Developmental Trajectory of Creativity

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Ignite Your Everyday Creativity

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The State University of New York

Ignite Your Everyday Creativity

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Creativity is an essential skill for the 21st Century that is innate in all people and can be nurtured. We constantly need new and better ideas for almost every aspect of our professional and personal lives. The goal of this course is to help you recognize, develop and act upon the creativity that you already possess. We will accomplish this using three methods: b aware, b inspired, and b creative. Upon completion of this course participants will: Recognize the inherent creativity in yourself and others. Identify characteristics of a creative person that relate to yourself. Develop creative problem solving skills using the basic elements of the creative process. Examine qualities of a creative environment in real world settings. Evaluate an idea using the creative product criteria.

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What is Creativity?

In this module, we will be featuring the skill “Look at it Another Way”. This skill is about becoming aware of what ideas, challenges, and solutions feel like from multiple perspectives, views, or mindsets. These ideas may manifest as spoken words or internal thoughts. For example, take a moment to picture a tree. What does it look like? Does it have leaves? What season are you in? Did you picture the tree from straight on? If so, try picturing the tree from a birds-eye view, or from an ant's perspective. If your tree was in full bloom, picture the same tree in winter. It probably looks much different! That's what this module is all about looking at things from different perspectives in order to gain new insights! As you go through this module's lessons, we would like you to consider the following things: * What might be all of the different ways to look at these lessons and assignments? * How does changing your perspective spark your imagination? * When deliberately employing this skill, do you feel more creative? We encourage you to keep this description handy, as we will be asking you to apply this skill throughout the module. Ready? Let's get started! * Skill taken from Torrance, E.P., & Safter, H.T. (1999). Making the creative leap beyond... Hadley, MA: Creative Education Foundation Press.**

Developmental Trajectory of Creativity6:57

Rencontrer les enseignants

Dr. Cyndi Burnett
Associate Professor
Creative Studies
Dr. John F Cabra
Associate Professor
Creative Studies

[MUSIC]

Let's start with mini-c.

So [LAUGH] when we were thinking about mini-c, again,

we were thinking about how does this relate to learning?

And we realized that whenever somebody learns something new and personally

meaningful, kind of a deep, meaningful learning, that's an act of creativity.

And we also recognize that, that kind of many see active creativity happens in

the learning process is probably also what's happening in larger manifestations

of creativity where external evaluators or eyes are saying,

that's a creative behavior, that's a creative product.

So that's where mini-c starts.

It's kind of a subjective experience of creativity.

It's the kind of self-awareness that this is new and meaningful to me.

And then, it moves into sometimes an articulation

that others can recognize as creative and that would be Little-c.

>> And what's interesting is that the traditional definition of creativity

is that it has to be novel.

Or new and task appropriate.

And yet with many, see, we're kind of breaking these rules

in that somebody else may not see it as new, but as long it's new to that person.

Where is it the little-c level or

everyday creativity other people recognize it as being new.

And we, sometimes like to call it county fair creativity,

in part because we developed a lot of the model during the Oregon County Fair.

But this idea of that bit of creative work that everybody can bring to the table

in some way, that people can appreciate to enjoy, whether it's cooking or

building a bird house or scrap booking or singing a song on your guitar.

It's that level of everyday creativity that is recognized as being creative,

by at least some other people.

>> Right. And I think,

just to dwell on mini CLC just for a moment, what I think was evident to us as

we were thinking about this and observing creative expression, like at the fair for

example, is the idea that many see creativity as sufficient.

It's a sufficient level of creativity.

As long as the person's enjoying their experience,

it doesn't even matter sometimes if other people don't recognize that.

That moment of learning, that moment of insight, it still has value in itself.

And what we started looking at, for example, in some of our recent studies, is

the case that some people might recognize their creativity, other people don't.

And what we're also seeing in kids for example,

is kids often don't recognize their creativity but other people do.

So I think there's some interesting things of helping youngsters

realize that what they're doing is a creative act, and

with some support it could be developed in something that other people can recognize.

So that maybe moves us to Pro-C then.

>> And once you're at little-c,

so once your work is recognized by other people,

in essence you have that decision of whether to keep working at it.

To keep practicing, developing your art media or whatever the product is.

Maybe work with people who are professionals and experts and

that overtime, over practice your work will

reach that level of being an expert of being professional.

And to a degree, this is the most that we can

really realistically aspire for that's under our control.

It is under our control how much we practice, how much we try.

The jump from Pro-C to Big-C or genius,

that what's happens with history, that's what happens in the generations after us.

And we can't necessarily control that.

There are things that, back in 1850, somebody would've been sure, wow, this

author will be remembered 150 years later, and nobody has any idea who they are.

But prose, see, is something that is within our control, and

with appropriate practice, repeated efforts,

continual production we can really strive for.

>> Absolutely.

And I think we think it's valuable, if we're thinking about creativity

as a developmental trajectory, to have those examples of eminent creativity,

those are very inspirational, they show the heights of human accomplishment.

And again, it's out of the creator's hands in most cases.

So I think, when we're thinking about cultivating creativity in young people,

for example, giving them many opportunities to explore creativity at

the little-c level, and then helping them understand if there's one particular

interest or area of aspiration that they feel really inclined to pursue.

How much it takes,

what kind of work it takes to go from your interest and your expression of it at

this level to actually become an accomplished professional creator.

And so, that's where bringing in accomplished creators can serve

as important models.

And that can really help cultivate that creative trajectory.

But again, even at the little-c level, I would call myself a little-c cook.

Some people might call me a mini-c cook.

But that's sufficient, I find joy out of that, people are happy eating my food,

typically.

And so, it's not something that I'm going to go onto culinary school, but

it's a lifelong form of creative expression.

And it's fine in and of itself, it doesn't have to go to the next level.

>> And I think it's worth mentioning that your level of fee will vary by domain,

by endeavor, and that you may have somebody who's at the Pro-C

level of teaching, or of psychology research, or of art.

And when they try something else, they may be mini-c, they may be little-c.

It is rare to have somebody at that point at level who is Pro-C at

many different areas.

It happens, of course, but it's rare.

But you'll have a lot of people who might have this whole spread of their

Pro-C in this, and their little-c in these 10 things, and

then mini-c in these 40 things.

I mean, I love singing in the shower,

but I wouldn't sing, probably even in front of other people.

>> Thank goodness.

>> Thank goodness.

[MUSIC]

>> Not that I've heard you sing on the show.

>> [LAUGH] >> Cut.

[LAUGH]

[MUSIC]

[BLANK AUDIO]

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