Journal of Creative Behavior最新文献

Creativity can be assessed using various methods, including divergent thinking performance, self-ratings, and teacher ratings. However, these measures may not always align, as they may not consistently identify creative potential in the same manner. The present study aimed to identify latent subgroups of students based on their observed originality, creative self-efficacy, teacher-rated originality, academic achievement in reading and mathematics, and demographic background characteristics. Data were collected from 243 elementary school students. We applied the normal mixture technique to classify participants into latent subgroups. Five latent subgroups of students were identified: Overconfident Low Performers, Creative High Achievers, Under-Confident Below-Average Achievers, Mathematically Oriented Students, and Calibrated Above-Average Achievers. Female students tended to fall disproportionately into the subgroup of Creative High Achievers. Students receiving free/reduced lunch had a lower probability of being Creative High Achievers. Special education students had a higher probability of falling into the subgroup Overconfident Low Performers. Teacher ratings of students' originality were more in line with student academic performance rather than with their performance-based originality scores. Students' self-ratings of creativity bifurcated across subgroups, with Creative High Achievers and Overconfident Low Performers reporting the highest self-ratings of originality, despite displaying very different levels of performance on the divergent thinking assessment.

How are ideas born? Contrary to commonly held beliefs, creative performance, like any goal-oriented action, requires understanding and managing one's own cognitive processes – thus, efficient metacognition. Recently, a systematic framework of creative metacognition (CMC) has been proposed, assuming the relevance of metacognitive knowledge, monitoring, and control in creative performance. Here, we provide the first comprehensive empirical examination of this conception. Specifically, an online sample (N = 425) performed divergent thinking (DT) tasks and gave insight in relevant aspects of metacognitive processes during task performance. The study revealed that all three proposed components of CMC played independent roles in enhancing creative cognitive performance, including divergent thinking creativity and fluency. Among these components, metacognitive control showed the strongest positive association with creative cognitive performance. As expected, CMC was especially relevant to imminent creative task performance but showed some association with real-life creativity. These findings provide the first empirical evidence that all three postulated components of CMC support creative performance and, to a lesser degree, to creative behavior. In the discussion, we delve deeper into the specific roles of these metacognitive subcomponents in enhancing creative cognitive performance and touch upon the differences between the roles of self-regulation and metacognition in creativity.

Creative behaviors are increasingly impacted by digital technologies, but little is known about the way digital technologies support everyday creativity and what factors predict their creative use. We investigated to what extent individual differences in person-specific (creativity, personality) and platform-specific (e.g., perceived creativity support) characteristics relate to the creative use of Instagram. The results from a sample of 191 Instagram users revealed that more frequent creative use of Instagram was related to greater engagement in everyday creative behaviors, creative self-beliefs, the openness facet of creative imagination, extraversion, a more positive attitude toward Instagram, greater platform-related self-efficacy, and greater perceived creativity-support. Regression analysis further revealed a unique contribution of everyday creativity, creative personal identity, extraversion, attitude toward Instagram, Instagram self-efficacy, and perceived creativity-support for creative use of Instagram. Although creativity was not the most central motive for using Instagram, the results from the present study indicated considerable levels of creative use, suggesting that common online spheres are important for everyday creative behavior. Together, this study identified relevant person- and platform-specific factors predicting creative behavior at Instagram, while also highlighting the relevance of creativity in the digital world even outside of devoted digital creativity tools.

This study explores the ways in which embodied creativity is conceived and implemented in french schools through the study of a corpus of professional articles published since the 1960s in a journal dedicated to physical education. The analysis focuses on pedagogical experiments to foster bodily creativity carried out in primary schools, as part of a wide-ranging educational reform during the 1970s. Those practices mark a radical break with the grammar of schooling whose worldwide spread is linked to the colonial expansion of western Europe. They revealed many similarities with indigenous pedagogies through the willingness to go beyond the mind–body dichotomy, to value a sensitive and intuitive body, to anchor knowledge in lived experience and to move from a top-down relationship between teacher and pupil to a more horizontal one. The 1980s marked a return to more traditional methods, but these pedagogical experiments nurtured a conception of embodied and enactive creativity that sought to go beyond a western vision of the body, of action and of the relationship with the world in school education. The convergences with non-western pedagogies underline the interest of these approaches to explore and foster embodied and enactive creativity.

