Creative Self-concept Research Articles

Board Games and Creativity: Playfulness as a Mediator

Background Games, and board games in particular, have shown themselves to be a promising avenue to help improve creative potential. However, these findings do not explain the reason as to why board games would be linked to or improve creativity. This paper focuses on one particular variable that could mediate the links between board game play habits and creativity: playfulness. Method This quantitative study first examined whether board game play habits are positively related to two creativity measures: creative self-concept and creativity in the workplace. Furthermore, it was hypothesized that playfulness would have a mediating effect between board game play habits and creativity outcomes. Data was collected from 327 French workers using online recruitment through social networks, by means of a questionnaire-based survey. Results Results show that board game play habits are positively correlated with both creativity in the workplace and creative self-concept. Furthermore, the adult playfulness dimension of fun-seeking motivation mediate the relationship between board game play habits and both creativity in the workplace and creative self-concept. Discussion Playing more board games is associated with higher playfulness, which in turn is associated with more creativity in the workplace and higher creative self-concept. These findings suggest that encouraging board game play, notably playing a broad range of board games, could help foster playfulness and thus improve creativity.

How does the Dunning-Kruger effect happen in creativity? The creative self-concept matters

The Dunning-Kruger effect refers to the tendency of unskilled individuals to overestimate their abilities while skilled individuals tend to underestimate themselves. The purpose of this study is to investigate the existence of the Dunning-Kruger effect in creativity and identify its key determinants. Using the cue-utilization framework, we explored how inaccurate metacognitive judgments result from creative self-concept, compared to those who can accurately evaluate themselves. Two hundred and ten university students completed an Alternative Uses Task (AUT) and evaluated their performance with self- and comparative judgments, then they reported the creative self-concept. The study conducted a two-step clustering analysis based on individuals' creative performance, judgments, and Bias Index of metacognitive judgments, and identified four distinct groups: 'skilled but underestimate' (SU group), 'unskilled but aware' (UA group), 'skilled and aware' (SA group), and 'unskilled and overestimate' (UO group). The SU and UO groups were typical examples of the Dunning-Kruger effect. Using binary logistic regression analysis, we found that high creative self-concept enabled skilled individuals to assess their creativity accurately, while it caused unskilled individuals to overestimate their creativity. This study identified the Dunning-Kruger effect in creativity while also offering new insights into the underlying mechanism of the Dunning-Kruger effect.

Creative self-enhancement in a team context: The role of gender, creative self-concept, and trait hypercompetitiveness.

Creative self-enhancement in a team context: The role of gender, creative self-concept, and trait hypercompetitiveness.

Cooperative mindset and creative self-concept in higher education

Cooperative mindset refers to both a way of thinking and a practice aimed at achieving social transformation and innovation through the involvement of multiple individuals in the creative process. Drawing upon the 7Cs framework, this study analyzes the relationship between cooperative mindset and creative self-concept in a sample of university students. The mediating role played by other creativity-related variables in this relationship is also examined. Participants were 1940 first-year students from a Spanish university (Mage = 18.99, SD = 1.70; 51.1 % male, 48.7 % female, 0.2 % non-binary). Results revealed that creative self-concept is associated with cooperative mindset, and that this relationship is mediated by critical thinking disposition but not by entrepreneurial self-efficacy. These findings suggest that cooperative mindset among higher education students could be enhanced through the implementation of approaches to teaching and learning that foster a creative self-concept. Educational relevance statementIn order to develop a cooperative mindset among higher education students it is essential to foster their creative abilities through approaches to teaching and learning that encourage reflection and the critical appraisal of ideas, situations, and concepts. It is also important to provide them with opportunities to engage in the co-creation of solutions to real-world problems. This could help to produce individuals and societies that are able to work together to achieve the common good and to offer innovative and socially transformative solutions to the complex challenges we currently face.

