GENDER DIFFERENCES IN CREATIVITY AMONG STUDENTS IN PRIVATE HIGHER EDUCATION

<p>The primary purpose of this study was to explore the relationship between openness to experience, creativity, creative behaviour, general creativity, and support for creative behaviour from academic staff (lecturers and professors) and by the environment among students in private higher education. The aim was to investigate the contribution of gender, support for creative behaviour from academics, and the environment in predicting different measures of creativity. Additionally, this study examined the structure of the creative behaviour self-assessment questionnaire. The openness to experience scale, creativity subscale, inventory of creative behaviours, creativity self-assessment questionnaire and assessment of incentives for creative behaviour by academics and the environment were tested on a sample of 346 students (54% female), who were randomly selected from different private higher education institutions (college and universities). Students with different majors participated (70% finance and law, 16% information technology and 14% web design). Consistent with our predictions, the 'openness to experience’ domain was positively related to the creativity facet, creativity behaviour and general creativity. As expected, the openness to experience domain and its creativity facet and creative behaviour and general creativity were associated with supporting creative behaviour by the environment in both males and females. However, contrary to our predictions, support for creative behaviour from academics was unrelated to openness to experience, creativity and general creativity in both males and females. In contrast, support for creative behaviour by academics was related to creative behaviour in females but not in males. Creative behaviour and general creativity were positively associated and supported creative behaviour by academics and the environment. Support for creative behaviour from the environment was positively associated with openness to experience, creativity, creative behaviour and general creativity, while gender only showed independent positive associations with creative behaviour. Gender, support for creative behaviour from academics and support for creative behaviour from the environment together accounted for 9% of the variance in openness to experience, 7% of the variance in creativity, 12% of the variance in creative behaviour and 13% of the variance in general creativity. The results highlight the importance of support for creative behaviour from the environment in explaining openness to experience, creativity, creative behaviour and general creativity. Furthermore, they show that gender is a significant predictor of creative behaviour. The results also provide further validation of the Inventory of Creative Behaviours and further delineate the nomological network of the creativity construct.</p><p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/edu_01/0895/a.php" alt="Hit counter" /></p>

Specific Domains of Creativity and Their Relationship with Intelligence: A Study in Primary Education

This study focuses on the relationships between creativity and intelligence. The main objectives of this study are to know the relationship between creativity and intelligence manifested in individuals aged 9 to 12 and to predict the creativity scores from IQ scores. The design of this study is non-experimental with a correlational, cross-sectional, quantitative approach. In order to achieve the stated objectives, several education centres located in Murcia were selected, in which 323 students took part in a creativity test (PIC-N) and a test about intelligence, depending on the educational level (BADYG/E2r or BADYG/E3r). The results obtained were that intelligence (IQ) was related to general creativity and narrative creativity, but not to the specific domain of graphic creativity. In addition, the analyses indicate that scores on general creativity (F (1,321) = 14.302, p < 0.01) and narrative creativity (F (1,321) = 14.114, p < 0.01) can be predicted from the IQ. At the educational level, language is a determining factor in narrative creativity and, in turn, language is consolidated as children’s cognitive development proceeds.

Mathematical Creativity in Adults: Its Measurement and Its Relation to Intelligence, Mathematical Competence and General Creativity

Mathematical creativity is perceived as an increasingly important aspect of everyday life and, consequently, research has increased over the past decade. However, mathematical creativity has mainly been investigated in children and adolescents so far. Therefore, the first goal of the current study was to develop a mathematical creativity measure for adults (MathCrea) and to evaluate its reliability and construct validity in a sample of 100 adults. The second goal was to investigate how mathematical creativity is related to intelligence, mathematical competence, and general creativity. The MathCrea showed good reliability, and confirmatory factor analysis confirmed that the data fitted the assumed theoretical model, in which fluency, flexibility, and originality constitute first order factors and mathematical creativity a second order factor. Even though intelligence, mathematical competence, and general creativity were positively related to mathematical creativity, only numerical intelligence and general creativity predicted unique variance of mathematical creativity. Additional analyses separating quantitative and qualitative aspects of mathematical creativity revealed differential relationships to intelligence components and general creativity. This exploratory study provides first evidence that intelligence and general creativity are important predictors for mathematical creativity in adults, whereas mathematical competence seems to be not as important for mathematical creativity in adults as in children.

