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Journal articles on the topic 'Expression of creativity'

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Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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1

Sue-Chan, Christina, and Paul S. Hempel. "The Creativity-Performance Relationship: Rewarding Creativity Alters the Expression of Creativity." Academy of Management Proceedings 2012, no. 1 (July 2012): 15298. http://dx.doi.org/10.5465/ambpp.2012.15298abstract.

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2

Sue-Chan, Christina, and Paul S. Hempel. "The Creativity-Performance Relationship: How Rewarding Creativity Moderates the Expression of Creativity." Human Resource Management 55, no. 4 (February 23, 2015): 637–53. http://dx.doi.org/10.1002/hrm.21682.

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3

Foultier, Anna Petronella. "Creativity in language and expression." Acta Structuralica s2 (2018): 47–68. http://dx.doi.org/10.19079/actas.2018.s2.47.

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4

Arnold, Peter J. "Creativity, Self-Expression, and Dance." Journal of Aesthetic Education 20, no. 3 (1986): 49. http://dx.doi.org/10.2307/3332433.

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5

Whiting, James, and Kevin Hannam. "Creativity, self-expression and leisure." Leisure Studies 34, no. 3 (June 10, 2014): 372–84. http://dx.doi.org/10.1080/02614367.2014.923494.

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6

Domínguez Iglesias+, Aida, Mª Pino Díaz Pereira, and Aurora Martínez Vidal. "Estudio comparativo de los niveles de creatividad motriz en practicantes y no practicantes de expresión corporal (Comparative study of the levels of motor creativity practitioners and non-practitioners of body language)." Retos, no. 26 (March 5, 2015): 56–59. http://dx.doi.org/10.47197/retos.v0i26.34399.

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El objetivo de este trabajo es analizar la relación entre la práctica de actividades de expresión corporal y la creatividad motriz. Para medir los niveles de creatividad motriz se administró una adaptación del test Thinking Creatively in Action and Movement de Torrance (1981a, 1981b) a una muestra de 22 alumnos de Educación Primaria practicantes y no practicantes de actividades de expresión corporal. Los datos obtenidos indican que los niveles más elevados de creatividad corresponden al grupo de practicantes en fluidez, flexibilidad, originalidad y expresividad, encontrándose diferencias significativas en todos los indicadores excepto en originalidad. Los resultados parecen sugerir que las actividades de expresión corporal favorecen la capacidad creativa del alumnado. Palabras clave: expresión corporal, creatividad motriz, desarrollo, educación física.Abstract: The objective of this study is analyze the relation between the practice of bodily expression activities and motor creativity. In order to evaluate the motor creativity levels we use an adaptation of the test Thinking creatively in Action and Movement (Torrance,1981a, 1981b) in 22 participants of Primary Education practising and no practising of bodily expression. The dates obtained show that the higher levels of creativity are in the practising group for fluency, flexibility, originality and expression, finding significative diferences in all the creative indicators except originality. Our results seem demostrate that bodily expression activities contribute to develop creative capacitie of pupils. Keywords: bodily expression, motor creativity, development, physical education.

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Nurharini, Atip, Ika Ratnaningrum, Putri Yanuarita Sutikno, Farid Ahmadi, and Intan Permata Hapsari. "Dance Literacy As An Expression of Experience and Creativity in Dance Education." International Journal of Psychosocial Rehabilitation 23, no. 4 (December 20, 2019): 994–1004. http://dx.doi.org/10.37200/ijpr/v23i4/pr190427.

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8

Runco, Mark A. "Insight for Creativity, Expression for Impact." Creativity Research Journal 8, no. 4 (October 1995): 377–90. http://dx.doi.org/10.1207/s15326934crj0804_4.

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9

Blanche, Erna Imperatore. "The Expression of Creativity through Occupation." Journal of Occupational Science 14, no. 1 (April 2007): 21–29. http://dx.doi.org/10.1080/14427591.2007.9686580.

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10

Hidayat, Zinggara. "Asian Youth Cultural Expression, Creativity, and Innovation on YouTube." Jurnal ILMU KOMUNIKASI 14, no. 1 (June 6, 2017): 1. http://dx.doi.org/10.24002/jik.v14i1.1178.