무용전공 학생용 창의적 자기개념 척도의 타당화 및 측정 불변성 검증

Objectives The purpose of this study is to examine the validity and reliability of Korean version of the Short Scale of Creative Self-Concept (Karwowski, 2011; Karwowski et al., 2018) and test the measurement equivalence across high school and college students majoring in dance.
 Methods Two studies were conducted. Study 1 was conducted with 158 participants (high school students=75, college students=83) to explore the potential factor structure of the shortened creative self-concept scale adapted into Korean version. Data were analyzed using descriptive statistics, principal component analysis, and internal consistency analysis. Study 2 was conducted with a total of 715 participants (high school students=343, college students=372) to examine the validity and reliability of the Korean version of the Short Scale of Creative Self-Concept. Data were collected using two other questionnaires for concurrent validity and one questionnaire for predictive validity, and analyzed using confirmatory factor analysis, correlation, regression analysis, internal consistency analysis, and multi-group confirmatory factor analysis.
 Results In Study 1, the results of the principal component analysis showed that 9 items were extracted from 2 factors (creative self-efficacy=5 items; creative personal identity=4 items), accounting for 72.40% of the total variance. The results of the confirmatory factor analysis in Study 2 showed that the 10-item measurement model fit the data (²=293.84, df=26, p=.001, CFI=.931, TLI=.905, RMSEA=.070; 90%CI: .068, .093). The creative self-concept subscale showed static correlations ranging from .39 to .80 between dance identity and creative self-efficacy, and positively predicted intrinsic motivation, extrinsic motivation, and amotivation. Measurement coefficients, structural covariance, and measurement residuals were variant between high school and college students, and conceptual reliability and internal consistency coefficients were all above 0.80.
 Conclusions Results suggest that the Short Form Creative Self-Concept Scale can be applied to measure creative self-efficacy and creative personal identity of dance major’s students.

Kulturní rozdíly a jejich vliv na pojetí tvořivosti u studentů výtvarného oboru: Výzkumná studie založená na umění

Creativity is a construct shaped by society, its history and values. There is a global consensus on the importance of creativity for society, the economy and the individual. Yet, cultural context plays a significant role in describing the characteristics of creativity. This paper introduces the findings of a study focused on congruencies and differences in creative self-concept among art students on the US-Czech Republic-Taiwan axis. The study contributes to the understanding of the different facets of creativity and their importance in shaping an individual's creative self-concept. It particularly inspires didactic disciplines in promoting creativity not only in expressive fields.

Instruction in creative and argumentative writing: transfer and crossover effects on writing process and text quality

AbstractTo investigate whether a creative writing unit in upper secondary education would improve students’ creative as well as argumentative text quality and to examine whether it would change students’ writing behavior, we tested a creative writing unit based on encouraging writing in flow by using divergent thinking tasks. Four classes (Grade 10) participated in a switching replications design. Students received either creative writing instruction (CWI) or argumentative writing instruction (AWI). Key stroke logging software recorded students’ writing processes, their Creative Self-Concept (CSC) was measured, and text quality was rated holistically. Students were positive about the design of the creative writing unit and the lessons. The effects varied per panel. The first panel showed that CWI had an effect on creative text quality compared to AWI, while AWI had no effect on argumentative text quality, compared to CWI. This pattern indicates a transfer effect of creative writing instruction on argumentative text quality. The transfer effect was moderated by CSC, with larger effects for relatively high CSC-participants. The second panel did not replicate this pattern. Instead, a crossover effect was observed of CWI in panel 1 on the effect of participating in the unit on argumentative writing in panel 2, most pronounced in high CSC-participants. Students’ creative writing speed decreased in the first panel, except for students with a relatively high Creative Self-Concept, and then increased in the second panel. Our findings may guide decisions on incorporating creative writing in the curriculum.

Creative Self-Concept, Post-Traumatic-Growth, and Professional Identity Resilience in Counselors with Traumatic Experiences: A Canonical Correlation Analysis

ABSTRACT The purpose of this study was to address current gaps in the literature related to creative self-concept, post-traumatic growth, and professional identity resilience in counselors (n = 116). A canonical correlation analysis (CCA) and stepwise regression analyses were conducted to explore the relationships among variables. Small correlations were found between professional identity and the creative self, as well as with CACREP affiliation. Creative self-efficacy (CSC) scores were generally high, suggesting that creatives may be drawn to the counseling profession, and CSC may be robust. Suggestions for future research are provided.

