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How to encourage your child’s creativity

Kyung Hee Kim, Ph.D.

Eastern Michigan University

What are some things that annoy you about your child?

Four P’s of Creativity (Rhodes, 1961)

Product: ideas expressed in the form of language or craftProcess: mental processes that are operative in creating ideasPress: person / environment relationshipPerson: Cognitive Abilities, Biographical Traits, Personality

Product

Product determines whether creative efforts are successful (Feldhusen & Goh, 1995).

Creativity research should start with products This helps us learn differences between creative & mundane products (MacKinnon,1978b).

Western view: Creative products focus on tangible forms (Hughes & Drew, 1984).

“Ability to produce work that is novel, original or unexpected, appropriate, useful, or adaptive concerning task constraints” (Barron, 1988; Jackson & Messick, 1967; Lubart, 1994, 1999; MacKinnon, 1962; Ochse, 1990; Stein, 1953; Sternberg, 1988; Sternberg & Lubart, 1991, 1995, 1996).

Product

Eastern viewNot oriented toward tangible products. “A state of personal fulfillment & the expression or understanding of an inner sense of ultimate reality”(Chu, 1970; Kuo, 1996; Mathur, 1982).

Focus on meditation (Sarnoff & Cole, 1983).

Reinterpretation of traditional ideasWestern

A break with tradition (Kristeller, 1983).

Product

Between the Western & Eastern: Maslow’s view (1976): An individual’s striving for self-actualization Csikszentmihalyi’s flow (1996): Feeling of an individual’s experience while totally involved in an activity--- Automatic, effortless, yet highly focused state of consciousness

where ego & time are lost & each movement or thought follows naturally from the previous one

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Products

Social Movements

Mohandas Ghandi

Martin Luther King, Jr.

Process (Wallas, 1926/ 1970)

Preparation - Preliminary analysis of a problemDefining & Identifying the problemGathering experience & ideas

Incubation - Maturing phaseThe most creative part Insight occurs when a subconscious connection between ideas fits so well /that it is forced to pop out into awareness(Csikszentmihalyi, 1996).

Ideas come when relaxing (Wallas, 1926; Ochse, 1990).

Illumination - Creation of insights & inspiration phase

Product of incubation---“aha”Verification - Execution & evaluation phase

Testing the “aha” (Lubart, 2001)

Press

Barriers that limit creativity (Davis, 1992; Torrance, 1963, 2002)

Well-learned & habitual ways of thinkingPerceptual & mental setRules & traditions that restrict personal, social, & institutional behaviorEmotional blocks

Insecurities & fearsfear of failure, ridicule, being different, or taking risks

Cultural blocksSocial influenceExpectationsConformity pressures.

Press

If the person’s social & cultural conditions do not value the creativity, the person’s creative growth cannot flourish. Rogers: Setting up situations of psychological safety & freedom--preconditions (1954/1976).

Press

Cross-cultural studies illustrate the ways culture & creativity interact (e.g., Lim & Plucker, 2001; Lubart, 1990; Lubart, 1999; Rudowicz & Hui, 1997; Seo & Lee, in press; Sternberg & Lubart, 1999; Yue & Rudowicz, 2002)

Cultural diversity affects Expression of creativity Amount that a culture values such expression (success of expression)

Press

Creativity is an interaction among PersonField Culture (Csikszentmihalyi, 1988):

A person takes information & action from the culture & produces a variationif it is deemed valuable by the field, it will be included in the culture, providing a new starting point for the next generation.

Each of the three elements is necessary for creativity

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Person

Cognitive AbilitiesCreativity & intelligence are separate constructs: A highly intelligent person may or may not be highly creative. Threshold theory: Above IQ 120 there is little correlation between intelligence & creativity(Barron, 1961; MacKinnon, 1961, 1978a; Walberg, 1988).

