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Carol A. Mullen - One of the best experts on this subject based on the ideXlab platform.
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Creativity Framed: Definitional Descriptions, Theories, and the 4-Cs
Creativity Theory and Action in Education, 2020Co-Authors: Carol A. MullenAbstract:Creativity and culture within educational settings constitute changing domains of knowledge reflected in new terminology and creative constructs. The context-setting question for this chapter is, What definitions and theories advance knowledge, practice, and action that potentially allow creativity under constraint to be recovered and fostered with pedagogic guidance? Foregrounding the definitions of salient concepts is an explanation of the Four C Model of Creativity and its popularity in the literature and role in the present inquiry. (Methods used for finding topical literature are covered in Chap. 4 and the case study chapters following it.) Definitions of specialized terms, operationalized in relation to the inquiry that unfolds in this book, are discussed, complete with context and source citation. Accountability, creative economy, creativity, dynamic creativity, glocal(ity), Hidden-c, culture, social justice, and the Four C Model of Creativity are key concepts for which definitional descriptions are presented. As conceived for the longitudinal glocal study, each construct plays a role in revealing (or concealing) facets of dynamic creativity within regulatory, accountability-bound policy cultures.
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Exploring Dynamic Creativity in Accountability Cultures
Creativity Theory and Action in Education, 2020Co-Authors: Carol A. MullenAbstract:Creativity advances human development and societies through creative risk-taking, problem-solving, expression, innovation, novelty, usefulness, collaboration, and effectiveness. Dynamic creativity changes situations and is changed by them—it enables transformation even in accountability-bound cultures and repressive policy climates. As evidenced by emergent research, creativity under duress in education is a pressing contemporary issue. Educators’ perspectives on creativity in accountability-driven educational environments can provide important insights. The thrust of this longitudinal glocal study is people’s capacity for experiencing, expressing, and enlivening creativity in such places. In this chapter, unique elements comprising the pedagogic research are also discussed: (1) transnational education aspect presented as detailed case studies, (2) methodological framework for applying and extending the Four C Model of Creativity, and (3) inclusion of Hidden-c for empowering self-discovery.
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Australia Case: Revealing Creativity and 4-C Responses
Creativity Theory and Action in Education, 2020Co-Authors: Carol A. MullenAbstract:This chapter describes creativity and accountability in Australia, probes how they align or conflict with accountability-based conceptions of creativity, and explains how education stakeholders at a culturally diverse public university in Sydney conceive creativity and accountability. Framing the creative intervention was the pedagogic research question, Can diverse college students and educators in Australia discover creativity when encouraged under educational constraint? University stakeholders were non-Indigenous and Indigenous students, lecturers, and leaders in the social sciences (humanities and education). Rooted in the Four C Model of Creativity, two undergraduate humanities classes engaged in brainstorming and creative activity. Responses from individuals were also gathered onsite in one-to-one conversations. Regarding creativity and the 4-Cs, primary themes originating across all informational sources and enriched by salient literature were (1) political and legal expression of Australian Indigenous causes; (2) environmental manifestations of protest, action, and pride; and (3) breakthroughs in technology, medicine, culture, and media. Crossover was evident among the three themes, with Indigenous issues favored by lecturers and leaders and environmental change by students. Perspectives elicited on educational creativity and accountability magnify the importance of culture in contemporary Australia. A description of concepts relevant to the literature provides a framework for this account.
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Takeaways: Global Influences on Dynamic Creative Exploration
Creativity Theory and Action in Education, 2020Co-Authors: Carol A. MullenAbstract:This last chapter of Revealing Creativity presents takeaways from the exploration of dynamic creativity in postsecondary education wherein a creativity framework was adapted to uncover perspectives in accountability-bound world cultures. A chief precept is that existing Models of creativity—like the Four C Model of Creativity—can be utilized to help inform, interpret, and probe ideas of creativity in and across (testing) cultures. Another salient belief is that creativity can be understood as a (dynamic) process, and approached and studied as such. Dynamic creative processes have been demonstrated with the 4-C creative intervention and results described as Experience, Express, and Enliven Creativity (E3C) from educational settings in China, Canada, and Australia. A summary of this original concept and potential implications of it for theory, research, and practice are included. Hidden-c creativity, also a new concept of mine that was introduced, is the potential to be discovered in all contexts and places of learning under duress, another key takeaway. In the journey that became this book, three global influences affected the 4-C program: creativity crisis, curriculum shortfalls, and creativity constraints. Counterforces—creativity process, dynamic adaptation, and creative exploration—also shaped the research and outcomes. These forces and counterforces are described, with references to the literature and research conducted. Readers might find it helpful to be aware of these influences within learning environments amid unexpected institutional and world fluxes. The enrichment of theory, research, and practice that comes from creative discovery is anticipated for future frontiers of creativity.