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Groups and intercommunity interactions form global society. This study aims to describe the global aspect in the local cultural expression or vice-versa on YouTube videos. The cultural expressions include language, dress, cuisine, festivals and leisure creativities, social customs and lifestyle. Qualitative descriptive approach is used to analyze ten videos made by Southeast Asian young people. This research found that the locality expression goes global. Cultural expressions communicate the cross-cultural understanding especially in mainland, peninsula, and islands. This youth creativity describes the “glocality” of Indian, Arabic, Chinese, Malay, Java, and the West cultures.

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Saidova, Gulruh Halim qizi, and Dildora Sidikovna Kakharova. "CREATIVITY OF THE FUTURE TEACHER." Scientific Reports of Bukhara State University 4, no. 2 (April 27, 2020): 337–42. http://dx.doi.org/10.52297/2181-1466/2020/4/2/11.

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This article discusses the motives of personal self-expression in relation to the needs of a future teacher to express themselves in various forms of creative activity, a hidden and relevant description of the whole person in highlighting the concept of “creative potential”, career development, creativity and creativity. The presence of approaches, among which the main areas of research are discussed.

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Grakauskaitė - Karkockienė, Daiva. "Teachers Creativity and its Specific Expression in Educational Process." Pedagogika 121, no. 1 (April 22, 2016): 5–22. http://dx.doi.org/10.15823/p.2016.01.

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The article discusses different aspects of teachers’ creativity and its specific expression in educational process. In Lithuania it is the first research focused on relationship between different aspects of teachers’ creativity and their views about its nature. The aim of this research – to explore relationship between specific aspects of teachers’ creativity (divergent thinking, nonconformity, persistence and intrinsic motivation) and teachers’ qualification as well as pedagogical experience. The questionnaire for evaluation of creativity was made for this study (Cronbach alpha – 0,848). The research involved 102 teachers from Vilnius and Marijampole districts, including 78 females and 24 males having university education. Teachers have different qualification categories and different pedagogical experience. The results of the research have shown that a higher qualification category as well as a longer pedagogical experience are related to higher estimates of divergent thinking, nonconformity, intrinsic motivation, but are not related to the persistence. The teachers were asked also if creativity is a gift or if it could be developed. It’s important to study this topic because on it depends the education of students’ creativity at schools. It has been revealed that teachers with a higher qualification category as well as a longer pedagogical experience more often believe that creativity could be developed.

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13

Lescinskaite, Irma. "CREATION AS A CONDITION FOR PERSONAL EXPRESSION AND INDIVIDUATION." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 175. http://dx.doi.org/10.17770/sie2020vol5.5017.

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The article discusses the basic concepts and theories of creation and creativity. Creativity is not applied to action, but is rather a psychological quality of a person that is manifested through certain abilities. The question is whether creativity is considered to be determined by spontaneous, irrational factors or can be promoted and is a stimulating phenomenon. The concept of Creativity, its features, as well as traits of a creative personality are distinguished. The following articles also discusses principles, prerequisites for creative motivation – when people become most creative. Creativity is universally considered to be a distinctive feature of a matured, multifaceted and self-realizing, and thus individualized personality. Creative abilities, as a transforming force, enhance a person’s sense of value, accelerate the individual’s self-fulfilment and maturation of personality.

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Barevičiūtė, Jovilė. "CREATIVITY AND ITS EXPRESSION FORMS: SOCIOCULTURAL AND MEDIA ASPECTS." Creativity Studies 8, no. 1 (April 30, 2015): 1. http://dx.doi.org/10.3846/23450479.2015.1019976.

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15

Ho, Debbie, Andrea Davies, Val Bailey, Susie Carr, Sarah Maxwell, and Charlie Rendell. "P143 Memories matter: Facilitating expression though creativity." BMJ Supportive & Palliative Care 3, Suppl 1 (October 2013): A60.3—A61. http://dx.doi.org/10.1136/bmjspcare-2013-000591.165.

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16

Lew, Kyoung-hoon. "A Comparative Study between Individual Creativity and Group Creativity in Children's Language Expression." Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology 6, no. 9 (September 30, 2016): 439–48. http://dx.doi.org/10.14257/ajmahs.2016.09.50.