Person

Cognitive Abilities (Guilford, 1956, 1959, 1960, 1986)

Creative thinking as involving divergent thinkingFluency, Flexibility, Originality, & Elaboration Not the same as divergent thinking

Creativity requires sensitivity to problems &redefinition abilities

Transformations of thought, reinterpretations, & freedom from functional fixedness in derivingunique solutions

PersonBiographical Traits (a)

Creative people tend to:be much traveled (Torrance, 2002)

have a background of creative interests (Davis, 1992; Torrance, 2002)

PersonBiographical Traits (b)

Creative people tend to:have childhood trauma, especially among artistic creators (Berry, 1981; Goertzel, Goertzel, & Goertzel, 1978; Simonton, 1986—There’s only one thing that’s worse than having an unhappy childhood, and that’s having a ?(Dylan Thomas))

have somewhat marginalized family background(Berry, 1981; Goertzel, Goertzel, & Goertzel, 1978; Simonton, 1976)

have less formal education for the most eminent creators (Simonton, 1999)

PersonBiographical Traits (c)

Creative people tend to:

be left-handed (Davis, 1992)

be first-born for status quo scientists & political leaders, & classical composers (Clark & Rice, 1982; Schubert, Wagner, & Schubert, 1977; Stewart, 1977; Terry, 1989; Torrance, 2002)

be later-born for revolutionary scientist & political leaders, & creative writers (Bliss, 1970; Stewart, 1977; Sulloway, 1996)

PersonBiographical Traits (d)

Creative people tend to:have friends younger & older than themselves (Davis, 1992)

have mentors (Simonton, 1984; Torrance, 2002)

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PersonBiographical Traits (e)

Creative people tend to:own a cat (Schaefer, 1969, 1970)

have an imaginary childhood playmate (Schaefer, 1969, 1970; Somers & Yawkey, 1984)

PersonPersonality (a)

Creative people tend to:have a sense of humorhave a childlike approach to a problem [Fabun,

1968; Getzels & Jackson, 1962; Seeing like a child (Picasso)]

Sense of Humor

Lucille Ball

Whoopi Goldberg

Margaret ChoSense of HumorConfidenceSpontaneous

PersonPersonality (b)

Creative people tend to:be energetic (Taylor, 1988)

be more achievement oriented, ambitious, & driven (Albert & Runco, 1987; Feist, 1993; Simon, 1974)

be hard working

Thomas EdisonThomas experienced school problems, in part because of his high energy.Hard working

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Sarah ChangKorean-American ViolinistHard working

PersonPersonality (c)

Creative people tend to:be curious (Eiduson, 1962)

be risk taking (Farley, 1986; Zuckerman, 1975; Davis, Peterson, & Farley, 1973)

Choi Seung-hee

Risk taking

•introduced eastern dance to the European world•Yet, she suffered exile and, almost certainly, assassination at the hands of a bloody tyrant.

Rudolph NureyevRisk taking

PersonPersonality (d)

Creative people tend to:have artistic interests (Davis & Subkoviak, 1978)

be perceptive (Tardif & Sternberg, 1988)

Ray CharlesEarly interest in his area of achievementSometimes despite disabilities

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PersonPersonality (e)

Creative people tend to:be attracted to complexity & novelty be original (Tardif & Sternberg, 1988)

Pablo PicassoOriginalityStrong WillInternal Locus of Evaluation

PersonPersonality (f)

Creative people tend to:be open-minded (Dacey, 1989; Barron, 1988; Tardif & Sternberg, 1988; Walberg, 1988; Walberg & Herbig, 1991)

be open to experience (interested in seeking sensation & more varied experiences), fantasy, & imagination (daydreaming) (Barron, 1972; Csikszentmihalyi & Getzels, 1973; Domino, 1974; Feist, 1989; Getzels & Csikszentmihalyi, 1976; MacKinnon, 1962)

PersonPersonality (f)

DaydreamingRobert daydreamed so much that he was put out of school. Frank went into such trancelike dreams that one had to shout at him to bring him back.

Robert FrostThe Road Not TakenRobert Frost (1874–1963)

Two roads diverged in a yellow wood,

And sorry I could not travel bothAnd be one traveler, long I stoodAnd looked down one as far as I

couldTo where it bent in the

undergrowth;Then took the other, as just as fair,And having perhaps the better

claim,Because it was grassy and wanted

wear;Though as for that the passing

thereHad worn them really about the

same,

And both that morning equally lay

In leaves no step had trodden black.

Oh, I kept the first for another day!

Yet knowing how way leads on to way,

I doubted if I should ever come back.

