogo, Japan, spent a year studying at the Torrance Center
whole-language approaches for gifted stud.mts and word-
for Creative Studies. She has written an insightful article
processing in the learning experience. Finally, Bev Otto
comparing American and Japanese culture, contrasting
targets language arts activities and curriculum for pre-
American education's emphasis on individual
self-
primary and kindergarten children, including reading and
expression and independence with Japan's values of
writing activities for the gifted, but not yet literate, young
cooperation and harmonious relations. She notes how the
child.
two culutural approaches have shaped individual expres-
No discussion of creativity would be complete without
sions of creativity.
elaborating on creativity and the arts. Jeanie Came ex-
The section on Creativity: Nature and Nurture con-
plains how drawing has been used by great thinkers, in-
cludes with an irreverent, but humorous, article on the
cluding Leonardo da Vinci and Thomas Rim" as a means
stifling effects of psychological stereotyping and labeling
of brainstorming and stimulating productive thinking. She
of children, and demands that teachers be responsive to
highlights ways in which she has used this process in the
children who, despite teachers' attempts to implement the
problem-solving
students'
that
noting
classroom,
very latest research, simply resist being pigeon-holed.
capabilities have improved with a visual uncirrstanding of
The remainder of the articles focus on curricular ap-
the task. Lynn Schomick and Joe Boyer, both art
plications of creativity. LeoNora Cohen offers approaches
educators, lament the deficiency of arts education, each
for infusing the preprimary and primary classrooms with
making a case that the arts are too integral a part of per-
opportunities for creative thinking and problem-solving
sonal growth and deveopment for society to overlook in
while remaining se/ rsitive to developmentally appropriate
practices. Steven Hoover argues that the best way for
the educational system without effecting significant losses
school systems at-large to gain an appreciation and
to society in the future.
Finally, we proffer a hard-hitting article which examines
understanding of gifted education is to take gifted educa-
the challenges facing gifted education in the state of
tion out of its isolation and encourage gifted teachers to
serve as resources and mentors for all teachers and
Illinois. Ed Hunt, coordinator of gifted education at North-
eastern, zeroes in on some of the most recent issues and
students, sharing their knowledge of thinking skills and
elicits a thoughtful response from the reader. Creative
alternative curricular design. Like Hoover, Deborah
problem-solving is inherent in his approach.
Weiner also sees the potential for gifted education to share
EDITORIAL REVIEW BOARD OF THE ICG JOURNAL:
Jennifer Rinne and Cheryl Siewers, Administrative Staff of the Center for Gifted, National-Louis University, Evanston, Illinois.
3 4
CREATIVELY GIFTED, DISADVANTAGED CHILDREN:
THEIR DESPERATE NEED FOR MENTORS
E. Paul Torrance, Director of Georgia
Studies of Creative Behavior, Athens, Georgia
I shall create! If not a note, a hole
Donna Reed of California, illustrates:
If not an over It, a desecration.
Once I met a man walking
down the street, He looked
In these two lines from "Boy Breaking Glass" (1968), the
at me out of the corner of his eye.
Black poet, Gwendolyn Brooks, personifies the behavior of
He said, "Hello, what's your name,
creatively gifted, disadvantaged children and their desperate
nigger?" I said, "I might be Black
need for mentors. Other poets have voiced equally awesome
but I am beautiful. I am not a nigger.
warnings, as have historians, educators, psychologists, and
I am Black and Proud.
disadvantaged children, themselves.
Are you proud of calling me a niggerT'
The eminent British historian, Arnold Toynbee (1964), con-
This assertive consciousness of Blackness, along with the
cedes that in a child, ability can be discouraged easily because
literature, poetry and music it inspired, such as James Brown's
children are more sensitive than adults and thus readier to pur-
I'm Mach and I'm Proud, have been a powerful influence on
chase, at almost an" price, the toleration that is society's allur-
the lives of Black, creative, disadvantaged, young people;
ing reward for poor-sphited conformity. He warns that the
however, this same animus has created very painful conflicts
creative ability that is suppressed is by no means extinguished,
for many of them.
and is likely to take an antisocial turn.
This two-sided nature of creativity is clearest and most Drugs and the Search for Self-Expression
For ages, untold numbers of creative or potentially creative
misunderstood among disadvantaged children. Almost everyone
who has worked honestly with these students has noted it
people have tried tn Rid their torturous searches for identity and
creative expression through thugs. In the past, this phenomenon
repeatedly. For exanwle, Sylvia Ashton-Warner noted it among
the Maori children she taught in New Zealand. In her book.
has perhaps been more common among disadvantaged, thaa
Spinster, she wrote about a boy whom she calls "Seven":
among advantaged, young people and may still be, but ifs prac
tice among advantaged young people seems to be incensing.
and
There's one thing to be done about Seven
.
