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Cultural Perspectives on Creativity
... culture dans laquelle baigne l'enfant a une incidence sur le développement de son potentiel créatif. En effet, les recherches ont mis en évidence une distinction entre la conception « occidentale », qui s'attache plus particulièrement à la production en elle-même, et la conception « orientale », plus tournée vers le processus de création en lui-même [17]. De plus, les valeurs transmises par l'environnement culturel viennent stimuler ou freiner l'activité créative de l'enfant ou de l'adolescent, puisque certaines sociétés, qui valorisent le statut de l'individu par rapport au groupe social (société occidentale), tendent à promouvoir les productions créatives qui remettent en question les normes alors que la posture collectiviste (société orientale) les respecte davantage. ...
... An Eastern view of creativity is fatalistic in a sense that the output is in the hands of outside forces. Its process is also nonlinear and seeks to reinvigorate what already exists into new combinations and interpretations ( Lubart, et al., 2019 ). Tan (2016) described it as a type of creativity that is evolutionary. ...
Creativity scholars Runco and Charles (1993) asserted that creativity not only requires originality but it also requires some fit or appropriateness. That is why culture is so influential; it defines appropriateness. In a similar vein, Westwood and Low (2003) emphasized that, “creativity takes place within, is constituted and influenced by, and has consequences for, a social context” (p. 236). With the acceleration of globalization, an examination of creativity would benefit from a more culturally sensitive approach. Towards that end, this article has a focus on examining the basic nature of creativity through the lens of cultural and geographical differences.
... Cultures, in fact, difer in their conceptions of the nature of creativity itself Lubart et al., 2019 ;Niu & Zhou, 2017 ). Te product-oriented, originality-based phenomenon emphasized in this book is a Western orientation, whereas some Eastern or traditional cultures conceptualize creativity as a process of individual growth, spiritual journey, or evolution (rather than revolution) in shared community culture (see Chapter 3 ). ...
... In some cultures, creativity is more an individual act, whereas in others it is inherently more collective. Some cultures express a strong need for certainty or respect of tradition, which may place less value on risky, culturally novel endeavors (see Lubart, Glaveanu, De Vries, Camargo & Storme, 2019). According to the sociocultural approach, creativity is embedded as a phenomenon in a cultural time and space. ...
An overview of Creativity based on the 7 C's conception
The importance of creativity in addressing a diverse range of issues and the urgency of fostering it through education from a life-long learning perspective have been recognised in strategic and educational policy documents at both European Union and national levels. While recognising the key role of creativity in driving positive change, Lithuania has considerable room for further growth in fostering creativity amongst its citizens. The growing interest of researchers in studying creativity education can make it difficult to remain at the cutting-edge of knowledge. Since creativity is a culturally grounded construct, it is significant to examine the available evidence in a context-specific setting in order to inform future research directions and facilitate comparisons across contexts. The systematic review aims to explore the state of empirical research on creativity education in the Lithuanian context, focusing on young children of early childhood education and care (ECEC) and primary school age. The study involves a systematic search, appraisal, and synthesis of empirical research evidence published in peer-reviewed scientific journals between 2000 and 2022. The review identifies key trends and gaps in the empirical research evidence on the matter and draws recommendations for future research. The studies reviewed (n = 36) tended to focus on young children's creativity education in the arts, the role of the educator in creating a learning environment conducive to creativity development, and the characteristics of such an environment. Limited interest was expressed in creativity education in domains other than the arts, through non-formal educational activities or through the use of state-of-the-art digital tools.
Humans are an incredibly creative species – our minds have evolved to a degree that has enabled us to think original thoughts and come up with novel solutions to a great number of problems. One domain of human cognition that has recently received considerable attention is linguistic creativity. The present contribution will take a closer look at how Construction Grammar can account for various types of verbal creativity. In addition to this, it will also explore the implications of creative utterances for Construction Grammar as a mental theory of language.
Creativity sometimes has been viewed as fixed or absolutist over time and space and other times has been viewed as flexible or relativistic over time and space. The psychometric view has tended toward the absolutist model, the sociocultural view toward the relativistic model. It is proposed that these two views roughly represent a thesis and an antithesis, and that a synthesis with both absolutist and relativistic elements may best capture the nature of creative enterprise. Four models of the composition of creativity and its manifestations are proposed that vary what is fixed and what is variable across time and space.
Cambridge Core - Cognition - The Nature of Human Creativity - edited by Robert J. Sternberg
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