Creative Self-beliefs Research Articles

The Creative Space Theory as a map to explore the mind

Despite significant transformations in most domains of activities, there might still be some constancies in the creative spaces explored throughout history. This paper introduces the Creative Space Theory (CST), a conceptual framework delineating 10 distinct creative spaces, analogous to creative landscapes. These creative spaces are proposed as navigational terrains for an array of media, tools, activities, and domains. The 10 spaces of the theory are movement, sound, image, sensation, emotion, strategy, story, symbol, network, and system. Notably, these creative spaces transcend specific media, and cover artistic as well as intellectual domains. For example, the sound space would be relevant to music, poetry, filmmaking, and acting among others, whereas the system space may be relevant to engineering, medicine, science, and design among others. The proposed theory holds potential utility in three key areas: (1) nurturing individual’s creative potential, (2) helping creators adapt to continuously changing circumstances, and (3) fostering positive creative self-beliefs in overlooked domains of creation. The current paper is a theoretical elaboration. We describe the creative spaces and discuss the implications of the theory towards individuals, educational practices, and research within the fields of cognition and Artificial Intelligence.

Teachers as creative agents: How self-beliefs and self-regulation drive teachers’ creative activity

Across two studies, we explore how teachers’ creative self-beliefs and self-regulation drive their creativity when faced with complex projects. In Study 1, 173 teachers reported on the most creative project they carried out last year and provided data on their creative self-beliefs (confidence and centrality of creativity) and self-regulation when pursuing projects. Creative self-beliefs were positively associated with the likelihood of obtaining more creative outcomes, both directly and indirectly, by strengthening teachers’ self-regulation. Moreover, highly innovative projects were unlikely if teachers’ beliefs and self-regulation were low. A latent profile analysis demonstrated three different approaches to carrying out and managing creative projects, resulting in varying levels of creativity in the final projects. These findings were extended and elaborated in a mixed-method Study 2, involving 16 teachers who participated in an intensive 10-week, microlongitudinal diary study and in-depth interviews. This study demonstrated that creative self-regulation allowed the teachers to plan and monitor their actions more effectively, resulting in more creative products. We discuss the role of self-beliefs and self-regulation in teachers’ creative agency and recommend future studies and practical interventions.

The Effects of Perceptions of Others on Creative Self-Beliefs: How we Perceive Self and Others as Similar or Different

The Effects of Perceptions of Others on Creative Self-Beliefs: How we Perceive Self and Others as Similar or Different

Crenças do Self Criativo de Estudantes de Escolas Civis e Militares

Abstract Creative Self-Efficacy (CSE) and Creative Personal Identity (CPI) are creative self-beliefs which act as creative achievement predictors in different contexts, including school. Brazilian theoretical studies suggest that characteristics of military school can inhibit creative expression. The question is raised whether the school environment can influence CSE and CPI. Therefore, the goal was to compare male and female students from military and civilian schools, in terms of CSE and IPC, in addition to verifying the interaction between the variables. Participants were 230 secondary school students, with a mean age of 16.07 years (SD = .92). The Short Scale of Creative Self (SSCS) and a sociodemographic questionnaire were used. No significant differences or interactions were observed, except for the higher IPC in women when compared to men. Thus, it is possible that the typical restrictions of the military model of education do not necessarily imply barriers to creativity.

A systematic framework of creative metacognition.

Creative cognition does not just involve cognitive processes in direct service of the main task objective (e.g., idea generation), but also metacognitive processes that monitor and regulate cognition adaptively (e.g., evaluation of ideas and task performance, or development and selection of task strategies). Although metacognition is vital for creative performance, relevant work is sparse, which may be partly due to persistent ambiguities in the theoretical conceptualization of creative metacognition. Therefore, this article proposes a systematic framework of creative metacognition (CMC), which builds on recent advancements in metacognition theory and extends them to meet the specifics of creative cognition. The CMC framework consists of two dynamic components-monitoring and control-and a more static component of metacognitive knowledge, each subsuming metacognitive processes applying to the level of task, performance, and responses. We describe the presumed function of these metacognitive components in the creative process, present evidence in support of each, and discuss their association with related constructs, such as creative self-beliefs. We further highlight the dynamic interplay of metacognitive processes across task performance and identify promising avenues for future research.

