Book Review: Nurturing Creativity in the Classroom

Book Review: Nurturing Creativity in the Classroom written by Hanne Marie Bratsberg

Nurturing Creativity in theClassroom is an edited collection of essays on how to bring creative and critical thinking into the classroom. Lately, the discussion on creativity in schools has flourished yet again. This book focuses on preparing students of today for the future of tomorrow. It is no longer enough to teach them about knowledge; they now have to be able to think for themselves. Torrance called the same discussion ‘a quiet revolution’ that has been ongoing since the 1960s. With this book the editors, Ronald A. Beghetto and James C. Kaufman, are making a true effort to make this a loud revolution.

Both editors are well known within the Creative Studies field where Beghetto’s research focuses on K-12classroom creativity and Kaufman has dedicated his career to studying how to nurture and encourage creativity. Together these two editors create a collaboration that brings the importance of creativity in the classroom to the forefront of education. There are a total of 28 different contributors dispersed on 20 chapters and 418 pages. A quick look at the list of contributors is enough to heighten anyone’s anticipation. The essays are written by both American- and foreign authors, including well-known researchers Mark A. Runco and Robert J. Sternberg.

But, how can you nurture creativity in the classroom? The editors suggest it starts with educating the teachers and the decision makers. Most teachers, especially the ones favoring creativity, do not fully understand what creativity is and what itactually means. This has to change if progress is going to be made.

The different essays presented examine and respond to the increasing tension many educators face when having to deal with curriculum constraints while trying to balance student creativity in the classroom. Most chapters refer to the constraining effects of the No Child Left Behind Act of 2001 but they all show concrete examples on how to work within these restrictions.

The book begins with a bold chapter written by Raymond S.Nickerson, where he lists all the ways to discourage creative thinking in the classroom. The chapter is written in a sarcastic but powerful tone. However,the next 19 chapters teach you how to nurture creativity in the classroom. With clear examples and easy-to-follow steps the different essays discuss in various degrees four topics viewed from different angles. The chapters examine how formal and informal learning blended together represents the ideal act of learning,which can then lead to creative productivity. In addition, the authors review how dependence and passive learning should be replaced with independence andengaged learning.

Two authors, Joseph S.Renzulli and Chatharina F. Dewet, propose how teachers should stop teachingand, instead, become facilitators of learning. Further, they discuss how the best thing for a school system is to take away the many enforced curriculum constraints (rules, standardized tests, closed curriculum). However, theauthors note the difficulty of instituting such practices and recommend as econd best option which is to infuse creativity in every subject, in every class, and in every mind, body and heart of both students and teachers.

The last topic touches on the many definitions of creativity.With the literature being so broad on how to define creativity, the best way to fulfill the creative potential in every classroom has become very difficult.

One might believe this is another book in a long line of promising additions to the growing debate about school and creativity but this book will surprise you. With concrete tips and detailed steps on how to implement creative and critical thinking in the classroom, the work is way ahead of its competitors. Beghetto and Kaufman have done an excellent job editing; making this a useful, must read for teachers, decisions makers, andothers with an interest in teaching to nurture creativity.

Some might find the book repetitive, because some chapters present similar techniques on how to nurture creativity. Therefore, a next step for the editors could be to put together small themed instructional books for teachers. The creative teaching techniques would then be the only thing in focus and there would be no feeling of repetitiveness. On the other hand, the book is an easy read and it lets you skip from chapter to chapter. A teacher will find great benefit from the book’s lessons for not only their students’ learning experience, but also for their own personal value.

However, you do not need to be an expert in creative thinking or teaching to gain value from this book. If you are a teacher who is new to creative teaching you will go along way with an open mind and a willingness to learn. If you are a consultant like me, I can assure you the book will liftyour spirits and encourage you to go out and implement what is presented. If I were a well-set teacher I would rearrange my lessons plan for the coming week tonight.

Runco nicely sums up the spirit of the book when he says, “Imagine what the world could be if everyone made even the slightest gain in their creative potentials. The total impact would be enormous and amazing...even if there is no guarantee, it is worth trying” (p. 248-249).Preparing children of today for the future of tomorrow starts with nurturing creativity in the classroom.

HanneMarie Bratsberg graduated from Oslo School of Management, Norway in 2010 with aBachelor Degree in Innovation, Creativity and Business Development. Shortly thereafter she started a consultant company with two classmates called IC. The company focuses on bringing creative thinking into schools. The company filled a gap in the Norwegian school system but Hanne felt she needed more experience and knowledge before making it into a full time job. She is now enjoying every minute of her graduate studies at ICSC at Buffalo State. Hanne’s passion and interests include creativity in education, nurturing creativity in others,teaching creative thinking and facilitating CPS-sessions.