.
.
For this reason, we have become more aware of it, although
Force and punishment is not the answer.
I do it
. .
.
we have done little about providing more effective alternatives.
In the world behind my eyes I can see a hazy pic-
The following. mitten by a Black, disadvantaged high-school
ture of a volcano with two vents: one is CreativelltSs
girl in Athens, Georgia, expresses an attitude that also
and one is destructiveness. I si *he little chap gent-
emerged in the 1960's, common to many of these young, bright
ly down in his small desk with *:'ame beside him
and give them each a board and clay. (Ashton-
students, for many of whom it was difficult to fathom life beyond
Warner, 1985, p. 12).
their disadvantaged environments:
I really think life is a hassle, living with uncivilized,
A Change
helpless humans. What do the older generations
In the 1960's and 1970's, educators, and the public in general
in the United States, became dismayed and outraged by the in-
know about pot 11311 drugs? Man, this is a thag, deal-
ing dope and getting big hassles about money and
creased disorder, violence and desmictiveness that characterized
that don't 'mount to a damn boogaloo
other th1
many schools. Everyone knew that a change had occurred, but
's generation talking about us addicts
it was difficult to know just what the change was.
the 1*
. .
.
and being disrespectable
I do not think that the feelings of anger and hate that erupted
. .
.
A creative, young Harlem poet described his attitude about
in our schools were new. When disadvantaged people are en-
drug use in the following poem, entitled One Way Ticket to
slaved, isolated, segregated. discriminated against, or made
Nowhere:
helpless, their anger and hatred are throttled and their creativi-
How many of you before me
ty finds outlets in unobtrusive ways. Likewise, their destruc-
I wonder saw fit,
tiveness is more covert. Where there is social equality, these
To embark upon this hellafithi trip.
feelings and behaviors are allowed to surface. We progress if
Tell me. How many of you
we aebowledge them and set about to deal with them in con-
Have paid the fare
shuctive ways.
Search for Identity
For a one-way ticket to Nowhere!!
Creative children, of any color, social class or ethnic group,
. .
.
I've been to the land of Nowhere,
have severe problems in their searches for identity. Many of
And I find I must confess
those who have worked with creative, disadvantaged young peo-
Of all the places I've been to
ple are convinced that this problem is much more critical and
I like Nowhere best.
extreme among these children than among more advantaged.
So I pack my rags into my bags
creative children or less creative, disadvantaged children. A
Then begin my journey at last.
junior high school student in California expressed her search
I pop six tablets into my mouth.
rather positively:
I want to get Nowhere fast.
Me? I don't know what my potential is. Sometimes
(Craig Allen Carter, 1969, p. 23)
I can overestimate myself; sometimes I under-
Research
estimate myself. I can sit for hours and wonder who
I have long been a strong advocate of mentors (sponsors,
I am. I have a body that is capable of many things.
patrons, gurus. sanseis, etc. ) for creative children and young
But I vaguely feel a spirit, too, a thing so abstract
people. In my 1962 book. Guiding Creathv Talent, I observed
that I can hardly grasp it
I am growing to know
. .
.
that "almost always, whenever creativity occurs and per-
this being bit by bit, day by day. Some day. I hope
sists, there is some other individual or agent who plays the role
I will know who I am. (Christine Shelley, 1969.
of sponsor or mentor. This role is played by someone who is
P. 3)
The "Black and proud" movement in the 1960's provided
not a member of the peer group, but possesses prestige or power
in the same social system." Such a person does 5everal things.
many a creative, young, Black child a useful defense in his
4
Regardless of his or her own views, the mentor encourages and
search for identity, as the following unpublished poem. by
5
child that I tested in 1958-59. When I asked her teacher about
supports the creative person in expressing and testing ideas and
her then, she told me that this child had imaginary playmates
in thinking through things independently. The mentor protects
and that the school social worker and her mother were "work-
the protege from the negative reactions of his peers long enough
ing on the problem." Year by year, the girl's I.Q. and creativity
to try out ideas and modify them.
scores dropped, and she eventually had to drop out of school
I found very compelling evidence in my 22-year (1958-1980)
to care for family members.
research concerning the urgent need of the disadvantaged for
These observations strongly suggest that the only way to help
mentors during their early years. I studied all of the children
and to
disadvantaged, gifted children achieve their potential
enrolIed in two schools: a public school and the Laboratory
is by providing mentors for them at a very
achieve creatively
School of the Univermty of N4innesota. Once each year, from
early age.