From an existential-humanistic perspective: examining factors contributing to purpose in life among artistically inclined individuals from middle to later life

Abstract Purpose in life has been found to decline from middle to later life in several ageing studies. Because the decline has negative impacts on health-related outcomes, it is important to identify factors contributing to purpose in life to enhance wellbeing among the ageing population. This study first examined the role of subjective social economic status (SSES) in the relationship between age and purpose in life. Subsequent analyses estimated whether the construct Artistic Creativity as a Source for Meaning in Life (ACASMIL) played a role in cultivating purpose in life among ageing individuals. Moreover, the analyses determined whether this effect was strengthened by creative self-concept (i.e. self-conviction about personal identity and self-efficacy in the global domain of creativity). Results from a sample of 224 individuals from middle to third age (mean age = 54.08, standard deviation = 10.08, range = 40–84) revealed that the relationship between age and purpose in life was only positive among those with relatively high SSES, controlling for gender and country of residence. Controlling for gender, country of residence, age and SSES, it was found that ACASMIL did not play a mediator role. Moreover, creative self-concept played a moderator role in the relationship between artistic creativity and ACASMIL. However, this moderation effect of creative self-concept was negative. Implications and suggestions for future directions are discussed.

Must one take the bitter with the sweet? Sensory processing sensitivity and factors associated with resilience among artistically inclined individuals.

Sensory processing sensitivity (SPS), linked with a penchant for the arts and creativity, exerts its bivalent influences, contingent on context, on individuals' health-related outcomes. But little is known about how it interacts with creative self-concept (CSC). Focusing on the role of SPS, this study identified risk and protective factors of resilience among artistically inclined individuals from middle to later life during the coronavirus 2019 (COVID-19) restriction period and examined the interaction effect between SPS and CSC on depression. Two stages of analyses were pursued. Stage 1 identified factors associated with resilience by using regression and profile analyses on data from 224 anonymized respondents from middle to third age (Mage = 54.08, SD = 10.08, range = 40-84) with diverse disciplinary backgrounds in visual arts. Stage 2 examined the influence of SPS on the relationship between CSC and depression. SPS, lack of peer support of shared interests in the arts, and depression emerged as risk factors associated with lower levels of resilience. The profiles of SPS components among the relatively high and low resilience groups were found to be divergent. The effects of CSC on depression were contingent upon SPS, controlling for neuroticism. The findings call for future research to examine the differential correlational patterns among the SPS components and neuroticism across different populations. The risk/protective factors and patterns found in this study provide directions for research in SPS and applied work to support artistically inclined individuals from middle to later life.

Cognitive reappraisal and creative self-concept among higher education students: A latent class analysis.

Cognitive reappraisal and creative self-concept among higher education students: A latent class analysis.

Active procrastination incubates more creative thinking: The sequential mediating effect of personal mastery and creative self-concept

ABSTRACT Many studies have suggested that procrastination can result in negative effects, such as anxiety and decline in academic performance; however, procrastination can be either active or passive. This study explored the serial mediation effect of personal mastery and creative self- concept in the correlation between active procrastination and creative thinking. A sample of 536 participants was asked to complete a series of questionnaires. The results demonstrated that creative self-concept played a mediating role in the correlation between active procrastination and creative thinking. Moreover, personal mastery and creative self-concept serially mediated the association between active procrastination and creative thinking. This study identified the critical factors associated with creative thinking and provided a reference for educators’ interventions for improving students’ creativity.

The psychometric properties of the short scale of creative self in a sample of Romanian students

The aim of the present article is to validate the Short Scale of Creative Self (SSCS), built by measuring Creative Self-concept made of Creative Self-efficacy – CSE (the individual’s belief about his/her own ability to solve a problem that requires creati

The Influence of Parental Autonomy Support on Creative Self-concept in the Context of Business Education

Abstract The amount of attention given to creative beliefs has increased in recent years. We wanted to answer a call for more research on the antecedents of creative self-concept, assessing the influence of parental autonomy support in the context of business education. Participants were 272 college students from Mexico who completed a battery of questionnaires assessing parental autonomy support, creative self-concept, self-reported ideation, and a divergent thinking task. Results showed a positive relationship between business-specific parental autonomy support and creative self-concept. In addition, creative self-concept had positive relationships with self-reported creative ideation and creative potential in the form of an originality index. Our results suggested that parental support was important to help students have confidence and the motivation to value the process of generating novel and useful business ideas. The implications of the results were discussed.