Ronald A. Beghetto - One of the best experts on this subject based on the ideXlab platform.
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The Four-C Model of Creativity: Culture and Context
The Palgrave Handbook of Creativity and Culture Research, 2016Co-Authors: Max Helfand, James C. Kaufman, Ronald A. BeghettoAbstract:In this chapter, we highlight the Four-C Model of creativity, which traces creative development from mini-c (personal creativity) to little-c (everyday creativity) to Pro-c (expert creativity) to Big-C (genius creativity). We highlight the role of culture at each stage of the four C’s and pay particular attention to the transitions between each level of the Model. We highlight such concepts as creative metacognition and feedback.
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Promise and Pitfalls in Differentiating Amongst the Cs of Creativity
Creativity Research Journal, 2015Co-Authors: Ronald A. Beghetto, James C. KaufmanAbstract:In a recent CRJ Comment, Runco (2014) outlined several problems with dichotomous representations of creativity, specifically the Big-C=little-c distinction. He also extended this concern to subdistinctions such as 10 Pro-c and mini-c. We are sympathetic with features of his argument. Indeed, we have made similar arguments about the problems associated with the Big C=little-c dichotomy (Beghetto & Kaufman, 2007; Kaufman & Beghetto, 2009). Where we disagree with Runco is his 15 claim that such labels and distinctions about creativity lack value. Although it is true, as Runco (2014) asserts, that ‘‘reality is not categorical,’’ Q1 it is also true that people use categories and distinctions to make sense of their 20 reality. Davis (2009), for instance, noted that humans ‘‘are constantly making conceptual distinctions—and often amplifying them. The habit is vital . . . to our having a reality’’ (p. 7). Making distinctions is also at the heart of intelligent behavior. Indeed, Davis (2009) also reminded 25 that the term intelligent is derived from the Latin inter– legere, which means to choose among, to discern. Of course, not all categories are beneficial, smartly used, or helpful. As Runco (2014) cautioned, some categories can obscure more than they clarify. When it 30 comes to the Four Cs of creativity, we have seen instances where the labels have been employed too rigidly and the distinction made too sharply. A number of our students, in first learning the Model, sometimes ask many questions about whether particular creators 35 or actions would be Pro-c or little-c or mini-c, and we have to emphasize with them that the goal of the Four C Model was not to invent a taxonomy upon which all creative actions could be sorted. We also acknowledge that our descriptions of these
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Do People Recognize the Four Cs? Examining Layperson Conceptions of Creativity
Psychology of Aesthetics Creativity and the Arts, 2013Co-Authors: James C. Kaufman, Ronald A. BeghettoAbstract:Researchers examine implicit beliefs about creativity to understand what laypeople think. Past work has looked at cultural differences, characteristics associated with creativity, and the positive or negative valence that people feel toward creativity. In this study, we focused on the Four C Model of Creativity (Beghetto & Kaufman, 2007; Kaufman & Beghetto, 2009) to discover if laypeople perceive nuances in different levels of accomplishment. We found that although Pro-c and little-c merged into one factor, Big-C, mini-c, and Not-c (not creative) were distinguishable. Personality (particularly agreeableness and openness) predicted how participants rated different levels of creativity.
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Beyond Big and Little: The Four C Model of Creativity
Review of General Psychology, 2009Co-Authors: James C. Kaufman, Ronald A. BeghettoAbstract:Most investigations of creativity tend to take one of two directions: everyday creativity (also called “little-c”), which can be found in nearly all people, and eminent creativity (also called “Big-C”), which is reserved for the great. In this paper, the authors propose a Four C Model of creativity that expands this dichotomy. Specifically, the authors add the idea of “mini-c,” creativity inherent in the learning process, and Pro-c, the developmental and effortful progression beyond little-c that represents professional-level expertise in any creative area. The authors include different transitions and gradations of these four dimensions of creativity, and then discuss advantages and examples of the Four C Model.
James C. Kaufman - One of the best experts on this subject based on the ideXlab platform.
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The Four-C Model of Creativity: Culture and Context
The Palgrave Handbook of Creativity and Culture Research, 2016Co-Authors: Max Helfand, James C. Kaufman, Ronald A. BeghettoAbstract:In this chapter, we highlight the Four-C Model of creativity, which traces creative development from mini-c (personal creativity) to little-c (everyday creativity) to Pro-c (expert creativity) to Big-C (genius creativity). We highlight the role of culture at each stage of the four C’s and pay particular attention to the transitions between each level of the Model. We highlight such concepts as creative metacognition and feedback.