I shall be telling this with a sighSomewhere ages and ages hence:Two roads diverged in a wood,

and I—I took the one less traveled by,

And that has made all the difference.

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Frank Lloyd WrightPersonPersonality (g)

Creative people tend to:be independent (Chambers, 1964; Eiduson, 1962; Rushton, Murray, & Paunonen , 1987)

be self-evaluative

Georgia O’KeefeIndependent & self evaluativeLack of concern for social conventions

PersonPersonality (h)

Creative people tend to:be introverted--ability to be alone & away from others (Albert & Runco, 1987; Storr, 1988)

have needs for privacy or alone time (Storr, 1988)

PersonPersonality (i)

Creative people tend to:

be emotional, expressive, sensitive, manic, guilty (Barron, 1972; Csikszentmihalyi & Getzels, 1973; Getzels & Csikszentmihalyi, 1976; Feist, 1991; Runco & Bahleda, 1986)

have bipolar affective disorder (Andreasen & Glick, 1988; Richards, 1994)

be depressed (Walker, Koestner, & Hum, 1995)

Emotionally expressiveExperienced synesthesia-

Interpretation of one sense by another

see sound, smell colors, & taste shapes

More common in children & femalesGenetic

Vincent Van Gogh

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PersonPersonality (i)

Madness & Creativity (a)• Related to madness & frenzied inspiration (Aristotle);

• Divine madness, a gift from the gods (Plato)

• Reappeared during 19th (Albert & Runco, 1999)

• Historical review: Eminent creative people with probable mood disorders: Charles Dickens, Ernest Hemingway, Henry James, Robert Burns, Lord Byron, Emily Dickinson, T.S. Eliot, Victor Hugo, John Keats, Edgar Allan Poe,Leo Tolstoy, Tennessee Williams, Virginia Woolf, Emile Zola, Michelangelo, Vincent Van Gogh (recited in Neihart , 1998)

.

PersonPersonality (i)

Madness & Creativity (b)• Related to schizophrenia

(Getzles & Jackson, 1962; Torrance, 1962; Hudson, 1966; Barron,1969)

• Suffer from certain mental disorders (Andreasen, 1988;

Jamison, 1989; 1993; Richards, 1989) & higher suicide rates (Neihart, 1998)

• High MMPI psychopathologyscores (Barron, 1969)

PersonPersonality (j)

Creative people tend to:have alcohol & drug adictions, psychosis, &

suicide (Ludwig, 1995)

PersonPersonality (j)

Alcohol & Creativity (a)

Who thought they had drunk alcohol were more creative (Lang, Verret, & Watt, 1984)

Enhanced verbal availability (Nash, 1962)

Increased remarks about the meaning of life and significant experiences (Kalin, McClelland, & Kahn, 1965)

Correlation between writing life and alcohol (Thomas, 2002)

PersonPersonality (j)

Alcohol & Creativity (b)

Accompanied by frustration resulted in Destructive (Norlander, Nordmarker, & Archer, 1998)

Increased psychological defense reaction (Gustafson & Källmën, 1989a)

Less internal control & reality oriented functioning (Gustafson & Källmën, 1989b)

Creativity activity can also affect drinking behavior ( Ludwig, 1990)

PersonPersonality (j)

Alcohol & Creativity (c)

• Moderate alcohol intoxication: preparation↓(Gustafson &

Norlander, 1994) incubation↑(1996) illumination ↑↓ (1998)

verification↑↓(1997) restitution↑(1995)

• Secondary phases ↓ / Primary ↑(Gustafson & Norlander, 1994; Gustafso1991; Gustafson & Norlander, 1995; Koski-Jannes, 1985, Norlander, 1995; Risberg, 1994; Wendt et al., 1994; Ingvar et al., 1995; Hajcak, 1976)

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PersonPersonality (h)

Creative people tend to:question & rebel against established norms (rebellious, anti-social, nonconformist) (Hall & MacKinnon, 1969)

be persistent, egocentric, tough-minded (GÖtz & GÖtz, 1979; Hammond & Edelmann, 1991; Mohan & Tiwana, 1987)

Marie Curie

• Resistant to societal pressures

• Persistent

PersonPersonality (i)

Creative people tend to:be restless & talkative

Samuel's restlessness & verbal diatribes.Virginia demonstrated a tendency to talk on & on.