Choreography as the basis for the development of students' creative abilities

The article considers the issues of studying and forming creative abilities as a scientific problem. Based on the analysis of scientific developments devoted to students’ creative abilities, it was determined that for the most part the professional and creative formation of a bachelor's personality is studied on the basis of a specific direction of training, quite often – on the basis of the analysis of the work of universities of culture and art, and pedagogical creativity in most cases – on the material of the pedagogical university. It was revealed that insufficient attention is paid by scientists to the analysis of the problems of educating creatively enthusiastic specialists in different areas of training, united by common projects, not always subordinate to future professional activities, but revealing internal individual resources, the creative potential of each and aimed at personal self-development. It was confirmed that the formation of creative abilities should be built on the desire for high achievements, and not on the motivation for the development of the student, while it is important to form such creative abilities that can be implemented in different fields of activity. The article provides a characteristic of general creative abilities and a hypothesis is put forward: the formation of general creative abilities of students is possible on the basis of non-core activities – choreography, in order later to show students the possibility of transferring the mastered skills of mastering general creative abilities to pedagogical activity. The article discusses the problem of using choreography as a means of forming general creative abilities, the multilevel and multicomponent nature of which has not been sufficiently studied. Researchers for the most part associate general creativity in choreographic activity with the development of creative thinking. The student choreographic collective isdefined as an open self-organizing system aimed at creative self-actualization and creative self-development of all its participants, regardless of the profile of training.

Proses Kreativitas dan Apresiasi Seni Dalam Pembelajaran Seni Tari Bagi Mahasiswa PIAUD UIN Sunan Ampel Surabaya

This study aims to develop creativity and appreciation of art in learning dance for students of UIN Sunan Ampel Surabaya PIAUD. Learning dance is very useful for PIAUD students because it can improve the ability to learn dance in art appreciation activities. Creativity in this research is to create a new thing in individual learning. In general, creativity and appreciation lead to the process of moving that drives someone in an action. Desires that must continue to be fostered for the process of learning dance one of them with a form of appreciation, because in the form of appreciation of art contains a beauty or aesthetic dance moves, as well as expression in learning dance know that dance creation also contains a beauty. The process of dance work will be an aesthetic experience for students who are in line with their educational interests through learning dance. This process is carried out continuously so that the appreciation of PIAUD students towards dance as expected and will increase and have creativity towards learning dance when they become kindergarten teachers.

The Contribution of Executive Functions in Predicting Mathematical Creativity in Typical Elementary School Classes: A Twofold Role for Updating

The goal of the current study was to investigate the role of executive functions in mathematical creativity. The sample included 278 primary school children (ages 8–13). Two models were compared: the starting model tested whether executive functions (shifting, updating, and inhibition), domain-general creativity, and mathematical ability directly predicted mathematical creativity. The second model, which fitted the data best, included the additional assumption that updating influences mathematical creativity indirectly through mathematical ability and domain-general creativity. Updating was positively related to mathematical creativity. Additionally, updating was positively related to mathematical ability and domain-general creativity. Inhibition, shifting, domain-general creativity and mathematical ability did not have a significant contribution to either model but did positively correlate with mathematical creativity. This study reports the first empirical evidence that updating is a predictor of mathematical creativity in primary school children and demonstrates that creativity is a higher order cognitive process, activating a variety of cognitive abilities.

The Role and Efficacy of Creative Imagination in Concept Formation: A Study of Variables for Children in Primary School

Children’s creative imagination is tested through tasks involving narrative and drawing abilities for participants between the age of 8 and 12 years. The test determines the relative importance of ‘narrative’ against ‘graphic’ imagination in interpretive, problem-solving strategies, and also considers how such distinctive functions of the creative imagination could affect ‘general’ creativity of the child learner. Participants were chosen from designated primary schools in the state of Guanajuato, Mexico. The test on creativity complements facts from observational methodology in a population of mixed Castilian-speaking children. The name of the test is Prueba de Imaginación Creativa Niños (2008) or ‘Test of Creative Imagination in Children’, the Castilian acronym being PIC-N. It comprised four sub-tests: Three designed to evaluate narrative (verbal) creativity, and one for drawing (i.e., graphic) creativity. The first three ‘exercises’ in the suite indicates (a) fluency, (b) flexibility, and (c) originality in narrative representations, whereas the fourth indexes (d) graphic abilities of the child learner. Results suggest that creative imagination causes variations in specific aspects of creativity, like narrative and graphic improvisation, and also modifies ‘general’ creativity as understood from the perspective of a developmental psychology of learning abilities in growing children within the defined age group.