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Putra, I. Gede Jaya. "WORKSHOP MENGGAMBAR DENGAN CHARCOAL DI CUSH CUSH GALLERY DENPASAR." Jurnal Lentera Widya 2, no. 1 (December 22, 2020): 15–21. http://dx.doi.org/10.35886/lenterawidya.v2i1.100.

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This journal discusses the drawing workshop using charcoal techniques and materials. Based on observations in the field, many children who still do not understand themselves related to the creativity that can be produced. Children are a very free phase, full of honesty, passionate and brave in doing actions that are able to express themselves. However, there are several factors that cause many expressions of children to not surface. Expressions related to emotions and feelings lead to one understanding, namely art. One type of art that is able to bring out the expression of children is drawing. Drawing has many techniques, one of which is by using charcoal as a way of expressing it. So drawing with charcoal is used as a workshop approach for children, as a means to understand themselves and bring out their creativity. Workshop activities initiated by the Cush Cush gallery and again Bali were held on July 13, 2019 at the Cush Cush gallery, aimed at educating children, providing awareness of art, to understanding life and making art as a provision for the future, in taking on the work world its orientation on creative people. Keyword : Charcoal, Creativity, Drawing, Expression, Workshop.

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18

Watson, Nicola. "In praise of creativity." Early Years Educator 22, no. 6 (January 2, 2021): 21–23. http://dx.doi.org/10.12968/eyed.2021.22.6.21.

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The new EAD Early Learning Goals invite practitioners to refocus on optimising children's creativity through oral, aural, cultural and aesthetic expression – thereby enhancing their holistic well-being.

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19

Tolliver, J. M. "Creativity at University." Gifted Education International 3, no. 1 (January 1985): 32–37. http://dx.doi.org/10.1177/026142948500300106.

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The writer suggests that educators inhibit creative pupils not only by the selection of knowledge presented to their students but also by the communication of certain selected skills, expectation of roles and the unconscious expression of values and assumptions. He suggests that universities perpetuate these constraints through the regulatory function of education which seeks to standardize and socialize towards pre-determined goals. The highly creative student is pressurized to think in terms of a useful acceptable product which ensures success and approbation.

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20

Basu, Marina, and Ronald A. Beghetto. "Technology as Social-Material Mediator: From Primary to Secondary Creativity and Beyond." Creativity. Theories – Research - Applications 8, no. 1 (June 1, 2021): 11–22. http://dx.doi.org/10.2478/ctra-2021-0002.

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Abstract How might technology mediate the transition from primary creative expression to secondary creative contributions? In this paper, we address this question by expanding upon recent conceptualizations of primary and secondary creativity (Runco & Beghetto, 2019) and offer a new way to understand how technology can support creative learning and creative expression. We open by providing a conceptual overview of how technology can serve as a mediator between primary and secondary creativity. We then provide a concrete example of how material artifacts of students’ creative expression (primary creativity) were digitized into artifacts, and in turn, transformed again into material creative contributions in the form of narrative volumes (secondary creativity). We also discuss how technology can be used to mediate continuous creative contributions beyond primary and secondary creativity and how creativity researchers can (re)conceptualize the role technology can play in supporting indefinite cycles of creative learning and expression from material to digital and back again.

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21

Hashida, Tomoko, Takeshi Naemura, and Takao Sato. "Creativity with Learning:Approaches for Improvisational Musical Expression Supports." Journal of the Society for Art and Science 7, no. 2 (2008): 75–84. http://dx.doi.org/10.3756/artsci.7.75.

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22

Amendoeira, Maria Cristina Reis. "Creativity as expression of subjectivity in old age." PAJAR - Pan American Journal of Aging Research 5, no. 2 (December 27, 2017): 41. http://dx.doi.org/10.15448/2357-9641.2017.2.29555.

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23

Clarke, Eric F. "Creativity in performance." Musicae Scientiae 9, no. 1 (March 2005): 157–82. http://dx.doi.org/10.1177/102986490500900106.

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This paper examines different ways in which the notion of creativity has been used in relation to performance, and discusses psychological research on the topic. A considerable amount of this research is concerned with the creative use of expression in score-based performance, but a more conspicuous demonstration of creativity in performance is found in improvised performance. Having considered representative examples of the relatively small amount of cognitive research in this domain, the paper discusses rather different approaches, some based within ethnomusicology, that have looked at improvisational practices in a more embodied, as well as more socially and culturally embedded, manner. The paper concludes with some general recommendations for the way in which future research might bring together the rather disparate perspectives that currently characterise this complex domain.