Samuel Taylor Coleridge

Virginia WoolfPersonPersonality (j)

Creative people tend to:be dominant & self-confident (Feist, 1993; Helson & Crutchfield, 1970; Rossman & Horn, 1972)

be spontaneous & impulsive (Barron, 1972; Getzels & Csikszentmihalyi, 1976; Helson, 1977)

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Nikola Tesla

Inventions: rotating magnetic field principle, wireless communication, radio, fluorescent lights, & more than 700 other patents.

Spontaneous or impulsive?

Jumping from the roof of a barn, clutching an umbrella.Being chased by a flock of crows or angry hogsJumping from a church balcony onto the train of a lady’s dress

PersonPersonality (k)

Creative Artistsare more anxious, emotionally liable, impulsive, sensitive, expressive of internal emotional states have low socialization, conscientiousness, nonconformity, rebelliousness (Andreasen & Glick, 1988; Csikszentmihalyi & Getzels, 1973; Gardner, 1973; Getzels & Csikszentmihalyi, 1976; Jamison, 1993; Ludwig, 1995; Richards, 1994; Russ, 1993; Simonton, 1988)

Consistency of creative personality(Camp, 1994; Dudek & Hall, 1991; Feist, 1995; Getzels & Csikszentmihalyi, 1976; Helson, 1987; Helson, Roberts, & Agronick, 1995;

Terman, 1954), but not for musical precocity (Winner & Martino, 1993)

Creative People

Independent or stubborn?High energy or hyperactive?Spontaneous or impulsive?Emotionally sensitive or emotionally unstable? Original or bizarre?

have many characteristics that can be viewed as positive or negative

Problem Behavior or Creativity?

In some cases the very qualities that cause creative individuals to have problems are

the same ones that may facilitate their creative accomplishments.

Inattention or…

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…Imagination? Motor Hyperactivity or…

..High Energy?

Can we measure the creative personality?

E. Paul Torrance

“Father of Creativity,” is best known for developing the Torrance Tests of Creative Thinking (TTCT) TTCT

was developed in 1966 (1966, 1974, 1980, 1998).

translated into over 35 languages (Millar, 2002)

highly recommended in the educational field & is even used in the corporate world

TTCT merits

Is the most widely used test of creativity (Colangelo& Davis, 1997).

Is the most referenced of all creativity tests (Lissitz & Willhoft, 1985).

Is especially useful for identifying gifted & talented students because:

Standardized administration & scoring procedures (Davis & Rimm, 1994)

Long development & evaluation (Colangelo & Davis, 1997)

Proved validity from the longitudinal studies

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Use in Identifying Gifted Students

Difference between IQ & CreativityBroaden the scope of identified gifted students

Identification based on IQ eliminates 70 percent of the top 20 percent of creative (Torrance, 1960b, 1962, 2002)

Most assessments focus on verbal & quantitative ability (Torrance,1977)

Include ESOL students for gifted programs (Torrance,1977)

Fair in terms of gender, race, community status, and for persons with a different language background, socioeconomic status, and culture (Cramond, 1993; Torrance, 1971, 1977, Torrance & Torrance, 1972)

Use in Identifying Gifted Students(Problems with teacher recommendation)

Teachers tend to: overlook disruptive or unconventional creative students (Davis & Rimm, 1994).

prefer gifted children who are low in creativity (Anderson, 1961; Getzels & Jackson, 1958)

identify students who are achievers & teacher pleasers (Davis & Rimm, 1994; Oliphant, 1986; Rimm & Davis, 1976; Ritchie, 1980; Robinson, 1980).

Even worse, energetic & unconventional students to be seen as having ADHD (Cramond, 1994).

TTCT Verbal

Thinking Creatively with Wordsalternate forms A & B; Kindergarten-Adult6 activities, 5 or 10 minutes each, multiple responses1-3. Ambiguous picture

Ask questionsGuess CausesGuess consequences

4. Product Improvement5. Unusual Uses6. Just suppose

TTCT Verbal

Activities 1-31. Asking questions about the picture

2. Guessing Causes of the action in the picture

3. Guessing Consequences, immediate or long-term about the picture

5 Minutes Each

TTCT Verbal

Activities 1-3: Ask & Guess are based on one picture...