Autistic traits are found throughout the general population, but their link to creative attributes has received little attention in childhood populations. In adults, autistic traits are linked to both creative benefits and disadvantages, moderated by the autistic trait and the creative domain under investigation. The current study investigates the link between autistic traits and creative attributes (creative personality traits, creative talent, creative artistic choices) in children aged 10–14 years. Autistic traits were measured using the Adolescent-AQ, both globally (AQ-Total) and for individual subscales (AQ-Attention to detail, AQ-Imagination, and “AQ-Core”, i.e., combining AQ-Social skills, AQ-Attention switching, AQ-Communication). Using child and parent reports, data from 149 children revealed an association between autistic traits and creative personality traits (both positive and negative) while also showing a (weaker) relationship with creative artistic choices. Global and core autistic symptoms negatively predicted creative personality traits. At the same time, AQ-Imagination predicted lower creative attributes across nearly all creative domains. Finally, and in contrast, AQ-Attention to detail positively predicted a number of creative attributes (i.e., creative personality traits, creative talent). Our results show how autistic traits map to a range of creative attributes, across children in the general population.

Previous research has examined how creative potential develops during childhood and has identified peaks, slumps, and bumps during maturation. However, little is known about the causes of such changes. This study employed a longitudinal approach to assess predictors of change in creative ideation over 2 years in young people (N = 76) aged 14–20 years old at the first time point. The analysis employed frequentist and Bayesian methods to evaluate the effect of individual factors, such as openness to experience (assessed using the BFI-10 short form), and contextual factors, such as pursuing creative hobbies (measured with a leisure questionnaire). Openness at the first time point and change in openness over time predicted change in peak originality. Engagement in creative hobbies at the first time point predicted change in fluency. The findings support the contribution of individual factors, in the form of openness to experience, and contextual factors, in the form of engagement in creative hobbies, in the development of divergent thinking abilities in mid-adolescence and young adulthood. Altogether, this study suggests that interventions aimed at increasing time spent on creative activities and promoting openness to experience may enhance divergent thinking abilities, which are essential components of creative potential.

This essay draws on empirical research from two studies examining creativity, activism, and education in Hong Kong. We use a decolonizing and deimperializing approach to centering creativity as a lever for social change, and demonstrate the ways in which the specifics of culture, region, time, and place uniquely produce forms of creativity, as has long been documented by creativity scholars. We build upon Kuan-hsing Chen's Asia as Method: Toward Deimperialization (2010), applying it to creativity and the ways in which we can better attend to cultural and regional differences rather than adhere to universalizing “creative industries” or developmental psychological discourses. Here we are not interested in documenting “non-western” modes of creativity, in the ways this has sometimes been addressed as local craft or traditional cultural practices. Rather, we advance a theory of intra-Asian creativity (including Australia) with its own onto-epistemological legacies and innovations. We celebrate these formations as emergent from and imbricated with conceptual traditions such as Taoism and Western knowledge systems, rejecting binarized individualist “versus” collectivist approaches. The emerging field of critical creativity studies points to the ways in which decolonizing, deimperializing and collaborative research are reorienting our work toward benefit for all, rather than the (white) (western) few.

This study aims to distinguish between creativity and innovation in K-pop using a conceptual framework of the K-pop system and to examine if any traces of Korean traditional Pansori are found in K-pop. Innovation refers to successful implementation of creative ideas, and creative ideas without successful implementation are of no use in the business sector. A conceptual framework of the K-pop system, developed by the author, consists of enabling people, contents, system processes, and environments. This study identified eight innovative aspects of K-pop, which include manufacturing K-pop stars using a specific formula; providing government leadership for K-pop export; using well-balanced copyrights to encourage K-pop fans' social media sharing of their copycat versions; and embracing culturally hybrid K-pop music styles for global markets. K-pop's possible links with Pansori are found in K-pop singers' Grit, similar to Pansori singers' Gongryeok; and female K-pop idols willing to take personal sacrifices of “no dating” and “curfews,” resembling Pansori singers' “punishing effort.” Confucian influence on K-pop is traced in South Korea's top-down approaches by the government and music industries, and gender inequality imposed on female idols as the male gaze.