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Bahari, Kissa, Anunciacion T. Talosig, and Jesus B. Pizarro. "Nursing Technologies Creativity as an Expression of Caring: A Grounded Theory Study." Global Qualitative Nursing Research 8 (January 2021): 233339362199739. http://dx.doi.org/10.1177/2333393621997397.

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Caring expression in nursing is rapidly changing to include the use of sophisticated healthcare technologies. Unfortunately, few nurses participate in developing healthcare technologies. The current study aimed to generate a theory of nursing grounded in the phenomenon of nursing technologies creativity in nursing practice. The study design used a constructivist grounded theory. Sixteen Indonesian nurses selected by purposive sampling were interviewed in-depth. Data analysis used constant comparative analysis through Charmaz’s coding process. This study generated two core conceptual categories that included technological creativity and drivers for technological development. Five theoretical statements were developed leading to the Technological Creativity as Caring in Nursing Theory. This theory is a middle-range theory that focuses on technological creativity to express caring for patients, nurses, and management in nursing practice.

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Hernàndez, Francesc J. "Freirismo, desigualdad social y educativa." Creativity and Educational Innovation Review, no. 4 (January 9, 2021): 130. http://dx.doi.org/10.7203/creativity.4.19329.

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Este artículo pretende dar respuesta a las siguientes cuestiones: ¿Por qué el presidente de Brasil, J. Bolsonaro, criticó la presencia de freiristas en la universidad? ¿Qué enuncia el freirismo que merezca el reproche de la primera autoridad de la república?¿Por qué sobrevive el freirismo? Para ello, se elabora un argumento genera, a partir de pruebas matemáticas, que pone el acento en la vigencia y en la centralidad de la desigualdad educativa, que Freire ya había desvelado y denunciado en la expresión de “pedagogía del oprimido”. This article seeks to answer the following questions: Why did the president of Brazil, J. Bolsonaro, criticize the presence of Freiristas in the university? What does Freirismo say that deserves the reproach of the first authority of the republic? Why does Freirismo survive? To this end, an argument is developed, based on mathematical proof, that emphasizes the validity and centrality of educational inequality, which Freire had already revealed and denounced in the expression “pedagogy of the oppressed”.

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Gumuliauskienė, Aušrinė, and Daiva Malinauskienė. "POTENTIAL, EXPRESSION AND DEVELOPMENT OF FUTURE PRESCHOOL AND PRE-PRIMARY EDUCATION TEACHERS’ CREATIVITY IN STUDY PROCESS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 2 (May 25, 2018): 530–44. http://dx.doi.org/10.17770/sie2018vol1.3169.

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The article deals with the problems of the development of future preschool and pre-primary education teachers’ creativity in study process, actualizes the importance of the development of a future professional’s creativity as one of the soft skills in the context of the challenges of modern transformations of the society, change in education, reforms in teacher training, presents theoretical interpretations of the concept of creativity, analyses the results of the research on the potential, expression and development of future childhood pedagogues’ creativity in study process, substantiating existing general problems and the importance of necessary changes in developing learners’ creativity in closely related cycles of high school and university education. The article emphasizes the need for enhancing responsibility, motivation for study quality and development of skills necessary for professional activity not only in teachers but also in students themselves.

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ŠLIOGERIENĖ, Jolita, and Giedrė VALŪNAITĖ-OLEŠKEVIČIENĖ. "EVOKING TEACHER CREATIVITY WHILE USING SOCIAL MEDIA / DĖSTYTOJŲ KŪRYBIŠKUMO SUŽADINIMAS NAUDOJANT SOCIALINES MEDIJAS." Creativity Studies 10, no. 1 (July 3, 2017): 84–96. http://dx.doi.org/10.3846/23450479.2017.1306808.

