Challenges In Fostering Creativity

According to the research of Beghetto (2017), the prevalence of the discourse of development of generalized creativity within the educational system on a global perspective is palpable enough. The emphasis on the constitution of actualization of the conceptualized notions of creativity is oriented towards driving home the realization that it is always necessary and important to recognize creativity so as to foster the maximized extent of originality as well as individuality within the learners. Engagement with the consistently changing external world conditions could be also considered to be one of the aspects which have been observed through this impetus towards the encouragement of creative thinking within the educational perspectives in the 21st Century. This is where education dissertation help can be particularly beneficial in providing a deeper understanding and application of these concepts. However, the primary challenge in this regard could be identified as the distinct possibility that the requirements of the amalgamation of human qualities and talent with that of the educational dispositions could remain to be unfulfilled. This could be further acknowledged to be a contradictory observation since, according to Burgess (2015), the element of creativity is generally perceived to be that of ubiquitous in nature. Despite this fact, the challenge of intractability of the human qualities as well as the educational and professional dispositions could be considered to be the challenge regarding the performance of straightforward assessment in this context. To this effect, the reference to the previously performed research report could be effective in terms of highlighting the apparent contradiction in between the previous research based conceptualisation of the perception of creativity being a factor with the which could be associated with individualistic tendencies of the observed human subjects such as Mark and the analytical approaches from an academic perspective through which the fact could be ascertained that multiplicity of factors could be responsible for the fostering of creativity within an individual such as that of Mark. This could be as well considered to be one of the possibilities of identification of different prospects of educational curricula designing in the 21st Century through which the creativity application objectives could be fulfilled and the overcoming of the existing challenges could be performed. From the research interview report, it has been observed that for Mark, the perceived talent and creativity, which his classmates could identify him with, in terms of the ability of his to play the violin in an innovative and skilled manner, have been derived from his early exposure to the craft and discipline of musical instrument utilisation and from his formal training through a musical institution through which he had learned the methods of operating such a critical musical instrument such as the Violin. The assistance provided by his parents and especially by his father in terms of providing Mark the opportunity to get accustomed with a variety of violins could be as well determined from the previously performed research interview as one of the most significant aspects which enabled Mark to develop his unique skills as a violinist. This combination of formal musical training and acquisition of exposure to multiple musical instruments contributed to an extensive measure in the development of creative practices on behalf of Mark. Thus, the monumental contribution of the socio-cultural context to which Mark had been related to, had been most assistive for him in terms of the formulation of the creative identity of being a violinist with a unique talent of having complete command over the musical discipline. Furthermore, the progression of Mark from the music school to the music university and the training provided by the professor of music had enabled Mark to embark upon the exhibition of his apparent talent of forming his creative tunes on the violin. This sequence of events, as it has been outlined from the research report data through holding a direct interview with Mark, attests to the fact that the dual elements of practice and professional assistance from the bedrocks on which the creativity of educational process could be established.

In this context, Egan et al (2017) have observed that the case study of Mark is exhibitive of the fact that the influence of the socio-cultural aspects on the direction of development of creativity amongst individuals who subscribe to or are related to such aspects. This is reflective of the changes in approaches regarding the delineation of creativity. This has been further acknowledged by Fang et al (2016) in the manner that previously, the focus of academic and analytical discourses as well as the previously formulated theoretical constructs had been on the personality based and intellectual traits of individuals who could exhibit a certain measure of creativity in their respective fields of practice. However, in the 21st Century based socio-cultural perspectives, the focus has shifted to the process of emplacement of such creative capability development within the extensive and complex frames of the socio-cultural formats which pervade such situational aspects. This has been observed by Ibragimkyzy et al (2016)as the gradual broadening of the psychometric analytical approaches of determination of the rationale of emergence of creativity within any human individual throughout the middle and later sections of the 20th Century. Thus, in terms of the prevailing challenges of the 21st Century based creativity learning process development within the overall working architecture of the educational discourses, it is paramount to utilise the concepts related to the acknowledgement of creativity as a social phenomenon with specific performance-based dimensions which are mostly reflective of the varying degrees of achievement on behalf of the creative individual.

According to Mynbayeva, Vishnevskay and Sadvakassova (2016), such observations are further indicative of the interactions based perspective of creativity on part of the new socio-psychological discourses. Such a perspective concerning creativity outlines the reciprocity-based relationship between the creative performance demonstration of apparently talented individuals such as Mark and those of the social environments. The responsibilities of teaching the students with the purpose of fostering creativity entail the utilization of two mutually supportive study perspectives. The first one could be outlined as the cognitive studies and methods. The second one could be ascertained as the cultural backdrops which play a vital role in the formulation of the underlying meaning of such creative discourses. For the challenge of developing the capability of the students to think and perceive critically so as to be self-dependent in their academic performance, it is always necessary that the context-sensitive influences of the process of cognition should be considered while formulating the academic and training based teaching procedures through which learners could be encouraged to develop their personal abilities towards serving their educational interests such as that of music in case of Mark. This could be utilized to assist in the primary phases of learning and academic development of students who could demonstrate their interest in innovation-based ability utilization.