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Promise and Pitfalls in Differentiating Amongst the Cs of Creativity
Creativity Research Journal, 2015Co-Authors: Ronald A. Beghetto, James C. KaufmanAbstract:In a recent CRJ Comment, Runco (2014) outlined several problems with dichotomous representations of creativity, specifically the Big-C=little-c distinction. He also extended this concern to subdistinctions such as 10 Pro-c and mini-c. We are sympathetic with features of his argument. Indeed, we have made similar arguments about the problems associated with the Big C=little-c dichotomy (Beghetto & Kaufman, 2007; Kaufman & Beghetto, 2009). Where we disagree with Runco is his 15 claim that such labels and distinctions about creativity lack value. Although it is true, as Runco (2014) asserts, that ‘‘reality is not categorical,’’ Q1 it is also true that people use categories and distinctions to make sense of their 20 reality. Davis (2009), for instance, noted that humans ‘‘are constantly making conceptual distinctions—and often amplifying them. The habit is vital . . . to our having a reality’’ (p. 7). Making distinctions is also at the heart of intelligent behavior. Indeed, Davis (2009) also reminded 25 that the term intelligent is derived from the Latin inter– legere, which means to choose among, to discern. Of course, not all categories are beneficial, smartly used, or helpful. As Runco (2014) cautioned, some categories can obscure more than they clarify. When it 30 comes to the Four Cs of creativity, we have seen instances where the labels have been employed too rigidly and the distinction made too sharply. A number of our students, in first learning the Model, sometimes ask many questions about whether particular creators 35 or actions would be Pro-c or little-c or mini-c, and we have to emphasize with them that the goal of the Four C Model was not to invent a taxonomy upon which all creative actions could be sorted. We also acknowledge that our descriptions of these
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Do People Recognize the Four Cs? Examining Layperson Conceptions of Creativity
Psychology of Aesthetics Creativity and the Arts, 2013Co-Authors: James C. Kaufman, Ronald A. BeghettoAbstract:Researchers examine implicit beliefs about creativity to understand what laypeople think. Past work has looked at cultural differences, characteristics associated with creativity, and the positive or negative valence that people feel toward creativity. In this study, we focused on the Four C Model of Creativity (Beghetto & Kaufman, 2007; Kaufman & Beghetto, 2009) to discover if laypeople perceive nuances in different levels of accomplishment. We found that although Pro-c and little-c merged into one factor, Big-C, mini-c, and Not-c (not creative) were distinguishable. Personality (particularly agreeableness and openness) predicted how participants rated different levels of creativity.
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Beyond Big and Little: The Four C Model of Creativity
Review of General Psychology, 2009Co-Authors: James C. Kaufman, Ronald A. BeghettoAbstract:Most investigations of creativity tend to take one of two directions: everyday creativity (also called “little-c”), which can be found in nearly all people, and eminent creativity (also called “Big-C”), which is reserved for the great. In this paper, the authors propose a Four C Model of creativity that expands this dichotomy. Specifically, the authors add the idea of “mini-c,” creativity inherent in the learning process, and Pro-c, the developmental and effortful progression beyond little-c that represents professional-level expertise in any creative area. The authors include different transitions and gradations of these four dimensions of creativity, and then discuss advantages and examples of the Four C Model.
Kenneth M. Greenwood - One of the best experts on this subject based on the ideXlab platform.
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Chinese students’ perceptions of their creativity and their perceptions of Western students’ creativity
Educational Psychology, 2013Co-Authors: Bingxin Wang, Kenneth M. GreenwoodAbstract:This paper applies the Four C Model of Creativity ('Big-C, little-c, mini-c and Pro-c') to determine Chinese students' perceptions of their own creativity and their perceptions of Western students' creativity. By surveying 100 Chinese students and interviewing 10 of them, this paper discovered that Chinese students generally perceived their creativity to be less than that of Western students. Differences on mini-c and Pro-c were larger in the direction of Western students being superior, and the items that differed in the opposite direction and those which did not differ were part of the subset of little-c items. The perceived superiority of Western students was not as strong in final-year students. Suggestions are proposed on how to nurture students' creativity within context of culture.
Bingxin Wang - One of the best experts on this subject based on the ideXlab platform.
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Chinese students’ perceptions of their creativity and their perceptions of Western students’ creativity
Educational Psychology, 2013Co-Authors: Bingxin Wang, Kenneth M. GreenwoodAbstract:This paper applies the Four C Model of Creativity ('Big-C, little-c, mini-c and Pro-c') to determine Chinese students' perceptions of their own creativity and their perceptions of Western students' creativity. By surveying 100 Chinese students and interviewing 10 of them, this paper discovered that Chinese students generally perceived their creativity to be less than that of Western students. Differences on mini-c and Pro-c were larger in the direction of Western students being superior, and the items that differed in the opposite direction and those which did not differ were part of the subset of little-c items. The perceived superiority of Western students was not as strong in final-year students. Suggestions are proposed on how to nurture students' creativity within context of culture.