BA

TTCT Verbal

Act 4: Product ImprovementThe task is to improve a toy so that it is more fun to play with

10 Minutes10 minutes

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TTCT Verbal

Act. 5: Unusual UsesThe task is to think of alternative uses for a

common object like a brick.Uses for parts of the objects are acceptable--eg. “Crush the brick to make a powder for coloring”Fantastic or impossible uses beyond all possible reality are not counted.

10 minutes

TTCT Verbal

Act. 6: Just SupposeHypotheses about an improbable situation

Example:

Just Suppose…we could transport ourselves anywhere we

want with just a twitch of the nose or blink or the eye. What

would be some problems, benefits, etc. of this situation?

10 minutes

TTCT Verbal

Scoring Components

Fluency--the number of relevant ideas

Originality--the unusualness of the ideas

Flexibility (Shifts)--the variety of ideas

TTCT--Figural

Thinking Creatively with PicturesAlternate forms A & B; K- adult3 activities, 10 minutes each, multiple responses

1) One large stimulus figure: picture construction

2) Ten incomplete figures: picture completion

3) 2-3 pages of repeated figures: repeated figures of lines or circles

Scoring Components

FluencyOriginalityAbstractness of titlesElaborationResistance to Premature ClosureChecklist of Creative Strengths

Fluency--a count of the number of relevant ideas

The stimulus must be used

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Originality

a count of the number of statistically infrequent ideas Bike

Originality List for CirclesAnimal-un AppleBall Car Cat CircleClockCoinDotsEarth (globe, planet-un) EggEyes

Fruit-unGlassesHuman face or figureLettersMoonNumbersPieSign-unSnowmanStoplightSunWheel or tire

Abstractness of Titles

0 = simple class title “girl”1 = class title with descriptor(s) “little girl”2 = imaginative title that goes a little beyond the picture “I really like him.”3 = abstract but appropriate title “Happiness”

Abstractness of Titles: Degree beyond labeling

0 = simple class title

Abstractness of Titles

1 = class title with one or more descriptors

Abstractness of Titles

2 = imaginative title that goes beyond, but is still tied to, the concrete representation

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Elaboration--a count of the number of ideas added

Beyond the minimum details that would be necessary for the basic response

Elaboration

One point for each additional idea added to the basic response & in the surrounding spaceAdditional ideas include: decoration, details, shading, body position, etc.

smokeshape

ashmore

Roof detail

panes

chimney

sun

outline

Varied rays

tree

branches

Stepping stone

Different shapesleaves

flower

knob

Additional tree

petals Colors=12

Resistance to Premature Closure

Degree of opennessBased on Gestält psychology

Scored on incomplete figures only

Resistance to Premature Closure, 0 Scores:

Focal area is closed with 1-3 straight or curved lines & all details are inside the closed area.

Resistance to Premature Closure, 1 Scores:

The figure is closed quickly, but details are added outside of the closure

Resistance to Premature Closure, 2 Scores:

The figure is used intact, but it becomes part of a pictured object

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Checklist of Creative Strengths

13 criterion referenced indicators:Emotional expressivenessStorytelling articulatenessMovement or actionExpressiveness of titlesSynthesis of figuresUnusual or internal visualizationBoundary breakingHumorRichness or colorfulness of imageryFantasy

1.Emotional ExpressivenessCan be shown in drawings or title

2.Storytelling Articulateness

There’s a story implied or there is a relationship between or among objects drawn

3. Movement or ActionMay be illustrated through

Motion linesTitle implying actionPosition of body

4. Expressiveness of TitlesA title that goes beyond simple description to express emotion & feeling (overlaps with Emotional Expressiveness, Humor & Abstractness of Titles)

5.Synthesis of Incomplete Figures--scored on activity 2 only

This is rare, & one combination gets a +, two or more combinations get a ++

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7.Unusual Visual Perspective

A view other than the one we would ordinarily see: Above, Below, At an unusual angle, At different distances, In an unusual position

8. Internal VisualizationShowing something inside or in cross section

9. Extending or Breaking Boundaries: Scored on Act 3

For Form A, Parallel lines:Extend the lines up, down, or outSplit the imaginary rectangle

9. Extending or Breaking Boundaries-- Scored on Act 3

For Form B, Circles:Depth perception, circle as base extended upward or outward, hole cut in circle

10. HumorScored for the

intent of humor: word plays, satire, silliness, absurdities, etc.