Analysis of Creative Self-Beliefs and Learning Flow According to Cluster Types of Creative Mindset of Nursing Students

Analysis of Creative Self-Beliefs and Learning Flow According to Cluster Types of Creative Mindset of Nursing Students

Creative Self-Beliefs Among Children and Adolescents

Young people’s confidence in their creative abilities, as well as their beliefs about whether these abilities are fixed or malleable, play potentially important roles in educators’ efforts to foster creativity. This study explores a multidimensional model of young people’s creative self-beliefs that comprises creative self-efficacy, growth-creative mindsets, and fixed-creative mindsets. It operationalizes and tests this model via a new three-factor instrument appropriate for young samples. Drawing on data from 2980 children and adolescents (mean age 12–13 years), confirmatory factor analysis established the construct validity of the scales, and hence, the multidimensional concepts underpinning creative self-beliefs. All measures evinced suitable levels of reliability, and invariance analysis supported configural, metric, and scalar invariance across gender, language background, and school type. Findings supported the convergent and divergent validity of scales against Big Five (openness and conscientiousness) personality measures. Implications of this three-factor creative self-beliefs model for researchers, educational practitioners, and youth are discussed.

The Relationship between Personality and Creative Self-Beliefs at Different Levels of Personality Hierarchy

In recent decades, research has shown that one set of individual factors contributing to creative self-beliefs are personality traits, with openness showing the strongest relationship. However, these associations have been studied at higher levels of the personality hierarchy and mostly in non-musician samples. The aim of this study was to examine the relationship between personality (measured at factor and facet levels) and two types of creative self-beliefs, trait-like creative self-efficacy (tCSE) and creative personal identity (CPI), in a sample of a cappella singers. A total of 128 individuals (64% women) participated in the study. Participants were members of 18 conveniently sampled traditional Croatian a cappella groups. Personality factors and facets were measured with the BFI-2 questionnaire (Soto & John, 2017), while creative self-beliefs were measured with the Short Scale of Creative Self (Karwowski et al., 2018). At the factor level, openness had the highest correlation with both tCSE and CPI. At the facet level, the highest correlations with tCSE were found for creative imagination, an openness facet, and energy level, an extraversion facet, while with CPI for all openness facets, creative imagination, aesthetic sensitivity and intellectual curiosity. In linear regression analyses, the only significant predictors of CPI were openness at the factor level and creative imagination at the facet level. Significant predictors of tCSE were openness and neuroticism at the factor level and creative imagination and sociability at the facet level. Personality facets explained more variance in both types of creative self-beliefs than factors.

A Black Mirror of Bright Ideas: Could Media Educate towards Positive Creativity?

With the media’s omnipresence, beneficial and detrimental effects on human behavior—including creativity—are being widely discussed. This essay presents potential benefits of passive and active media use for enhancing creative thinking and behavior. Based on the classic socio-cognitive theory of observational learning and stressing the importance of creative self-beliefs, certain types of media content and activities are highlighted to demonstrate how traditional and modern media can shape positive creativity—contributing to novel and valuable behavior from both individual and social points of view. The discussion proceeds to link media influence with creative skills, creative self-beliefs, and group creativity, emphasizing the necessity of media education and systematic scientific research on the topic.

Transferability of creative self-belief across domains:The differential effects of a creativity course for university students

The study identified the effects of creative learning experiences and the transferability of students’ creative self-beliefs across domains. A total of 764 first-year college students reported three items of creative personal identity and 50 items of self-rated creativity using the Kaufman Domains of Creativity Scale (K-DOCS) before and after taking a semester-long creativity course. Findings indicated significant changes in creative personal identity and five domains of self-rated creativity: Self/Everyday, Scholarly, Performance, Mechanical/Scientific, and Artistic. An interaction effect between the three student clusters (i.e., Wide, Focused, and Diffused groups) and the two-time points revealed various degrees and patterns in their changes. The study discussed the critical relationship between creative minds in general and mindfulness of creative behaviors in specific domains. In addition, the findings supported the need for both interdisciplinary and specific field-oriented creativity course curriculum development to nurture the creative minds of college students.