Does Grassroots Creativity Education Need Nourishment?

Written by Graduate Student Dana Calanan
Here’s a familiar scene for a budding creativity specialist. You’re at a party and small talk is the mainstay. Upon introducing yourself, your new acquaintance asks that time-honored question -- “So, what do you do for a living?” How do you respond? As a new creativity expert, I reply, “I’m in graduate school in Creative Studies.” At first, their quizzical stares intimidate me as I fumble for the words to explain myself. I begin with a simple definition that supports the field’s credibility, “It’s the psychology behind creative thinking or behavior.” The head tilt becomes a little less severe, but I can tell they still need more information. So then I say, “We do creative problem solving, or come up with ideas for innovation.” Usually they seem to vaguely understand by this point. However, there are times when all I can connect with them on is the term originated by Alex Obsorn – Brainstorming (1953).

Brainstorming, the well-known technique used in idea generation, is often mistaken for the act of creative problem solving. This is one of the many misconceptions regarding creativity. Another myth that hinders creative behavior is the belief that is reserved only for special people or endeavors. (Richards, 2007, p. 25). At the International Center for Studies in Creativity (ICSC) at Buffalo State College (BSC), myth busting is happening through awareness and a solid education. The department has instituted a fairly new vision: “Igniting creativity around the world: Facilitating the recognition of creative thinking as an essential life skill” (International Center for Studies in Creativity, n.d.).

We have all been affected in various ways by the ongoing global changes. Now more than ever, the need for creativity combined with community is at an all-time high. Half a later and Osborn’s words still ring true, “…there is a crying need for more creative thinking” (1953, p. 5).

Background
Alex Osborn’s book, Applied Imagination (1953), brought the concept of creative thinking into the light and since then it has spawned a field of research that continues to be controversial. Due to the nature of the topic, it lends itself to being subjective and ambiguous, even in the eyes of its researchers. Many theories and models exist regarding the phenomena and it has had a long journey in gaining recognition and credibility among academics. Is it any wonder that one gets puzzling looks when trying to explain it to the average person?

I have sat through many thought-provoking and insightful lectures regarding creativity. In the application of creative thinking, I’ve noticed that despite the importance stressed on creativity’s benefit in everyday living, much of the content is geared toward organizations, leadership and formal education, primarily the education of children. (Personal observation, 2010, 2011). This made me wonder if the outreach for creativity education was actually trickling down to a grassroots level. That is, has the average person been exposed to the basics of creativity and if yes, how well? Utilizing social media to solicit responses, I created a quick survey to further examine my questions.

A Quick Creativity Survey
Upon reviewing the most common myths surrounding creativity, I posed eight simple yes or no questions, as well as one that was open-ended. It was entitled A Quick Creativity Survey and those who participated provided their answers anonymously. To my surprise, the reaction was incredible - - within approximately an hour, more than 50 responses had been collected and
the numbers continued to rise. The sample group of consisted of 211 people. The survey indicated interesting results as seen in Figure 1. The most standout observation was that 98% of the respondents believe that creativity was important in daily life, and 75% were interested in learning more.

Another misconception surfaced when 40% of those polled believed that Brainstorming and Creative Problem Solving (CPS) were the same thing. Similarly, 41% also thought creativity and innovation were the same -- despite the fact that 39% said they have had some education in creative studies. A limitation of my quick survey was that my populace was not thoroughly investigated. Therefore, generalizability cannot be established. A prime example of a question worth examining further regards creative studies education – what was learned and where was this education procured? More information would certainly affect the future results.


Fig. 1. A Quick Creativity Survey. Developed by Dana Calanan, 2011.

Why Explain Creativity?
Explaining creativity is necessary for the acceptance of its use by an individual. Due to societal norms, creativity generally dissipates soon after childhood and most of us have experienced creativity as something frivolous and “artsy.” This alone is a reason to take the time to explain creativity to the layperson. They too can experience that, “it [creativity] is something we can all tap into, and it is possible that creativity has its greatest impact on a personal level” (Swahn & Svahn, 2008, p. 3).