1958 through 1964, I administered to these students creativity
The findings derived from this research are significant:
tests I was developing. Most of these children's parents were
1. Such measures as the Torrance Tests of Creative Think-
professionals who could afford to give their children oppor-
ing, the Alpha Biographical Inventory, Thinking Creatively with
tunities to develop their potentials. although the public school
Movement and Action, and certain checklists of creative
was almost adjacent to a low-cost housing development, referred
strengths of the disadvantaged and the culturally different, are
to as "the project." There were many minority children, some
not biased insofar as race and socioeconomic status are
of whom were too bright or too creative and could not be
concerned.
tolerated in the public school. Both Fchoois had supportive
2. Sources derived from these tests do significantly predict
parents and exceptionally good. creative tmchers who en-
later creative achievement. (For example, measures of the quan-
couraged and motivated their pupils with many opportunities
tity and quality of publicly recognized creative achievement.
to develop their creativity. This was an ideal situation in which
evidence of the achievement of a creative quality of life, and
to test the predictive validity of tests of creativity. These were
a creative future self-image.)
happy, exciting places to learn and develop.
3. Mentors aid in creative achievement, yet mentors have rare-
About 22 years later, we located 216 of thea,e we had tested
ly been available to children living in poverty or who come from
at the two Minnesota schools, and surveyed them with a rather
minority backgrounds.
detailed questionnaire which elicited information about their
4. Disadvantaged, gifted children excel when they are taught
creative achievements (publicly recognized and acknowledged
creatively, and learn when they are taught experientially and
achievements, personal style and achievements), their career
when a variety of modali:ies are used.
progress. and plans for the future. The data yielded good predic-
Epilogue 1991: Is There Still Hope?
tive validity data Ian overall correlation coefficient of .59, bet-
In 1973. at the annual meeting of the Association for the
ter for certain measures (Torrance, 1980, 1981)1.
Gifted. I was honored for my "outstanding contributions" to
During this follow-up survey, we also obtained data about
research on disadvantaged, gifted children. At that time, even
the mentors they had had as children. Just "having a mentor"
the little research being done in this area, most of which was
or -not having a mentor" had statistically significant correla-
unfunded, was beginning to grind to a halt. The ERLC Center
tions with each of the criteria of creative achievements (rang-
had run a computer search for me, to identify doctoral disser-
ing from .23 to .33).
tations on the disadvantaged, which revealed that I had directed
Close examination of the data revealed that the disadvantaged
more of these dissertations than anyone else. Some of us hoped,
children from "the project" had not achieved as highly as we
of course, that society would use this research and the few
would have predicted based on our testing; however, the work-
breakthroughs that had been made between 1965 and 1973, as
ing class and culturally different from the Laboratory School
catalysts for change, but society and the education community
tended to overachieve creatively. Thus, these findings somewhat
were not impressed with these studies.
reduced the predictive validity (through no fault of the tests).
My advocacy and I went down fi hting. with my book,
Of the 216 surveyed, those from "the project" had had few
Dtscovery and Nurturance of GIftednss in the Culturally
or no opportunities to achieve. Instead, they had to devote their
Different (1977) and my address at a national forum, entitled
to coping with and meeting
creative and othetwise
energies
"Dare We Hope Again?" (1978). The kindest words spoken
their survival needs. None of them reported ever having a men-
to me about the address were by a Black educator who remarked,
tor. On the other hand, the working class and culturally dif-
"I know it must have taken a lot of courage to give that ad-
ferent from the Laboratory School had had several mentors,
dress. " Many books on giftedness were sold at this national
and their parents and teachers had maintained interest in their
forum, but not a single one concerned the problems of disad-
academic success and creative achievements.
vantaged children.
The predominant trends for women from "the project" were
Now, more than a decade later, spurred by what are referred
to drop out of school in order to care for family members, and
'o as "the Javit's grants," there is renewed interest in the educa-
to get married and have children before they reached the age
tion of children reared in poverty and children from calturally
of twenty. The working class and culturally different children
different homes. I truly hope that the past research will be a
from the Laboratory School had confronted many of the same
valuable tool for this new advocacy, and that the research be-
problems as the children from "the project," but they had the
ing done now will be successful, utilized in progressive ways,
wherewithal to solve them differently. They remained in school.
and aehieve its avowed objectives.
despite having to care for ill or aging parents and support
themselves by working.
REFERENCES
For example, a highly creative boy from the working class
(1958). Spinster. New York: Simon and
Aston-Warner, S.
at the Laboratory School had to support himself throughout his
Schuster.
college and doctoral programs. Part of the time, he had the total
Brooks, G. (1968). hi the mecca. New York: Harper and
responsibility of caring for both parents. His father was a
"heavy drinker" and died during the boy's adolescence; his
Row.
Caner, CA. (1969). What has happened, 4 (41. 23.
mother died several years later. Yet, there were mentors who
(197()). Black man. Unpublished poetry. Los
Reed, D.
encouraged him and assisted him in getting jobs where he could
Angeles City Unified School District.
use his diverse talents (including medical illustrator, editor of
(p. 3). Los
Shelley, C. (1969). Who am I? Out of print,
the magazine of a school of engineering, director of a youth
Angeles: Los Angeles Urufied School District.
project, director/composer/arranger for a rock-and-roll band).