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Recently a question whether good teaching is creative teaching has been widely discussed however little attention has been paid to creative teachers themselves who face a challenge to teach with, through or for the creativity. The article stresses the importance of creativity in higher education and explores the expression of teacher creativity while using social media in university studies. The research is based on Hans-Georg Gadamer’s philosophical approach as well as the interpretation of creativity concept by Mihaly Csikszentmihalyi. The paper presents an overview of teacher “lived experience” that reveals the elements influencing their creativity; it addresses the key points for better understanding of the relation of the most influential elements provoking teacher creativity. Having identified the factors influencing the expression of teacher creativity while using social media, the conclusion is drawn that teacher creativity is sustained by inner creative personality characteristics, external institutional and social environment influence including active idea exchange and implementation. Applying social media in university studies, mastering it themselves and using it for teaching, teachers get involved in the continuous university study processes, the success of which is sustained by the traits of creative personalities and the environment supportive to creativity.

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Pimentel, Adelma do Socorro Gonçalves, and Caetano da Providência Santos Diniz. "Language Used in Social Networks: Creativity and Self-Expression." Psychology 05, no. 19 (2014): 2131–37. http://dx.doi.org/10.4236/psych.2014.519215.

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Bastin, Georges L. "Evaluating Beginners’ Re-expression and Creativity: A Positive Approach." Translator 6, no. 2 (November 2000): 231–45. http://dx.doi.org/10.1080/13556509.2000.10799067.

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Hwang, Soon Ye. "Rethinking creativity: Present in expression in creative learning communities." Educational Philosophy and Theory 49, no. 3 (September 27, 2016): 220–30. http://dx.doi.org/10.1080/00131857.2016.1225559.

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Abdulla Alabbasi, Ahmed M., Sarah E. Sumners, Sue Hyeon Paek, and Mark A. Runco. "Association, Overlap, and Inhibition: A Study of Implicit Theories of Creativity." Creativity. Theories – Research - Applications 7, no. 2 (December 1, 2020): 251–83. http://dx.doi.org/10.2478/ctra-2020-0014.

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Abstract After more than six decades of systematic study of creativity, there is still no agreement regarding components essential to define creativity. Prior studies of implicit and explicit theories have suggested adding criteria to the standard definition of what creativity is; however, an alternative approach is to explore what creativity is not. The current investigation aimed to study both perspectives. The social validation method was employed in Study 1 (an open-ended questionnaire) to identify laypeople’s notions of creativity using content analysis of participant responses (n = 92). Results from Study 1 were used to build a quantitative questionnaire employed in Study 2 (n = 306). Descriptive statistics and Spearman Rank Correlations were used to analyze participant ratings in Study 2, showing consistent agreement that creativity is highly related to and overlapped with Imagination, Artistic Expression, Innovation, Originality, and Invention, while Knowledge, Ability, Unconventional Behavior, Morality, and Insanity were less related to and overlapped with creativity. Both implicit and explicit theories agreed on Originality and Innovation and disagreed on Artistic Expression, Imagination, and Invention. Usefulness received low ratings, although it is considered in all creativity definitions. Morality was not rated to be closely associated with creativity. Detailed findings are discussed with suggestions for future studies.

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Tetelea, Margarita. "7. Training of Artistic Skills of the Music Teacher." Review of Artistic Education 20, no. 1 (April 1, 2020): 304–8. http://dx.doi.org/10.2478/rae-2020-0035.

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AbstractIn this article, concepts such as “creativity” and “artistic creativity”, based on the ideas of a number of famous scholars, are dealt with. The concept of “creativity” is defined according to the aspiration of an artistic person to self-expression. Speaking about the structure and the components of the creative process, we have identified the factors that enhance the development of the creative abilities of the students from the pedagogic-artistic specialties in the process of designing the didactic-artistic approach. It is also reflected in the diversity of these factors: psychological, pedagogical, didactic, artistic. In conclusion, the emphasis is on the fact that self-expression in artistic creativity is the individual’s need, and need is classified as aesthetic.

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Kokhan, Tymofii. "Cinematographic Process as an Example of Collective Creativity: From Dialogism and Communication to Self-expression." Culturology Ideas, no. 16 (2'2019) (2019): 63–71. http://dx.doi.org/10.37627/2311-9489-16-2019-2.63-71.