Looking back on Online data Collection Through Mindful Reflection

Reflections emerging from what was learned from conducting online research by using an online survey administered to primary school pupils during the Covid-19 pandemic are presented in this paper. First, a brief review of relevant literature is outlined. Secondly, the advantages and limitations of conducting online research are addressed. An overview of the research process employed including the sample, measures used and procedures employed for ethics clearance are how online research was made possible during a pandemic was explored. The main challenges were: (a) parental engagement and the subsequent collection of consent forms; (b) the actual data acquisition itself. These issues and others are explored through a reflection process using the cycle outlined by Gibbs (1988). The paper also points out how the reflective process was applied throughout the project. The study is focused on how pupils aged between 9 – 11 years perceived their own creative self-concept and their wellbeing at school. In this quantitative study, five hundred and thirty pupils were recruited through their schools following the dissemination of information letters and consent forms. While various advantages emerged from conducting online research, this approach was not without problems. Finally, this study presented an opportunity for learning and growth for the author through a process of reflection and evaluation.

Scaling the Creative Self: An Item Response Theory Analysis of the Short Scale of Creative Self

ABSTRACT Self-report scales have become the most widely used instruments to capture people’s self-perception of creativity. Previous studies, however, provided only a limited insight into the psychometric properties of such measures. This paper reports an extensive item response theory (IRT) analysis of the Short Scale of Creative Self (SSCS): one of the most frequently used scales of creative self-concept. Based on samples from 14 studies (overall N > 26,000), we report IRT parameters of creative self-efficacy and creative personal identity scales’ items. We examined whether the scores obtained in the SSCS depend on the length of the response scale (5-versus-7-point Likert scales) and whether latent scores are comparable across different data collection methods (online, paper-and-pencil, phone), age, and gender. The results confirmed the two-factor structure of the SSCS, good psychometric properties of its items, as well as invariance regarding response scales, age, gender, and method of data collection. At the same time, the items (and consequently—scales) were easy in the psychometrical sense, thus providing much more reliable scores among individuals who scored low or medium in creative self-concept. Longer (7-point) and shorter (5-point) Likert scales performed similarly, with some psychometric arguments favoring fewer points on the scale. Gender differences were negligible (Cohen’s d between 0.00 and 0.01). We discuss potential ways of further improvement and development of the SSCS.

The Contribution of a Music and Arts Rehabilitation Program to the Creative Identity, Well-Being, and Community Integration of People With Mental Health Conditions

The United Nations highlighted the importance of promoting the rights of people with mental health conditions (MHC) to education, employment, and citizenship. One related initiative in Israel is the Garage pre-academic music and arts school for individuals with musical and artistic abilities coping with MHC. This process–outcome study examined whether and how the Garage contributes to participants’ creative self-concept, mental health, alleviates loneliness, and promotes postsecondary education and work integration. It also probed the participants’ initial expectations and the extent to which these were fulfilled. Using a single-group pretest–posttest design, quantitative data on the outcome variables were collected, along with mid-test data on process variables from the Garage students ( N = 44). Supplementary qualitative data were collected at pretest on the students’ expectations. The results suggest a significant increase in creative personal identity and mental health, a decrease in loneliness, and promotion of postsecondary education and work integration. These findings were associated with persistent attendance, basic psychological needs satisfaction, and expectation fulfillment. A merged analysis indicated that the students’ qualitative expectations were generally congruent with the quantitative results. Overall, the findings show how the program corresponds to humanistic values, targets service users’ needs and rights, and promotes personal recovery and community integration.

Collecting data online from young students during a pandemic. Reflections.