11. Richness of ImageryFresh visual images--different from the banal even when not scored as originalLively, vivid, memorable imagesThere must be 4-5 such images to get +; 6 or more for ++

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12. Colorfulness of ImageryExciting in appeal to the sensesFlavor, earthiness, spookiness, touching

Nature, nudes, fantasy figures, emotional scenes, etc.

13. Fantasy

Includes both fantasy from literature, tv, & movies as well as original fantasy

Creative Strengths

One drawing can have more than one Creative Strength

Unusual visualizationFantasyMovement or action

Creative StrengthsThree Creative Strengths

Synthesis of figuresMovement or actionStorytelling articulateness

Gun sounds scare the birds.

TTCTLongitudinal Studies

The Minnesota Studies1958-1964, all students in grades 1-6 in two elementary schools took the TTCT each year. 1959-1964, all students in grades 7-12 of the University of Minnesota High School took the TTCT.

Torrance conducted longitudinal studies with these children 7years, 12 years, 22 years, & 40 years laterCreativity scores predicted the children’s later creative achievement better than IQ scores.

The Seven-year Follow-up ofthe High School Students (a, N = 46)

Predictor Variables:IntelligenceHigh school achievementCreativity:

Fluency Flexibility Originality Elaboration

Peer nominations of creativity

Measures:Lorge-Thorndike or Stanford-BinetIowa Tests of Educational

AchievementTTCTFive-item peer nomination questionnaire

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The Seven-year Follow-up (b)

Criterion Variables:Index of quantity of creative achievementsIndex of quality of creative achievementIndex of creative motivation

The Seven-year Follow-up (c)Product Moment Correlation Coefficients between

1959 Predictors & 1966 CriteriaPredictors Creative

QuantityCreativeQuality

CreativeMotivation

Intelligence Test .22 .37* .32HS Achievement .09 .20 .15Peer Nominations .13 .13 .18Fluency .44* .39* .34*Flexibility .44* .48* .46*Originality .40* .43* .42*Elaboration .37* .32* .25*p < .01

The Twelve-Year Follow-up of High School Students (N = 236)

Same predictor & criterion variables as in the 7-year study, but this time analyzed separately by genderCanonical correlations--Combined creativity score with combined creativity criteria

Full sample = .51Males = .59Females = .46

The 22-Year Follow-up of Elementary School Students (a, N = 211)

Data collected 1958-1980:Various forms of TTCTBiographical inventoryCreative writing samplesChecklists of creative activitiesBuck’s House-Tree-Person TestSociometric questionnairesIQ test scoresAchievement test scores

The 22-Year Follow-up (b)

Five Criteria:# of h.s. creative achievements# of post h.s. creative achievements# of “creative style of life” achievementsQuality of highest creative achievements*Creativeness of future career image*

*rated by expert judges

The 22-Year Follow-up (c)

Variable # Post HS Life S tyle Quality

CreativityIndex

.46** .47** .58**

Mentor .23** .24** .33**

**p < .001 n = 2 11

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The 22-Year Follow-up (d)Criteria ofCreativeAchievement

Males(n = 95)

Females(n = 116)

Total(n = 211)

# H.S. .33 .44 .38

# Post H.S. .57 .42 .46

# Style of Living .42 .48 .47

Quality ofHighest

.59 .57 .58

Future CareerImage

.62 .54 .57

All correla tion coefficients are s ignifica nt at the .001 level.

The 40-Year Follow-up of Elementary School Students (a, N = 99)