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The article, based on the general outline of the problem of creativity, defines the specificity of the cinematographic process attributed as an example of a more complex type of collective creativity compared to the theater. It shows how the harmonious cooperation of the director with the screenwriter, cameraman, artist, actor made it possible to identify the potential of the script and “find” those aesthetic and artistic means that influenced the quality of the film. The article reproduces theoretical position of Ukrainian scientists, which in recent decades has significantly expanded the space for the study of collective creativity due to the emphasis on moral and psychological aspects. On the example of the Marcel Carne film crew, it illustrates how creative teams were formed in the practice of European cinema, the joint work of which was transformed into the creation of a number of bright cinema works. It emphasizes that the collective type of creativity is a structural element of the problem of “creativity”. On the one hand, it is multidimensional; on the other, it is the inter-scientific one, where philosophical, psychological, cultural, aesthetic, art history and ethical approaches naturally coexist. The process of realizing the idea of the film allows filmmakers to fruitfully use the potential of such fundamental principles of cultural analysis as “dialogism” and “communication”, stimulating “self-expression” of the personality.

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Haselhuhn, Michael, Elaine M. Wong, and Margaret Ormiston. "The Creativity Bias: Investors Respond Negatively to Executives’ Creative Expression." Academy of Management Proceedings 2020, no. 1 (August 2020): 21270. http://dx.doi.org/10.5465/ambpp.2020.21270abstract.

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Ha, Euna. "A Study of Expression Tendency and Creativity of Auteurism Design." KOREA SCIENCE & ART FORUM 30 (September 30, 2017): 465–75. http://dx.doi.org/10.17548/ksaf.2017.09.30.465.

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Tahir, Munazza Batool. "Creativity in poetic expression: A contrastive analysis of pseudo-longinus." Procedia - Social and Behavioral Sciences 2, no. 2 (2010): 4768–72. http://dx.doi.org/10.1016/j.sbspro.2010.03.766.

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Levine, Ellen G. "Women and Creativity Connecting to the World through Self-Expression." Canadian Art Therapy Association Journal 3, no. 1 (September 1986): 17–34. http://dx.doi.org/10.1080/08322473.1986.11432171.

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Valenzuela Vianna, Claudia R. G., and Eunice M. L. Soriano de Alencar. "Creativity and Barriers to its Expression in Online Education Courses." Gifted Education International 21, no. 1 (January 2006): 54–62. http://dx.doi.org/10.1177/026142940602100108.

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Volmar-Vega, Vilmarie, and Francis M. Kozub. "Chiqui-traca-ban-tau: Movements and Creativity Expression without Limits." Strategies 29, no. 2 (March 3, 2016): 9–13. http://dx.doi.org/10.1080/08924562.2015.1133354.

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40

Darginavičienė, Irena, and Jelena Suchanova. "LINGUISTIC ASPECTS AS CREATIVITY EXPRESSION IN COMPUTER-MEDIATED BUSINESS COMMUNICATION." Creativity Studies 13, no. 2 (May 14, 2020): 325–35. http://dx.doi.org/10.3846/cs.2020.12503.

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Business communication online has developed over time due to the constant change of modern communication technologies. Researchers affirm that digital technologies have both positive and negative impact on business communication. Creativity in business communication turns to be crucial in the realization of business opportunities. However, it is linked not only to imagination or original ideas. It also means innovation and innovativeness, the use of innovative digital technologies that help to fuel great ideas, enhance critical thinking, open new ways to business ambitions. The study is devoted to the analysis of linguistic aspects in computer-mediated business communication. Two types of digital business discourse – e-mail and websites of insurance companies – are analyzed with the focus on their linguistic features. From the linguistic point of view computer-mediated business communication differs from conventional business communication and the use of lexicon (e.g. special formal and standard vocabulary) is critical in making this communication successful. Grammatical features of business language are also of great relevance. Stylistic features employed in business communication are also crucial since they help to provide emphasis, achieve clarity and freshness of expression. Linguistic elements of computer-mediated communication in e-mails and analysed websites do not always coincide. The analysis has shown that websites tend to be less formal and compared to e-mails are more exposed to creative linguistic expressions.

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Pritts, Marvin, and Marcia Eames-Sheavly. "Fostering Creativity in the Horticulture Classroom." HortTechnology 26, no. 3 (June 2016): 358–64. http://dx.doi.org/10.21273/horttech.26.3.358.