Torrance, E.P. (1962). Guiding creative talent. Englewood
There was a first-grade girl from "the projeet" who had an
Cliffs: Prentice-Hall.
5
1.Q. of 175 aad the highest creativity score of any first-grade
tary school children (1958-80). The teacher who made a dif-
(1977). Discovety and nunurance of
Torrance, E.P.
ference. Gifted Child Quarterly, 25 (2), 55-50.
giftedness in the cultsaully different. Reston, VA: Council for
Buffalo. NY:
Torrance, E.P. (1984). Mentor relationships.
Exceptional Children.
Torrance, E.P. (19W). Growing up creatively gifted: A
Bearly Limited.
Toynbee. A. (1954). Is America neglecting her creative
22-year longitudinal study. Creative Child and Adult Owner-
minority? In C.W. Taylor (Ed.). Widening horitotu in creativi-
ly, 5 (1 ), 148-158, 170.
ty, (pp. 3-9). New York: John Wiley & Sons.
Torrance, E.P. (1984 Predicting the creativity of elemen-
CREATIVE PRODUCTIVITY:
UNDERSTANDING ITS SOURCES AND NURTURE
Donald J. Treffinger, Center for Creative Learning, Sarasota, Flotida
of creativity, to identify those components more precisely, and
Many theorists and researchers have emphasized the impor-
to incorporate some important variables that were not well
tance of creative productivity generally (e.g.. Amabile. 1989;
established at the time of Rhodes' work. One contemporary
Torrance, 1979) and in many specific areas such as education
description of the components of creative productivity, presented
(e.g., Feldhusen & Treffinger, 1985), business (Firestein.
in Figure One. is the "C-0-C-0" model (Treffmger, I988b).
1989), organizational leadership (e.g., lsaksen, 1987) and in-
venting (e.g., Flack, 1989; Treffinger. McEwen & Wittig.
Creative Productivity
1989). Creative and critical thinking and problem solving are
is a function of:
widely recognized as fundamental goals for all people (e.g.,
Carnevale, Gainer & Meltzer. 1988; Costa, 1985). Creativity
is often viewed as a fundamental dimension of "giftedness"
(e.g., Rer-zulli, 1978; Treffinger & Renzulli, 1988; Treffinger,
1989). These views hold that a stronger definition of giftedness
operations
Charactensties
+
Resetting
involves the demonstration of creative productivity over a sus-
they
O peopie
pertOttre
tained period of time (which might be years, or even decades/.
Outcomes
in a domain that matters greatly to the person; a weaker defini-
othmme,,
ticn is one that views giftedness as a static category or label
Context
represented primarily by scores or status on particular tests.
When people speak of "giftedness." they are much more like-
Figure One (From Trefringer, 1988b)
ly to be considering the quality or impressive nature of a per-
his or her accomplishments
son's originality and productivity
Cbaracteristics. The first component of the C-O-C-O model
than simply to be offering
over an extended period of time
personal characteristics or traits,
refers to the abilities,
a testimonial to the person's test scores.
preferences, attituies, motivations and interests, and styles that
If a plausible case can be made, then, that creative produc-
will have important beating on the degree and direction of the
tivity is an important dimension of human behavior in general
person's creative productivity. Rhodes referred to this area as
and of giftedness in particular, it seems relevant and necessary
"person." accurately portraying the nature of research at that
to pose two key questions:
time. Early studies focused on "the creative person" and at-
1. What do we know about the sources or essential com-
tempted to develop lists of cognitive abilities and personality
ponents of creative productivity?
traits, reeking basic attributes that would distinguish highly
2. What does our knowledge of the nature of creative nro-
erratic: individuals from their less creative peers. The prin-
ductivtty suggest regarding its nurture?
cipal questions were: "What are creative people like?" and
This article will address these questions, provide a brief ovei--
"How can you tell if you are one?" Attention was strongly
view of current work, and suggest future directions for research
directed toward the level of creativity, inquiring whether creative
and practice.
ability was high or low and whether or not the student's per-
Sources or Components of Creative Productivity
sonal traits were similar to those of "highly creative" people.