On the other hand, another of the challenges in teaching the students to develop their creativity based skills is to be determined as the complications related to the perceptual domain of interconnectivity between the three fundamental elements of society, culture and the creative individual or groups of individuals. The most significant effect which could emanate from such complications has been specified by Im, Hokanson and Johnson (2015)to be that of the prevailing confusions and misconceptions concerning the actual effect of educational attempts to teach the students and promising individuals the various dimensions of creativity. The possible solutions of this challenging predicament have been perceived by Johnson (2015) to be the applications of the theoretical constructs of both Mihaly Csikszentmihalyi and Howard Gardner. The core component of such theoretical constructs could be acknowledged as the systematic development of creativity through the implications of the outcomes of the interactive relationships which could be found to exist amongst the prevailing cultural perspective, the social realms and phenomena and finally, the creative individual.

Sokol et al (2015) has observed that creativity could be considered as a psychological phenomenon. This could further be considered to be a fundamental aspect of the characteristics of specific individuals such as creative musicians such as Mark. One particularity of the aspect of creativity is necessary to be emphasized upon in this respect which is the fact that the achievement of creativity based capabilities imparts an extensive sense of fulfilment as well as motivation on the individuals such as Mark. The possibility of teaching creativity through education could be related to such an observation from a utilitarian perspective in this respect. This could be better delineated in the manner that education could assist human beings in both identifications as well as the development of the complete potential of theirs in terms of the professional or vocational attributes which they could have. Thus, it is always a necessity to assist the students to both understand and nurture the unique creative talents which they could have in them, albeit in a latent manner. It could thus be evident that this worthwhile educational objective is basically the primary consideration regarding the multiplicity of theoretical constructs which are utilized to formulate the measures necessary to convey creativity through educational practices to the students. Taylor and Littleton (2016) have propounded the fact that studying or teaching creativity has been always pervaded by the challenge of the lack of understanding of a critical factor of such a process. This could be identified as the fact that isolation of creative individuals and their activities or works from their historical and social perspectives for the purpose of studying creativity has been always a vacuous as well as flawed approach. The socio-psychological milieu in which the creative activities are performed by creative individuals such as Mark is also of prime significance if the backdrops of creativity have to be determined or assessed in any credible manner so as to develop the educational perspectives through which the available teaching methods could be modified to foster creativity within promising individuals.

Such observations could be taken further in the form of understanding of the differential ability development within students or creative individuals so that both the fields of general intelligence and creativity could be enhanced. Such differential abilities are recognizable in the manner of the ability to analyze, the practical ability of utilization of the analysis based knowledge and finally to implement the learned lessons towards the development of creative abilities. In this format, the analytical abilities are reflective of the elements such as evaluation and comparison and contrasting the developed judgments. The practical abilities are defined by the applications and utilization of the derived information from the analytical processes. The final creative abilities, as has been determined from the interview of Mark in the provided case study, involve constituents such as explorations, synthesis, imagination and inventions as well as adaptations of different conditions and elements which the student or learner could come to experience in the process of educational training.

These observations could lead to the next realization in terms of the probable solution of adaptability by the educational systems to teach creativity through particular curricula in the 21st Century. In this context, Johnson (2015) has observed that creative personnel could not be logically expected to be able to have extensive versatility in every discipline or situation related to their profession or specialty, however, the creative individuals such as Mark could exploit the various patterns of their abilities to adapt to any situation or working context. This could be validated from the observation of the case study related to Mark where it has been evident that Mark has been making many modifications and improvements in his violin practices and performing different tune playing. One example could be outlined as the desisting from performing string bowing through trios while he could perform in the rock bands. This has been conceived as the indication of the differential measures of creativity of any creative person such as Mark, for the purpose of mending the rules and infusion of creative practices within his specialty discipline. Apart from this, the challenge of proper evaluation of the extent of success regarding conveyance of creativity to the students through the educational process could be overcome through the training of creative individuals to develop self-judgment capabilities. This could be also validated from the interview derived information that Mark has performed self-assessment by the composition of new tunes only for himself so that he could invent new musical compositions on the instrument such as that of a violin. This has been further elaborated by Mark to be the process through which he modifies and changes and even improves his music playing capabilities to the extent where he could become satisfied with his creations. This could be emphasized upon as the most suitable procedure which could be consistently promoted by the 21st Century based educational curricula for the students to follow. The objective would be driven home the necessity to be self-dependent in inculcating the learning experiences derived by the students through their exposure to differential socio-cultural conditions and then to perform modifications into these learned lessons to improve upon their inherited creative capabilities. It is necessary that creative individuals should be taught to be the first judges of their creative talent and the associated quality of their outputs.

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Reference List

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• Burgess, C., 2015. Teaching students, not standards: Threshold crossings for students and instructors alike. Partnership: The Canadian Journal of Library and Information Practice and Research, 10(1).
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• Fang, Z., Xu, X., Grant, L.W., Stronge, J.H. and Ward, T.J., 2016. National culture, creativity, and productivity: What’s the relationship with student achievement?. Creativity Research Journal, 28(4), pp.395-406.
• Ibragimkyzy, S., Slambekova, T.S., Saylaubay, Y.E. and Albytova, N., 2016.Problems of Pedagogical Creativity Development. International Journal of Environmental and Science Education, 11(12), pp.5290-5298.
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• Johnson, D., 2015. Teaching outside the lines: Developing creativity in every learner. Corwin Press.
• Mynbayeva, A., Vishnevskay, A. and Sadvakassova, Z., 2016. Experimental Study of Developing Creativity of University Students. Procedia-Social and Behavioral Sciences, 217, pp.407-413.
• Sokol, A., Gozdek, A., Figurska, I. and Blaskova, M., 2015.Organizational climate of higher education institutions and its implications for the development of creativity. Procedia-Social and Behavioral Sciences, 182, pp.279-288.
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