Self-perceptions Of Creativity Research Articles

Crossing borders and generations: examining the relationship between music engagement and immigration generation

ABSTRACT The purpose of this study was to examine differences in music engagement across immigration generations among different racial/ethnic groups for adults living in the United States. I conducted secondary analysis of two 2018 nationally representative surveys, the February Current Population Survey (CPS) and the Self-Perceptions of Creativity and Arts Participation (SPCAP). CPS questions for music engagement included formalised operations of performing and practicing instruments and singing, whereas the questions in the SPCAP study used expanded/informal language. Initial descriptive and bivariate analyses demonstrated differences in music engagement by immigration generation and race. However, multivariate logistic regression results indicated that substantive differences between immigration generations and racial and ethnic groups were mostly diminished, though the specific ways in which members of different immigrant and cultural groups engage with music may differ. Implications for culturally sustaining pedagogy in K-12 music education and suggestions for future research are discussed.

Development of the Japanese Version of the Inventory of Creative Activities and Achievements

Measurement of real-life creativity across various countries serves as the foundation for the cultural psychology of creativity. Although studies have suggested differences in creativity between Western and East Asian countries, the underlying factors remain insufficiently understood. This study focused on Japan, an East Asian country, that was perceived to have high creativity yet exhibited negative self-perceptions of creativity. We translated the Inventory of Creative Activities and Achievements (ICAA), a comprehensive measure of real-life creativity from activities and achievements. Data were collected from various participants, who included creative activity experts and non-experts and spanned from university students to general adults (pro-c: n = 489 and little-c: n = 1485). Validity and reliability of the Japanese version of the ICAA was confirmed. However, the Japanese version revealed that Japanese individuals' mean score of creative activities and achievements, even among professionals, was only approximately half of that reported among Western or Chinese university students. Reasons for lower creativity and achievements among the Japanese population have been discussed.

Students’ self-perceptions of creativity: the case of Emirati students in a first-year English program

Purpose The purpose of this paper is to identify the opinions of first-year Emirati students in a writing-intensive English program regarding the extent to which they found themselves creative and the ways in which they expressed creativity in general. The other aim was to identify the ways in which they tended to make their writing creative. The study also sought to see if there were differences between male and female students’ responses. Design/methodology/approach Data were collected from 54 first-year Emirati students using a survey with closed and open-ended questions. Findings Results revealed that only three quarters of the students considered themselves creative. The most common ways in which they perceived themselves creative were through originality, problem-solving and design. With regards to creativity in writing, amongst several factors, they believed that the incorporation of experience, skillful use of lexis and grammar and understanding of their audience in particular make their writing creative. There were no statistically significant differences between male and female students’ responses. Originality/value People’s cultural backgrounds play a significant role in their perception of creativity and beliefs in their own creative writing powers. Creative writing skills are, therefore, often among key learning outcomes, and many universities offer their students writing-focused courses. For these courses to be successful, students’ perceptions of creativity skills ought to be taken into consideration. The current study achieved this.

Employees’ Perceptions of Work Attire in the Workplace, Does It Matter?

Wearing working dress in the workplace is considered as a representation of the organization culture, work attire becomes an important factor for the employees in a workplace. The types of work attire depend on the policy and the type of the organization even though there is no certain regulation on uniform in the workplace. This study is conducted to identify the impact of employees’ attire (formal and casual) on the employees’ self-perceptions of creativity, productivity, friendliness, trustworthiness and authoritativeness and competence. This study was held in Yogyakarta. The respondents varied from the employer to the employees, with total of 147 respondents. This study found that the characteristics and the appearance of the uniform significantly affect employees’ attitude towards the job while attribute function did not seem toaffect employees’ attitude towards job.

Creative and deserving: Digital workers’ transformation of subjective into objective creativity

This paper explores the process of obtaining creative outputs from digital workers. Specifically, we are interested in unraveling the process of transforming self-perceptions of creativity into obj...

