Toward a New Understanding of Creative Dynamics: From One-Size-Fits-All Models to Multiple and Dynamic Forms of Creativity

This article proposes an alternative to a managerial best practice approach to creativity based on the notion of creativity as a singular concept. Our alternative draws on three fundamental ideas that are emerging in different pockets of the creativity literature in a way that can be readily conceptualized and applied in practice. The first idea is that creativity is really about creativities , or a cluster of different and discrete qualities that can be combined to suit the context in which they operate. The second is that creativity is not static: it is about creativitying , or the action and the practice of combining these creativities, which evolve over time. The third is that being creative in organizations is not an individual act: rather, it is the multiple activities of groups as they go about creativitying

What's in a word? the discursive construction of 'creativity'.

This work begins with the idea that creativity is a problematic concept generally and in education particularly. I argue that it is necessary to shed a belief in an ʻessenceʼ of creativity in order to understand how knowledge about creativity is produced. In a review of different approaches to creativity I identify the ways in which ʻtruth effectsʼ are produced in scientific and popular texts. Of particular interest here are approaches and assumptions (expressed through language and operations) in the domains of psychology, education and the arts. A post structuralist analytical methodology, drawing particularly on Foucaultʼs work, is justified in relation to the significance of concepts such as discourse, ideology, rhetoric and myth which, I argue, are crucial in understanding how creativity is made meaningful. The primary analysis is of key documents from the last decade which have sought to inform education policy on creativity: All our futures (NACCCE 1999); Creativity: Find it, promote it (QCA 2004); Nurturing creativity in young people (Roberts 2006); Learning: Creative approaches that raise standards (Ofsted 2010a). Attention is given to the discursive processes of authorising particular models of creativity in these documents, the ways in which tensions and contradictions are dealt with and the implications for ʻcreativityʼ in education. An explicitly reflective mode is adopted where appropriate, in order to highlight my epistemological development during the course of the research. This takes the form of ʻinterruptionsʼ between chapters. I argue, ultimately, that there is a case for only operating with the term ʻcreativityʼ in a reflexive, meta-discursive way and that this is a particular necessity in education

Study of Teacher’s Creativities to Stimulate Students’ Speaking Ability for the Second Level of Junior High School in LKP (Lembaga Kursus dan Pelatihan) Macca Maros

The results showed that the kind of teacher’s creativities that used in teaching to stimulate students’ speaking ability. They consist of teaching techniques, teaching strategies, approach and method were the kinds of creativities that the teacher used effectively in teaching in the classroom. Moreover, the teacher’s creativities includ of the used of teachniques, strategies, methods and approach in a good and right way by the creative teacher it could timulate the students o peak nd stimulate the students speaking ability Base on theseاfindings, it can be concluded that the teacher’s creativities that can stimulate theاstudents’ speaking ability, the teacher combine the using teaching techniques, strategies, approach and method with theاteacher’s personality. As a result, the students have the eagerness to speak in the classroom. Furthermore, the teacher’s creativities in stimulate the students speaking was deeply effective to provoke students to became active and speak during the class