Public Creativity Education Outreach
From sitcoms to annual reports, the words: create, creativity, imagination and innovation and various forms of similar phrases are more and more seeping into the public’s consciousness. But are the theories or even the definitions behind these buzz words being fully understood? It appears that the terms are being used in ways that liken them to the latest fad or gadget. My research suggests that there is a need for some clarification. Despite the numerous sites dedicated to the encouragement of being creative, those geared toward teaching the fundamentals of creative behavior and thinking on a public level are hard to find.

Until recently, BSC offered the only accredited Master’s program in the entire world. However, more academically based programs are beginning to surface elsewhere. As of 2010, there were 54 known curriculums worldwide (Yudess, p. 139). The World Intellectual Property Organization (WIPO) – a specialized United Nations agency that rewards creativity – now lists on their website -- www.wipo.int -- only eleven recognized programs in the world that offer Creativity outreach aimed at the general public. Interestingly, the United States is represented by only by the National Inventors Hall of Fame. To me, this fact seems to add to another common myth of creativity – that it is reserved only for geniuses.

Discussion
There is a great deal of research regarding everyday creativity as well as creative behavior in many other aspects of life. My view, now from both an academic and a pop culture perspective, is that the public is hearing words and phrases, but have not been given the foundational thinking behind them. The ICSC appears to be addressing this issue based on one of the Big Hairy Audacious Goals: “We aim to extract the fundamental principles taught in our curriculum and to incorporate them into public programs that will be available to learners throughout the world interested in developing their creativity” (International Center for Studies in Creativity, n.d.).

Though my survey may not be substantial in its methods, it has revealed a niche -- creativity education on a grassroots level. The impact of such an outreach regarding the basics of creative studies could positively affect the quality of life for many people. Explaining creativity “… will lead to a more creative society, and will enhance the creative potential of our families, our workplaces, and our institutions” (Sawyer, 2006, p. 5). More research is needed to support a hypothesis for this paper, but there seems to be a short in the circuit between creativity research and the very people with whom they are trying to connect.

Conclusion
The influence that creative thinking has on one’s life is not in question. It has been established that it is vital to our growth and can be taught. The real question is whether or not it is being cultivated by and with the general public. While the lines of communication are open -- creativity buzz words are seen and heard nearly everywhere -- sometimes you have to bring the
learning more directly to the people. The conditions are ripe for this to happen now and there is a definite need for developing self-sustainability in individuals, and in turn society.

I believe the field of creativity has the perfect opportunity to harness the interest that has already been piqued by marketing giants and the burgeoning list of creativity experts. Parnes (1992) wrote “…people who care about creative ability in others, can learn to better understand and tap their own creative potential, as well as nurture it more fully in individuals and groups about whom they care” (p. 145). I invite those with the expertise to impart the fundamentals of creativity to the general public, to do so now.

Ms. Calanan has a BS in Fashion from SUNY @Buffalo State. She has been a clothier and entrepreneur, having owned both a vintage & consignment clothing boutique. Dana also worked extensively in theatrical costuming and most recently left her career on Broadway to pursue other interests. This has serendipitously led her to the International Center for Studies in Creativity. Dana’s curiosities are vast, but passions lie in aesthetics, parapsychology, self-healing and violence awareness.

References

International Center for Studies in Creativity. (n.d.). Mission and vision. Retrieved from
http://www.buffalostate.edu/creativity/mission.xml
International Center for Studies in Creativity. (n.d.). Big hairy audacious goals. Retrieved from
http://www.buffalostate.edu/creativity/x952.xml
Osborn, A. (1953). Applied Imagination: Principles and procedures of creative thinking.
New York, NY: Charles Scribner’s Sons.
Parnes, S. J. (Ed.). (1992). Creative Problem-Solving and visionizing. In Source book for
Creative Problem Solving: A fifty year digest of proven innovation processes. Buffalo, NY:
Creative Education Foundation Press.
Richards, R. (Ed.). (2007). Everyday creativity and new views of human nature:
Psychological, social, and spiritual perspectives. Washington, D.C.: American
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Sawyer, R. K. (2006). Explaining creativity: The science of human innovation. New
York, NY: Oxford University Press.
Swahn, A. L. & Svahn, S. (2008). Creativity: A science-based outlook on life and work.
Bloomington, IN: AuthorHouse.
World International Property Organization. (n.d.). Creativity and innovation: Outreach
aimed at the general public. Retrieved from http://www.wipo.int/ip-
outreach/en/tools/guides/examples/creativity/general/
Yudess, J. (2010). Colleges and universities with degree or certificate bearing programs in
Creativity. Journal of Creative Behavior, 44(2), pp. 140 – 142.