Efforts to define the basic factors contributing to creativity
research has shown
understanding
Most recent
that
of
are not new, and published descriptions of the components
"characteristics" in relation to creative productivity is actual-
creativity can eastly be traced back several decades. Wallas
ly a much more complex concern than assessing the level of
(1926), for example, offered a classic paradigm that is still wide-
creative ability or whether the student has the personality of
ly quoted today, viewing creativity as a four-stage process that
the "highly creative:" one's style (e.g., Kirton, 1976; Dunn
involves "preparation, incubation, illumination, and verifica-
and Dunn, 1978; Myers and McCaulley. 1985) describes many
tion." Many other writers have offered a wide variety of defmi-
different ways in which creativity can be expressed. and sug-
tions of, and criteria for, creativity (more than 100 different
gests that different people will channel their energies in a variety
criteria having been documented in literature; e.g.. Besemer
of forms of creative productivity. When style is taken into ac-
& Treffinger, 1981). Rhodes (1961) reviewed much of the
count, we begin to ask. "How are you creative?" rather than
the "Four
literature to that time, and identified four themes
simply, "How creative are you?" Kirton (1976), for example.
P's" of creativity (Person, Process. Product, and Press)
as
distinguished between "adaptors," who use their creativity
of creativity.
a proposed synthesis of the major components
within an existing paradigm or structure, to improve it, and "in-
Although there has never been a single, universally-accepted
novators," who break away readily from existing structures
definition, Rhodes' contribution and synthesis were quite
and use their creativity to create new and different structures
valuable, and have been used widely to guide the organization
easily recognized
or products. Although the innovator is most
of theoretical work and empirical reseeirch on creativity (Isaksen.
existing
as "creative," the adaptor's creativity in improving
1987).
systems, making things work better, and knowing how to "get
In view of nearly three decades of continuing research on
things through the system" should not be overlooked or
creativity since the publication of Rhodes' article, we are now
minimized.
able to refine and expand our understanding of the components
or "low" in relation en these criteria; one product may be strong
Rather than limiting our view of individual creativity to a
in certain criteria, but quite limited in others. Besemer and Tref-
search for "the creative person," advances in the level-style
in three general
finger (1981) identified fourteen criteria,
distinction have helped us to understand that the characteristics
categories, which have appeared frequently in the literature on
of people influence not only how much," but "in what ways"
creativity. These are novelty (which includes original. germinal
their creativity can be manifested.
and transformational), resolution (which includes adequate, ap-
Recent research also has helped to clarify the important role
propriate. logical, useful and valuable), and elaboration and syn-
of knowledge in creative accomplishment, and to explore signifi-
thesis (which include attractive, complex, elegant, expressive,
cant ways in which "experts" and "novices" differ in apply-
organic and well crafted). The outcomes component reminds
ing information, making decisions and solving problems. These
us that, despite our own characteristics, the operations we are
studies suggest that creative productivity, rather than being an
able to use or the context in which we work, our creative pro-
"all purpose" category in which the person is or is not creatively
ductivity is also influenced by specific dimensions of the prod-
productive in all situations and contexts, may be better viewed
ucts themselves and the reactions of others to those products.
in relation to the kinds of tasks or content areas in which peo-
n. for Research and Practice: 'Identhscation'
Im'
ple work and their degree of expertise in those domains (e.g.,
s.
of
we consider the complex, multi-dimensional nature
Resnick. 1985). Thus, they support the notion that understanding
1
creative productivity, and alsorlstsT in mind the infinite ways
"characteristics" of creativity is a more complex challenge than
several implications seem
in which creativity can be exp
merely assessing overall views of creative ability or determin-
.
evident for anyone concerned with identifying creative talent
ing the presence or absence of prescribed sets of traits.
or giftedness.
Operations refers to the person's mastery of specific methods
First, we should not expect there to be a single, homogeneous
and strategies that can be used deliberately, alone or in group
category called "highly creative" or "creativey gifted." We
settings, to enhance the generation and refinement of ideas,
should expect to find many different kinds of talents, expressed
analysis, decision making and problem solving. While some
among many people, in diGerent ways and at different times.
people may demonstrate the ability to perform these spon-
Renzulli has often nsed the phrase "in certain people, at cer-
for creative
"intuitive feeling"
taneously (showing an
tain times, undns cernsin circumstances," and the complexity
strategies), without explicit training, it is now clear from
of factors inflaencing creative productivity lends strong sup-
research (e.g., Costa, 1985; Isaksen. 1987) that powerful
port to such a chai acterization.
"technologies for productive thinking" exist, and that they can
Second, e e shonld not attempt to view creative productivity
be learned and successfully applied by virtually all people. There
simply as if it we:e something fixed, static and located entirely
is little doubt that we can teach people to use many strategies
within the individual. It arises from the dynamic interaction
that will enable them to increase substantially their productivi-
among characteristics, operations, context and outcomes, so
ty in personal and professional opportunities. These include
forecasting an individual's future creative productivity from his
many basic tools, such as brainstorming, skillful observation.