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Creativity is considered important for success in most disciplines. Research has shown career accomplishment to be more correlated with scores of creativity than with standard measures of intelligence. Creativity is positively correlated with one’s ability to adapt to new situations and succeed in today’s world. Horticulture provides a rich context for creative expression, given that it lies at the intersection of science, art, and the humanities. Yet, fostering creativity is often not emphasized in plant science curricula nor identified as a central learning objective. The goals of this paper are to help instructors identify practices that promote creative expression in their classrooms, offer examples of classroom exercises that allow students to express creativity within a plant science context, and provide direction for assessment. From the literature, we identified 10 criteria that characterize behaviors, practices, and attitudes that are considered components of creativity. Then, we shared these criteria with the horticulture faculty at Cornell University, asking for examples of classroom exercises in which these creativity criteria are reflected. Through our observations of submitted examples and comments from instructors, it is clear that class activities that promote creative thought are prevalent, but often not recognized as such by instructors. Classroom norms emphasize scientific knowledge and vocational skills, but it is not the norm to openly promote, encourage, and enhance creative skill use and development. Assessing creativity in students is challenging because there are no widely accepted criteria for evaluating it, and defining exactly what to measure can be subjective. We provide suggestions for how to think about assessing creativity in the classroom.

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Semrád, Jiří, and Milan Škrabal. "Social Environment and Creativity." Lifelong Learning 1, no. 2 (2011): 46–58. http://dx.doi.org/10.11118/lifele2011010246.

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The paper deals with issues connected with the motivation of high school students to participate in activities aimed at professional creative activity and, in this context, issues of environmental influences, especially from school and the family. It is responding to some of the growing efforts of neoliberalism to over individualize creative expression and activities and completely ignore social influences. It also takes into account the cultural legacy of past generations and the sources of creative power that have taken root in society and from which individuals draw and process their inspiration. Presented within are the results of an empirical probe focused on the influence of the social environment on the creative activity of teenagers. The paper follows the relations to the existing body of knowledge on the relationship between social environment and creativity, with an effort to capture the social conditionality of creative performances—to capture their roots. The results of the probe have confirmed the initial hypothesis that the creative efforts of secondary school students taking part in vocational training is based on the social background of the family and school. However, the family influence on the students’ creativity is not as significant as one would expect. It is the indirect effect of the family environment that has a larger influence.

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Holbrook, Robert L., and Debra R. Comer. "Mandalas: A Simple Project to Explore Creativity." Management Teaching Review 2, no. 3 (May 29, 2017): 202–10. http://dx.doi.org/10.1177/2379298117709782.

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Creativity is more important than ever in today’s knowledge-based economy. Although many students doubt their own creativity, very few exercises are designed to help them access this ability. We believe that self-expression and self-reflection are important for understanding personal creative ability. Jung introduced the mandala to promote these two skills. We offer an easy-to-implement project that uses the mandala to help students explore factors (e.g., moods, context) that affect their creativity. This project can be useful in a variety of courses, ranging from those that give students a basic overview of creativity (e.g., management, organizational behavior) to more advanced courses in creativity and innovation.

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Vasojević, Irena, Zora Krnjaić, and Nena Vasojević. "Developing creativity in mathematics instruction." Nastava i vaspitanje 70, no. 2 (2021): 165–76. http://dx.doi.org/10.5937/nasvas2102165v.

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This paper aims to highlight the importance and the possibilities of developing creativity and creative thinking in mathematics instruction. One of the key tasks of the educational process in schools is the stimulation and development of students' creative abilities. Students' creative abilities and divergent forms of working with them are not restricted to specific areas and fields of human activity; rather, it is a matter of the specific and distinctive qualities of the development of creativity and creative expression in certain areas, or school subjects. The paper examines the need and the possibilities of developing creative thinking in children of primary school age and in mathematics instruction in the lower and upper grades of primary school, since creativity is not linked exclusively to art or certain fields or school subjects, nor is it the privilege only of gifted and talented children and students.

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Cornell, Judith. "Yoga, Light and Creative Expression." International Journal of Yoga Therapy 3, no. 1 (January 1, 1992): iv—7. http://dx.doi.org/10.17761/ijyt.3.1.t2x56763071612g2.