Creative self-beliefs of an artist and us

Creative self-beliefs of an artist and us

Differences in Creative Teaching Behavior and Young Children’s Creativity According to Latent Classes of Early Childhood Teachers’ Creative Self-Beliefs

본 연구는 유아교사의 창의적 자기신념 잠재집단에 따라 창의적 교수행동과 유아의 창의성이 어떻게 다른지 알아보는데 그 목적이 있다. 연구는 유아 교사 30명과 그 반에 속해 있는 유아 425명을 대상으로 진행하였으며, 결과는 다음과 같다. 첫째, 유아교사의 창의적 잠재신념을 통해 높은 창의적 자기신념 집단과 낮은 창의적 자기신념 집단을 도출하였다. 둘째, 유아교사의 창의적 교수행동의 하위요인인 인지 및 성격, 그리고 총점은 창의적 자기신념이 낮은 교사집단보다 창의적 자기신념이 높은 교사집단에서 유의하게 높은 것으로 나타났다. 셋째, 유아교사의 창의적 자아신념 잠재집단에 따른 유아의 창의성 차이를 살펴본 결과 유아의 창의성 요인 중 융통성과 상상력에서 유의한 차이가 있는 것으로 나타났다. 그러나 유창성, 독창성, 창의성 총점에서는 유의한 차이가 나타나지 않았다. 따라서 본 연구는 유아교사의 창의적 자기신념에 따라 창의적 교수행동과 유아의 창의성이 유의한 차이가 있음을 실증적으로 밝히는데 그 의의를 두었다.

Is perfectionism a killer of creative thinking? A test of the model of excellencism and perfectionism.

The standards that a person pursue in life can be set in a rigid or flexible way. The recent literature has emphasized a distinction between high and realistic standards of excellence, from high and unrealistic standards of perfection. In two studies, we investigated the role of striving towards excellence (i.e., excellencism) and striving towards perfection (i.e., perfectionism) in relation to divergent thinking, associative thinking, and openness to experience, general self-efficacy, and creative self-beliefs. In Study 1, 279 university students completed three divergent thinking items, which called for creative uses of two common objects and to name original things which make noise. A measure of openness to experience was included. Results from multiple regression indicated that participants pursuing excellence tended to generate more answers and more original ones compared with those pursuing perfection. Openness to experience was positively associated to excellencism and negatively associated to perfectionism. In Study 2 (n = 401 university students), we replicated these findings and extended them to associative tasks requiring participants to generate chains of unrelated words. Additional individual differences measures included general self-efficacy, creative self-efficacy, and creative personal identity. The results suggested that excellencism was associated with better performance on divergent thinking and associative tasks, compared with perfectionism. Excellencism was positively associated with all four personality variables, whereas perfectionism was significantly and negatively associated with openness to experience only. Implications for the distinction between perfectionism and excellencism with respect to creative indicators are discussed. In addition, the paradoxical finding that perfection strivers had high creative self-efficacy and creative personal identity but lower openness to experience and poorer performance on objective indicators of creative abilities is discussed.

Funny selves: Development of the Humor Efficacy and Identity Short Scales (HEISS)

Although humor is a universal feature of human communication, people vary widely in how they create and use humor. Guided by a broader model of creative self-beliefs, we developed the Humor Efficacy and Identity Short Scales (HEISS), a pair of 4-item scales measuring humor self-efficacy (“I can” beliefs reflecting confidence about one's ability to be funny) and humor identity (“I am” beliefs reflecting the centrality of humor ability to one's self-concept). Using a large sample of English speakers (n = 1842), an item response theory analysis found a suitable range of item difficulty, good item discrimination, and essentially zero gender-based differential item functioning. Three follow-up samples with English (n = 304, n = 400) and Polish (n = 385) speakers found conceptually consistent relationships with humor backgrounds and experiences (e.g., taking classes and holding jobs involving humor), with Big 5 personality traits, and with humor styles and playfulness. Taken together, these scales show promise for research on people's humor self-concepts and for studies of gendered aspects of humor use, creation, and appreciation.