"status" on characteristics indicators, alone, would be fraught
idea checklists, making inferences and deductions (e.g.. deBono,
with peril. It is very likely that, especially in gifted education,
1976; Treffinger, t980; Feldhusen & Treffinger, 1985), as well
we have placed so much emphasis on finding "the right peo-
as more complex analyses or problem-solving processes (e.g..
ple." have become so concerned about the need to identify and
Gordon & Faze, 1981; Isaksen & Treffinger, 1985; Marzano
serve a small group, that we have overlooked the powerful
1986). A person's creative productivity
is
& Arredondo,
challenge of becoming resources for the nurture of creativity
signilcantly infl sewed, then, not only by who he is or what
bncome creatively produc-
Not everyone will
among all people.
he is like (the "cheracteristics" component), but as much, or
and given the potentially great
tive, but virtually
anyone might,
possibly more, by what he is able to do or the "operations"
impact of the opeiations and context dimensions, it is quite likely
c is able to perform.
become productive come from a much
will
that those who
Context involves a number of important environmental or
broader population than has traditionally been included in
the
situational factors that influence creative productivity. These
rubric of "gifted" education.
include the personal blocks or barriers that can inhibit creative
A third, but related, concern is that we must learn to adopt
productivity, which Jones (1984) classified as strategic, (values,
a more flexible and dynamic approach to assessing the strengths,
self-image) or perceptual, and the organizational or group bar-
talents and needs of individuals. It is not adequate simply to
riers that can stifle the efforts of individuals or teams tc func-
ask whether a person's WOWS are high enough, or to manipulate
tion creatively. Ekvall and Tangeberg-Andersson (1986) iden-
"eligibili-
a few numbers to formulate arbitrary "cutoff" or
tified, for example, ten factors in the "climate for creativity"
ty" scores. Even when we speak of "multiple criteria," we
within an organization: challenge and motivation; freedom; idea
frequently use several measures which share high correlations
and dynamism,
and openness;
liveliness
trust
support;
with ability or achievement scores; seldom do we take into ac-
playfulness and humor; debates; conflict; risk taking; and idea
count the complex and varied dimensions of level, style, con-
time.
text and operations. We would do well to develop more inclusive
The context dimension of the C-O-C-0 model, represented
and flexible profiling procedures. and to monitor the data in
by personal barriers and by the aspects of the "culture" and
interests,
an ongoing assessment of students' strengths, sustained
climate of the environment in which people must operate,
and needs.
reminds us that, whatever personal characteristics are found
Implications for Research and Practice:
their disposal,
among individuals and whatever strategies are at
urture of Creative Productivity
creative productivity can be encouraged or inhibited by a variety
Expanding our understanding of the compcaents contributing
of environmental factors, which may vary from task to task,
to creative productivity also leads to several suggestions for nur-
time to time, or in relation to particular goals and interpersonal
turing creativity. The operations component reminds us that we
d ynamics.
with the
can, and should, empower people by providing them
Outcomes, the final component of the C-O-C-O model, is
strategies and tools they need in order to be more effective, pro-
concerned with the specific variables that comprise our
ductive thinkers. Just as a carpenter cannot create fine furniture
understanding of what makes a product "creative." There is
without knowing and using the "tools of the trade," success
is not a "creative"
no single criterion for determining what is or
in complex intellectual challenges requires knowledge of, and
product. The context may influence such judgments, of course
the ability to use, mental strategies and processes. We should
(What is the product for? Who views or judges it? When, and
from
not rely on hopes that creative productivity will result
for what purpa-7es or goals, is it being evaluated? To what is
chance or good fortune, when there are powerful tools available
7
it being comparteV). Not every product will be uniformly "high"
the context in which they function and the outcomes which result
which can readily be learned and applied by anyone.
The model's concern for level and style also suggests that.
from their effort. These components create a multi-dimensional
framework that has important implications for the identifica-
in order to be effective, efforts to nurture creative productivity
tion and nurture of creativity.
must acknowledge individual differences in style. Many in-
dividuals will learn and apply processes in different ways, so
Nurturing Effective Thinking:
wc should seek varied instructional activities and resmirces.
Instructing, Leading, and Facilitating
Many instructional programs for teaching creative and critical
thinking or problem-solving skills have not attained their max-
imum impact, by virtue of having failed to provide activities
Berl with (taut oismuction in durskuni "tools,
Llevel One:
then incorporate those thinking dulls into
appropriate to the needs of different students.
miming come cement
Learn and Use
Third. it is also clear that instruction or training will be "con-
Basic Thinking
FAIMptes ot Usti I Mug& Elnunuarerms, Atennuse
text sensitive." In order to have positive impact, efforts to nur-
'No wove
tow*. 1.k Otorkhos "WAN d
"Tools"
Questmes. Ferrol lidamanstops. Mceposiorsai
ture creativity must attend specifically to creating and main-
Antra. A:adopts, Wrong Relevant Wis. Koko.