1 Creativity Index Quotient2 Mentor in 19803 Mentor in 19984 Number of Publicly Recognized Creative

Achievements *5 Number of Personal Creative

Achievements* *RATED BY FOUR EXPERT JUDGES

6 Quality of Public Achievements7 Creative Manifesto

Have done what love & do wellFree to play own gameWell-roundedLove work

The 40-Year Follow-up (b) The 40-Year Follow-up (c)Predictors Quantity Quality

IQ .30* .32**

Fluency .23* .30**

Flexibility .17 .35**

Originality .24* .39**

Elaboration .09 .14

CIQ

.27* .43**

Mentor 80 .29** .39**

Mentor 98 .26* .26*

Quality .85**

* p < .05**p <. 01

The 40-Year Follow-up (d)Predict ors M-Quant M-Qual F-Quant F-Qual

IQ .15 .22 .38 * .43 **

Fluency .16 .30 .30 .35 *

Flexi bili ty .20 .37* .16 .35 *

Originality .20 .36* .29 .45 **

Elaborat -.02 .13 .22 .20

CIQ .33 .51** .26 .43 **

Mentor 80 .17 .30 .41 ** .50 **

Mentor 98 .27 .36* .25 .40 **

Qual ity .90 ** .81 **

* p < .05**p <. 01

Predictive ValiditySignificantly correlated with creative achievement in longitudinal studies

7-year12-year22-year40- year

Reanalysis: the Creative Index (CI) was the best predictor for adult creative achievement.

Yamada & Tam (1996) between the CI and adult creative achievement (Plucker, 1999)

TTCT: .60 IQ: .19

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What Can We Do to Enable Creative Kids

to Turn Potentially Problematic Behavior

Into Productive Behavior?

Torrance’s Manifesto For Children:

1. Don’t be afraid to fall in love with something & pursue it with intensity.

Torrance’s Manifesto For Children:

2. Know, understand, take pride in, practice, develop, exploit, & enjoy your greatest strengths.

Torrance’s Manifesto For Children:

3. Learn to free yourself from the expectations of others & to walk away from the games they impose on you. Free yourself to play your own game.

Torrance’s Manifesto For Children:

4. Find a great teacher or mentor who will help you.

Torrance’s Manifesto For Children:

5. Don’t waste energy trying to be well-rounded.

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Torrance’s Manifesto For Children:

6. Do what you love & can do well.

Torrance’s Manifesto For Children:

7. Learn the skills of interdependence.

Families who nurture creativity.. Yes

Parents' communication style: Not one way--directive, vague, & rigid (e.g., Chung, 1993)

More complex, varied, & expressive than other families (Albert, 1994, 1996)

Less strict, critical, & punitive, but allow greater freedom (Halpin, Payne, & Ellett, 1973)

Families who nurture creativity.. Yes

Psychologically safe environmentNeed freedom & security in order to explore & be creative (Tegano, Sawyers, & Moran, 1989; Runco & Nemiro, 1994)

Divergence is permitted & risks are accepted (Getzels & Jackson, 1961)

Room for autonomy (Datta & Parloff, 1967; Domino, 1969)

IndependenceBy providing the freedom & the psychological safety to explore, experiment, & make decisions (Freeman, 1985; Harrington, Block, & Block, 1987; MacKinnon, 1961; Michel & Dudek, 1991)

Families who nurture creativity.. Yes

Have an ongoing dialogue (Isenberg & Jalongo, 1997)

No reliance on the use of premature & excessive worksheets & academic material (Isenberg & Jalongo, 1997)

Provide parental explanations of family decisions & rules, children a voice in establishing rules (Baldwin, 1949; MacKinnon, 1961)

Egalitarian child rearing (Dewing & Taft, 1973)

Flexibility in guiding children’s behaviorNo reliance on rigid rules (Dacey, 1989)

Families who nurture creativity.. No

Authoritarian child-rearing (Datta & Parloff, 1967; Dewing, 1970; Foster, 1968; Gardner & Moran, 1990)

Parental vigilance (Getzels & Jackson, 1961)

Hostile, rigid, & controlling home environments (Halpin, 1973; Papalia & Olds, 1986)

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Families who nurture creativity.. Yes

Emotional distance among family members (Drevdahl, 1964; Saxena & Kumar, 1985)

Open but not overly close- little clinging or conformity (Weisberg & Springer, 1961)

Non-overly dependent parent-child relationship (Dewing, 1970)

Mild parental rejection- slightly rebellious attitude-leading to more independent thinking (Siegelman, 1973)

Not extreme levels of rebellion Enjoying experiences separate from the family (Hudson & Stinnett, 1990)

Less encouragement of all family members to do all things together (Hurlock, 1978)

Families who nurture creativity..

RecognizeValueEncourageModelProtectStimulate their children’s creativity.