Art Therapist-Facilitated Open Studio Versus Coloring: Differences in Outcomes of Affect, Stress, Creative Agency, and Self-Efficacy (Studio ouvert animé par un art-thérapeute versus coloriage : différences de résultats sur l'affect, le stress, l'agentivité créatrice et l'efficacité personnelle)

ABSTRACTBackground: Coloring books for adults have become a ubiquitous presence in retail outlets worldwide and in the visual cultural landscape. The goal of this study was to determine differences in outcomes between art therapist-facilitated open studio and individual coloring.Methods: The study used a within-subjects experimental design. Healthy adult participants (aged 19–67 years) were invited to engage in one session each of individual coloring, and open studio facilitated by an art therapist. A total of 36 participants enrolled in the study; 29 completed pre- and post-surveys for both conditions. Outcomes measured included positive and negative affect, perceived stress, self-efficacy, and creative agency.Results: The art therapist-facilitated open studio condition resulted in superior improvements in positive affect, creative agency, and self-efficacy compared to the coloring condition. Both conditions resulted in lowered stress and reduced negative affect.Discussion and implications: The results indicated that coloring might have therapeutic benefits on distress; however, only the art therapist-facilitated open studio session showed significant improvements in self-efficacy, self-perceptions of creativity, and positive mood. Art therapists might consider using the phenomenon of coloring as a doorway to art therapy and more spontaneous creative and self-expression for transformative change. Future studies should seek to identify the unique mechanism of change through which art therapist-facilitated art making explains the shifts in positive affect, creative agency, and self-efficacy.

Functional near-infrared spectroscopy assessment of reward perception based on visual self-expression: Coloring, doodling, and free drawing

Visual self-expression helps with attention and improves health and well-being. Few studies have examined reward pathway activation during different visual art tasks. This pilot study is the first to examine brain activation via functional near-infrared spectroscopy (fNIRS) during three distinct drawing tasks—coloring, doodling, and free drawing. Participants (11 men, 15 women; 8 artists, 16 non-artists) engaged in each task separated by equal intervals of rest in a block design experimental protocol. Additional data included a pre- and post survey of self-perceptions of creativity, prior experience with drawing tasks, and reflections on study participation. Overall, the three visual arts tasks resulted in significant activation of the medial prefrontal cortex compared to the rest conditions. The doodling condition resulted in maximum activation of the medial prefrontal cortex compared to coloring and free drawing; however, differences between the drawing conditions were not statistically significant. Emergent differences were seen between artists and non-artists for coloring and doodling. All three visual self-expression tasks activated the medial prefrontal cortex, indicating potential clinical applications of reward perception through art making. Participants improved in their self-perceptions of problem solving and having good ideas. Participants found the drawing tasks relaxing but wanted more time per task. Further study with varied art media and longer time on tasks are needed to determine potential interactions between participants’ backgrounds and reward activation.

Self-perceptions of creativity do not always reflect actual creative performance.

Self-perceptions of creativity do not always reflect actual creative performance.

Seeing around corners: How creativity skills in entrepreneurship education influence innovation in business

Entrepreneurship programs and courses provide the context and content to help students learn and apply skills and behaviors intended to create value in entrepreneurial firms. Creativity skills enable students to discover new ideas and opportunities that contribute to innovation. The present study investigates the impact of perceptions of creativity skills acquired by 137 students enrolled in a part-time MBA program, and who were full-time employed. The students completed an entrepreneurship course on creativity and innovation and utilized creativity tools and methods within a team context in the entrepreneurship classroom. Results showed that creativity skills acquired by students influenced their self-perceptions of creativity, that they transferred their creativity skills to their work teams, leading to a positive impact on perceptions of team support for innovation, and their team's and firm's actual innovative outcomes. Pedagogical approaches play an important role in students' creative thinking and behavior, and can effectively stimulate and strengthen students' ability to fully participate in their work teams, as well as their ability to generate new value for their organizations.

City Employee Perceptions of the Impact of Dress and Appearance

This study focuses on city employees and their perceptions regarding the importance of dress and appearance in the public sector workplace. Using the impression management literature and self-presentation theory, we examine the impact of mode of dress worn (casual, business casual, formal business) on their self-perceptions of creativity, productivity, trustworthiness, authoritativeness, friendliness, and competence. We also examine their beliefs regarding the impact of employee appearance on customer perceptions of service quality. Our results suggest that “you are what you wear.” Respondents felt more competent and authoritative when wearing either formal business or business casual, more trustworthy and productive when wearing business casual, and least friendly and creative when wearing formal business attire. Respondents also believed that uniforms had a positive impact on customer perceptions of overall service quality, and that tattoos, athletic wear, unconventional hairstyles or hair color, sweat pants, facial piercings, revealing clothing and clothing with tears, rips or holes had a negative impact. Implications and directions for future research are discussed.

Matching Creativity Perceptions and Capabilities: Exploring the Impact of Feedback Messages

This two-part study first examines the accuracy of participants’ self-perceptions of creativity and looks at the effects of positive or negative feedback on creativity capability or output. Results of online testing showed that participants with higher self-perceived creativity were ultimately more creative. In part two, participants were provided positive, negative or neutral feedback regarding their first creativity exercises and retested using the same creativity measures. An ANOVA demonstrated no difference in the change in creative output from pre-test to post-test evaluations based on the type of randomly generated feedback message. While not significant, trends are highlighted in the data that warrant further examination in future research. Implications of the findings for instructors are discussed.