triremes, Cdrmaanogrosermung, tetanus
taining appropriate environments and climates. In this regard,
Statemaus a Cm Mums
I and num, morel
we need to insure that instruction includes, for example, the
%dents need to kora the toots: direct Instruction
attitudes, dispositions, or orientations that support productive
is both appropriate and neermare al Level One!
thinking, such as understanding and acceptance of such prin-
Contmue h prostding oppononaturs for
ciples as deferred and affirmative judgment (Isaksen & Tref-
Flevernwo:
students to learn and pracoce systems= steps
finger, 1985). It may also be important to include skills involv-
Learn and
1.cltylOCCSSet tot effective problent solving
Practice A
ing effective communication, social interaction, cooperation,
Lead Tim mes and molds ad me hawse es de
Systematic
'woe horn Le114 One. trosmans a Minor or
collaboration and teamwork. Nurturing creativity is much more
ke
P/S Process
Clirs=". Smart° tion"sLibluniPtomit
complex than teaching about specific techniques or strategies
Or
-1
Salo-desena, Future Studs S.xmanos, tinny
or completing thinking-skills activities or worksheets.
410 (COMPVd AWSICV Problem
Fourth, systematic instruction to nurture productive thinking
Increased competence and commitment ci stades
t
calls for varied use of appropriate Leadership Styles.
must teach the "tools," but it must also include guidance and
support for the use of those tools in more complex situations.
The goals ot inhxnMtrnn of warmly in dont, mg
then provide opportunities for those processes to be applied to
:nen in dealing %nil
Adis lead towards the,.
teal problerm and challenges. not Just doing
real problems. A "three stage" approach to nurturing creative
'exercises" and "actismes
productivity (Treffinger, 1988a) is summarized in Figure Two.
le a 'Real* puhken sr nroi and wits nee Ora
Level One represents the "'basic tools" for creative and critical
sit cturnrsentot tir soros 'inpitentwp'
poop
rermost
thinking. Level Two involves learning and practicing a
sorsunte 1-Aarnpics
surorns, osumunen needs or sours rem psalm IA
Ist.tom. inhti ,..ssaitorrlanostiona
systematic approach to problem solving, dmwing upon and ex-
needs or commonest's, specol pinpfto
tending the basic tools, and Level Three involves applying the
In working with others at this stage, visa need to
systematic, creative problem-solving process to real problems
be able to eerie as a Facilitator.
and challenges.
Sununary
tents'
c Iwo
t
Research suggests that creative productivity is a function of
Tara**
L 34),
the dynamic interaction among four major components: the
Figure Two, From Treffinger (1988s)
characteristics of people, the operations they are able to use,
Isaksen, S. & Treffinger, D. (1985). Creative problem solv-
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Amabile, T. (1989). Growing up creative. New York: Crown
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Marzano, R. & Arredondo, D. (1986). Tactics for thinking.
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& Meltzer, A. (1988). Workplace
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Myers, 1. & McCaulley, M. (1985). Manual for the Myers-
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(1985). Education and learning to think.
Resnick, L.
Dunn, R. & Dunn, K. (1978). Teaching students through
Washington, DC: National Research Council.
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Rhodes, M. (1964 An analysis of creativity. Phi Delta Kap-
avail, G. & Tangeberg-Andersson, Y.
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Feldhusen, J. & Treffinger, D. (1985). Creative thinking and
Treffinger, D. (1980). Encouraging creative learning. Ven-
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Flack, J.
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Trejfinger, D. (1988b). Components of creativity: Another
Englewood, CO: Libraries Unlimited.
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Gordon, W. & Poze, T. (1981). The basic course in Synec-
(1989). From potentials to productivity:
Treffinger, D.
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Beyond the basics. Buffalo, NY: Beady Limited.
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for creative productivity: Transcendir,g IQ scores. Roeper
McEwen, P. & Wittig, C. (1989). Using
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G.
Treffinger, D. & Renzulli. J. (1988). Giftedness as potential
Watts.
CREATIVITY: IDENTIFYING THE UNIDENTIFIABLE
(ONE PERSON'S OPINION)
Robert S. Sloat, Associate Professor, Depanment of Eady Childhood and Special Education,
Texas Woman's University, Denton, Texas
tial for, or demonstrates, high levels of ability in one or more
An article written on creativity in which an attemie is made
areas. In addition, it is theoretically impossible to find one with
to explain it in a standard, definable context without the sub-
pure creativity or giftedness or talent. Overlaps do exist and
title. "One Person's Opinion," would be oxymoronic. What
a child should be identified in light of his strength in the primary,
is creativity? Is it giftedness, as Sternberg (1990) suggested.
secondary, and tertiary orientation areas. When the primary and
"in terms of their sheer persistence in accomplishing things
secondary areas appear to cany approximately the same em-
where others have given up" (p. 99)? Is it a mental process
Oasis, as determined by characteristics evaluation, a child may
(Gallagher, 1985) or a pattern of thinking (Perkins, 1984)
be identified as having a dual orientation. Only a very small
leading to some product or the development of a new idea or
percentage of people may be equally gifted, talented. and
the drive to fill a need as suggested by Halpern ( I984)? Or is
creative. Creative individuals can be primarily creative or
it a process of becoming sensitive to the world and arriving at
creative-gifted or creative-talented or all three.
solutions to problems as Torrance (1974) has indicated?