Urban Regeneration Program: Exploring the Relationship of University Students’ Creative Self-Beliefs, Co-regulation, and Creative Performance

Urban Regeneration Program: Exploring the Relationship of University Students’ Creative Self-Beliefs, Co-regulation, and Creative Performance

Creative Individuals are Social Risk-takers: Relationships between Creativity, Social Risk-Taking and Fear of Negative Evaluations

Abstract If the importance of social psychological factors in creativity has been widely emphasized, research across the social sciences mainly focused on identifying contextual factors that increase or decrease individuals’ creative behaviors. Few studies have investigated the relationships between creativity and individual characteristics related to interpersonal and social interactions. The present contribution aimed to consider such characteristics, namely social risk-taking (i.e., willingness to challenge norms) and fear of negative evaluation (i.e., apprehension about receiving negative judgments of others). Two correlational studies were therefore implemented in order to clarify previous research suggesting that creativity would be positively associated with social risk-taking and to extend them by testing potential associations between creativity and fear of negative evaluation. Using self-ratings of creativity, but also creative self-beliefs and creative achievement, we hypothesized that creativity would correlate positively with social risk likelihood and negatively with fear of negative evaluation. As predicted, and replicating previous results, all our measures of creativity correlated positively with social risk-taking. Our results also consistently highlighted a negative association between beliefs in one’s creative capacities (creative self-efficacy) and one’s level of fear of negative evaluation. These findings corroborate the idea according to which creative individuals would be (social) risk-takers. In addition, individuals who are confident in their ability to generate creative productions would be less afraid of negative judgments from others. Several perspectives are proposed, in particular in terms of the intervention designed in order to enhance individuals’ creativity.

Development and Validation of Creative Self-Beliefs Scale

Development and Validation of Creative Self-Beliefs Scale

Do parenting styles matter? Perceived dimensions of parenting styles, creative abilities and creative self-beliefs in adolescents

On a sample of 552 high school students, the present study investigated the relationships between perceived parenting dimensions, and children’s creative abilities assessed by the Test for Creative Thinking-Drawing Production (TCT-DP) as well as their creative self-beliefs (i.e. creative self-efficacy and creative personal identity). Results indicated that the dimension of parental child acceptance and autonomy support were weakly but positively related to children’s creative self-efficacy and creative personal identity. However, no statistically significant relationship was found between parental autonomy support and children's creative abilities. In this sense, this study provides preliminary evidence for the effect of parental style dimensions on children’s creative self-beliefs. Implications and limitations of this study were discussed. Recommendations are also given to researchers for conducting further studies on the topic.

The big five, the huge two, and creative self-beliefs: A meta-analysis.

This article reports a meta-analysis of the relationships between creative self-beliefs (CSBs)—a broad set of characteristics including creative self-efficacy, creative personal identity, and self-rated creativity—and the Big Five (openness, conscientiousness, extraversion, agreeableness, and neurot

Teachers' Effect on Students' Creative Self-Beliefs Is Moderated by Students' Gender

Creative self-beliefs, such as creative self-efficacy, predict creative activity and achievement. Still little is known, however, about the factors that shape such self-beliefs. Drawing on Bandura's sociocognitive theory, this longitudinal study tests the role of teachers' expectations on students' domain-specific creative self-efficacy. Teachers' ratings of students' creativity were substantially related to students' creative self-perception a semester later and this effect was significantly stronger among female than male students. We discuss these findings in terms of the accuracy of teachers' beliefs and the consequences of their influence on students' creative self-perception.