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As professional artist and educator for many years, until 1979 I was engaged in the secular, combative world of art that I had inherited as part of my Western upbringing. Like so many others, I then considered creativity to be not a Divine potential in all souls, but the exclusive prerogative of a few. I thought of an artist as "one who paints or sculpts," rather than as one who is capable of using certain energies to bring about inner and outer transformation.

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Tymchuk, Larysa. "ETHICAL DIMENSIONS OF CREATIVITY IN DESIGNING OF DIGITAL NARRATIVES." Aesthetics and Ethics of Pedagogical Action, no. 14 (September 9, 2016): 191–201. http://dx.doi.org/10.33989/2226-4051.2016.14.171616.

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The article deals with the problem of an individual’s creative expression in the process of design of digital narratives, analyzes the categories of creativity, innovation, and defines properties of creative work and related copyright issues on multimedia, web pages, digital humanistic education projects, including digital narratives. The approaches to the definition of creative works in the digital space, including: originality, individuality, innovation, aesthetic and artistic value, social significance, are characterized.The article gives valuable information on the problem of creativity in scientific context of using digital technologies by analyzing the following categories: high creativity; creativity revealed in the works; creativity as a form of an activity; creativity as a cognitive process. The article highlights the characteristic properties of a digital creature (multimedia presentation, digital narrative, computer program, and website): innovation, originality, lack of imitation, availability of specific individual properties, rare occurrence of such works; aesthetic and artistic value; social significance.Under Ukrainian law copyright issues that apply to all types of digital narrative, web pages, audio-visual materials (as well as visual and audio), computer programs are considered. The works that are considered to be creative and liable to legal protection in terms of copyright include: various types of digital narratives, computer programs, web pages, audio-visual materials characterized by individuality, originality, and independence. The ability to generate ideas, creative work, and originality of thought are revealed in these works.The principles of creativity in the design of digital narratives are defined: creative self-actualization is done by designing the content of the information message through digital technologies; digital narrative enables the presentation of one’s own “I”, i.e. thought placement of network photos, graphics, texts, video and audio recordings; digital narratives stimulate the recipients of digital creature the emergence of various kinds of possible reflexive reactions; future Masters of Education should be able to creatively design digital narratives for use them in professional activity to stimulate the development of abilities of students; the compliance of copyright acquires special significance.

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Thompson, Neil A. "Imagination and Creativity in Organizations." Organization Studies 39, no. 2-3 (November 24, 2017): 229–50. http://dx.doi.org/10.1177/0170840617736939.

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Scholars adopting a relational ontology of organisational creativity have shifted attention away from a preoccupation with individual minds towards that which is enacted, emergent, shared, unpredictable and contingent. This article follows suit, yet breaks new ground by reconsidering how the mind plays an active role in unfolding creative interactions by building a bridge between literature on organisational creativity, aesthetics and philosophy of imagination. I draw on English Romanticism to craft a theoretical model of organisational creativity as an aesthetic and relational process of shared imagining. This model demonstrates how organisational members use primary and secondary modes of imagination and creative expression to develop, materialise and share perceptions and images of possible futures. By elaborating on their interplay, this article contributes to literature by theorising an active and generative role of mind that does not have the ontological shortcomings of leading theories. In turn, this has a number of implications for literature on entrepreneurship and organisational creativity in terms of situating and embodying creative thinking, explaining the intentionality and motivation for creative actions, overcoming perceptual differences and changing practices and routines.

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Zhou, Jing, and Jennifer M. George. "When Job Dissatisfaction Leads to Creativity: Encouraging the Expression of Voice." Academy of Management Journal 44, no. 4 (August 2001): 682–96. http://dx.doi.org/10.5465/3069410.

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Zhou, J., and J. M. George. "WHEN JOB DISSATISFACTION LEADS TO CREATIVITY: ENCOURAGING THE EXPRESSION OF VOICE." Academy of Management Journal 44, no. 4 (August 1, 2001): 682–96. http://dx.doi.org/10.2307/3069410.

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Kuloglu, Nilgün, and Ali O. Asasoglu. "Indirect expression as an approach to improving creativity in design education." Procedia - Social and Behavioral Sciences 9 (2010): 1674–86. http://dx.doi.org/10.1016/j.sbspro.2010.12.384.

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