Other models which imply that all gifted children must possess
Creativity may very well be any combination of these and yet
all three orientations in a somewhat equal proportion, but at
it may be only one of these.
When a
a higher level than their peers, may be self-limiting.
In reviewing the many introductory college-level texts on the
child is high in one aren, such as academic achievement, and
educating, teaching, and understanding of gifted children, one
lower in creativity or task commitment, we are told by advocates
could cite dozens of different definitions of giftedness, talent
of the "must have all three" model that these students are gifted
and creativity, even with two or more by the iame author.
only some of the time. These students move into programs when
Perhaps the only constant in a large percentage of the defini-
they arc in the gifted mode and out when they are not. A more
tions of creativity is some direct or indirmt reference to a prod-
reasonable way of dealing with this might be to say that task
uct (whether tangible or intangible). Some writers place an em-
persistence or commitment is talent, academic advancement is
phasis on originality, others on flexibility, and still others on
giftedness, and creativity is creativity. When tasks require high
elaboration. Does creativity change or does it ebb and flow with
process orientation, gifted students do well. The creative ones
the phases of the moon or seasons of the year? Are there dif-
excel in product orientation, and talented ones excel in perfor-
ferences among the terms, creativity, giftedness, and talent, or
mance situations. The individuals with dual orientations can shift
are they all the same?
easily and that rare three-orientation individual shifts easily,
In presenting operational definitions of creativity, giftedness,
regardless of most external circumstances. Students do well
and talent, these three terms are different in respect to an in-
when they are presented with tasks that are congruent with their
dividual's orientation to thinking, learning, and producing. The
orientations!
gifted individual is process oriented, the talented is performance
I have suggested (1990) that the term. "improvisational,"
oriented, and the creative is product oriented. In expanding on
be used to describe the dual orientation of the creative-gifted
the concept of the product orientation of the creative:
and the term. "spontaneous," be used to describe the creative-
the product of creativity can be a physical or
. .
.
talented. The creative-gifted, with a product and process orien-
mental creation, or a construction by a new com-
tation, tries to identify tee process which will lead to the very
bination of existing objects or ileas. The product
best possible product. Always directing energies toward the
may be a work of art, or the development of a new
product as a goal, this individual, during the development of
concept growing out of old ideas or an invention
the product. constantly changes and improves the process until
The orientation of the creative person is toward
.
. .
he is satisfied. Aware of the probable need for changes as the
his or her creation. The process of creation may be
unforeseen occurs, this individual is always in a state of
exciting; even thrilling, but it is seen by the crelitive
readiness and demonstrates outstanding improvisational skills
person as chiefly the means to an end; the creation
and abilities, but with an emphasis on product quality.
itself.
A creative artist's creativity is no greater
.
.
.
The creative-talented individual is constantly looking for a
if he or she stores artwork in a basement or sells
product that will please him and his audience. These two orien-
each piece for thousands of dollars (Sloat. 1990,
tations may often conflict, especially if the internal feedback
p. 38).
of the creative self is different from the external feedback re-
While the creative (product) individual is highly goal orientesd,
ceived from the audience. As a result, the individual responds
the gifted (process) individual is concerned with the utilization
in an impulsive, affected manner. Changes in actions or
of higher-level thinking skills which he or she will call upon
behaviors may or may not be related to any logical process or
following problem introduction in order to achieve problem
direction; they are spontaneous. The end product may be a
solution. The creative (product) individual gains satisfaction by
masterpiece or a total failure.
knowing that he has produced a superior product and the
If one is considering creativity as being either a distinct enti-
internal
feedback. The
satisfaction is the result of personal
ty or a combination of other components, it is incumbent to ac-
talented (performance) individual is also goal oriented, and re-
cept that creativity may be expressed in a myriad of ways since
feedback from parents. teachers, or some other
external
quires
not all creative individuals have the same traits or characteristics.
type of audience in order to ascertain the quality of what he
A list of only 10 characteristics could produce over 31/2 million
produced.
different combinations of characteristics. A creative-talented
All children possess degrees of each orientation in each area;
child may be far more persistent, tenacious, and intuitive than
however, the creative or gifted or talented child has the poten-
-9--
10