As researchers we need to be able to reflect deeply to constantly improve the research processes. Reflection can help researchers to engage critically and objectively with the worldview while acknowledging what works and what doesn’t. This paper focuses on reflections emerging from online data collection during a pandemic.
 This paper presents what was learned from conducting online research by collecting data through an online survey administered to school children during the Covid-19 pandemic. Following a brief review of relevant literature, the research process employed is outlined. This includes the sample, measures used and ethics clearance. Secondly, we explore the advantages and limitations of conducting online research. In particular we explore the issues that were encountered and how online research made data collection from a school possible during a pandemic. The main stumbling blocks were related to: (a) parental engagement and the subsequent collection of consent forms; (b) issues that emerged during the actual data collection. These issues and others are explored through a reflection process using cycle outlined by Gibbs (1988).
 The aim of the study was to explore how students aged between 9 – 11 years perceived their own creative self-concept and their wellbeing at school. In this quantitative study, 530 students coming from different schools were surveyed using an online platform. Participants were recruited through their respective schools following the dissemination of information letters and consent forms. While various advantages emerged from conducting online research, a number of challenges were encountered throughout the process. This data collection exercise presented an opportunity for learning and growth through a process of reflection and evaluation. 
 

Creativity Self-assessment: Validation of the Short Scale of the Creative Self-concept (SSCS)

Creative self-concept is a construct that refers to the self-assessment of one's creativity, and it consists of two dimensions, creative identity, and creative self-efficiency. Creative identity determines how important creative potential is to a person, and creative self-efficacy represents faith in personal creative abilities. Since the Short Scale of Creative Self-Concept (SSCS) was not validated on a sample of respondents from Bosnia and Herzegovina, this study aims to validate and verify the metric characteristics of the scale. The sample consisted of 238 students from different faculties from BiH, aged 19 to 46 (M = 22.21; SD = 3.27). Using a two-way procedure from English, 11 items that make up the SSCS scale were translated: 5 items examine creative identity, and 6 creative self-efficacy. The SSCS scale as a whole has good reliability (α = .904) as well as representativeness (KMO = .908). At the subscale level, these values are also satisfactory: for creative identity (α = .902; KMO = .871), and for creative self-efficacy (α = .823; KMO = .776). Convergent and criterion validity was confirmed by a high correlation between the total score on the SSCS scale and scores on the personality dimension Openness to Experience (r = .680) and scores on the Creativity Self-Assessment Questionnaire (r = .768). Exploratory factor analysis, with Promax rotation, retained two factors that together explain 68.03% of the variance. Confirmatory factor analysis tested three models: Model 1 - the original version of the scale with one dimension; Model 2 - the original version of the scale with two dimensions; Model 3 - the abbreviated version of the scale with two dimensions. As Model 3 (in which problematic items were omitted) was the only one with adequate matching parameters (χ2/df =3.357; CFI = .964; TLI = .948; RMSEA = .103), the metric characteristics of the shortened version of the scale were rechecked and showed that everything is satisfactory, except discrimination. The conclusion is that an abbreviated version of the scale can be applied, but also that it would be useful to conduct a new validation study in which all items from the scale would be retained, with linguistic modification of claims that were problematic in this study.

The Profiles of Creative Students

Students may differ on their standards of performance, reasons for attending school, beliefs about their academic and creative abilities, and the importance they place on school and creativity. The current study employed Latent Profile Analyses to identify sub-populations of university students based on the following seven indicators: standards of perfectionsim and excellencism, academic autonomous motivation, controlled motivation and amotivation, as well as academic and creative self-concepts. From a sample of n = 184 university students, five profiles were identified. The profiles could be described as Perfectionists with controlled motivation, Excellentists with autonomous motivation, Intermediate strivers with autonomous motivation, Intermediate strivers with controlled motivation, and Low strivers. The profiles were regressed onto various academic and creative outcomes. The results of three profiles in particular offered informative comparisons. In particular, the Perfectionists and the Excellentists profiles had similar achievement goals orientations (i.e., high on performance and mastery) but different motivational profiles and different divergent thinking abilities. The Excellentists profiles was higher than all the other profiles on divergent thinking except the Low strivers. The Low strivers profile was low on all achievement goal orientations but high on divergent thinking abilities. We discuss the implications of finding creative profiles within the academic environment and situate our findings within the achievement goals literature.