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Creativity

Over the past 50 years, theory and research on creativity have advanced significantly. These advances can be seen across a number of domains and fields, including business, technology, health care, and design, and the implications for education have been significant. Indeed, scholars now have rich, detailed definitions and conceptions of creativity, considerable knowledge about enhancement of creativity, and comprehensive assessments for use in educational settings. The increased emphasis on creativity in education and the corresponding surge in creativity research have important implications for the definition of creativity and enhancements to creativity.

Scholars agree that a universal definition of creativity needs to encompass more than just the traditional notions of uniqueness and utility, expanding to include ideas such as tangibility, context, and surprise. Furthermore, there are a plethora of established strategies for enhancing creativity in the classroom, from pedagogical techniques such as divergent thinking training and modeling to external resources such as technology use and exposure to and interaction with outside communities. Finally, assessing creativity in the classroom is possible through a variety of instruments and techniques designed to measure creative products, process, people, and environments. This entry reviews definitions of creativity, research on enhancement efforts, and creativity assessments.

Definitions

Creativity is a term embedded in the lexicon, to the extent that it becomes difficult to detach the construct from the widely held myths and stereotypes surrounding it. These misconceptions include the notion that creativity is something we either are or are not born with. Additionally, creativity is often associated with socially isolated and dark or carefree and irrational behavior (such as the “loner” or “hippie” archetypes). Scholars believe many of these misconceptions result from imprecise definitions of creativity. Consequently, in order for research on creativity to be dissociated from these myths, it is important for researchers to clearly define creativity as they intend it to be used. Yet, in one study that examined published creativity research, only a third of articles included explicit definitions of creativity. As a result, scholars in the fields of education and psychology have published several articles attempting to resolve the absence of a definition for creativity.

The traits most commonly and overtly associated with the study of creativity are uniqueness and usefulness. Jonathan Plucker, Ronald Beghetto, and Gayle Dow, in their widely cited definition of creativity published in 2004, added the criteria of tangibility (e.g., an observable product) and the situation or context (acknowledging that whether something can be considered unique or useful is dependent on the existing environment and social framework). Their definition combines these criteria into one comprehensive definition:

Creativity is the interaction among aptitude, process, and environment by which an individual or group produces a perceptible product that is both novel and useful as defined within a social context (p. 90).

Other scholars have provided similar definitions. Using U.S. Patent Office criteria, Dean Simonton asserts that something is creative if it includes some proportion of novelty, usefulness, and surprise. Although Plucker and colleagues and Simonton used different approaches to define creativity, their definitions are not mutually exclusive. The most obvious overlap in the two definitions is the emphasis on novelty and usefulness with the shared idea that those two traits alone are insufficient to define creativity.

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