Evaluation of Self-Perceptions of Creativity: Is It a Useful Criterion?

Self-evaluations or self-perceptions of creativity have been used in the past both as predictors of creative performance and as criteria. Four measures utilizing self-perceptions of creativity were assessed for their usefulness as criterion measures of creativity. Analyses provided evidence of domain specificity of self-perceptions. The scales correlated with self-report measures of creativity, but not with objective measures. Self-perceptions of creativity had strong to moderate relationships with personality and creative self-efficacy. These results suggest that although self-perceptions of creativity may provide some information about creativity, researchers should be cautious when using this measure as a criterion.

Personality and Self-Perceptions of Creativity across Domains

The current study evaluated the structure of a revised (shortened) version of the Creativity Domain Questionnaire (CDQ), examined its relationship with five personality factors, and analyzed potential differences in creativity domains based upon gender and occupational status. One hundred eighty-two students and 60 warehouse employees completed the Revised Creativity Domain Questionnaire (CDQ-R) and the Big Five Factor Markers. Consistent with an exploratory factor analysis of pilot data, a subsequent confirmatory factor analysis of these data supported a four-factor structure for the CDQ-R. Correlations between these four creativity domains and the Big Five personality factors generally were consistent with theoretical expectations. Effects for gender also were consistent with theory. Women perceived themselves as more creative in the Arts general domain while men perceived themselves significantly more creative in Math/Science. There were no effects for occupational status. Creativity takes place in diverse contexts, and we cannot expect the personalities of people who create in different domains to be the same, or to differ in the same ways from comparison subjects. (Helson, 1996, p. 303)

Advancing the case for creativity through graduate business education

We describe an MBA course focusing on creativity and innovation in organizations. Drawing on the creativity literature and experiential learning theory, the theoretical foundations of the course are discussed. Core aspects of the course include reading articles from academic journals and business periodicals, engaging a wide variety of experiential activities, keeping a personal journal, and completing two individual projects. We sought to understand the effect of the course on students’ perceptions of the importance of creativity for organizations, their own creativity and self-perceptions of creativity, as well as their perceptions of the utility of journaling. Data were collected at the beginning and end of the course to examine these issues. The results suggest that the course had a positive influence in each case. These results are discussed and thoughts for future research are provided.

Individual values, Organizational Context, and self-perceptions of employee creativity: Evidence from Egyptian organizations

Responses from Egyptian employees to a questionnaire incorporating the Schwartz Value Survey, reveal that individuals for whom Self-direction is a relatively important value type perceive themselves to be more creative in the workplace than individuals with Conformity or Power as preferred value types. Results regarding Organizational Context support earlier studies that emphasize the salience of supportive supervision and a caring, consultative work environment in fostering creativity. However, theories implying that employee creativity is hindered by a controlling, hierarchical environment are not corroborated.

An Exploratory Study of the Relationship Between Mood Statesand Creativity Self-Perceptions

The purpose of this study was to investigate the relationship between noninduced mood state and self-perceptions of creativity. Undergraduate teacher education students (N = 287) completed 2 mood state inventories (Teasdale 100-Point Thermometer and Perception of Mood States) and a creative self-perception inventory (What Kind of Person Are You? [Khatena & Torrance, 1976]). The group expressed overall indications of happiness and normally distributed creativity perceptions. Findings were mixed when the 5 scales of the creativity measure (i.e., Acceptance of Authority, Self-confidence, Inquisitiveness, Awareness of Others, and Disciplined Imagination) were correlated to the 6 dimensions of mood (i.e., Tension/Anxiety, Depression/Dejection, Anger/Hostility, Vigor/Activity, Fatigue/Inertia, and Confusion/Bewilderment). There was, however, some indication that positive mood was related to creative self-perception. Results are discussed and future research is suggested.

Advertising Creativity: A Review and Empirical Investigation of External Evaluation, Cognitive Style and Self-Perceptions of Creativity

Abstract Creativity is a critical component in the advertising process, but it has yet to attract comparable attention in the literature. To amplify the research venue the discussion reviews the findings and methodology of creativity research in advertising and explores applied research formats. An empirical study examines (a) the effect of external evaluation on self perceptions of creativity and (b) the relationship of personal cognitive style to creativity. The findings document a significant relationship between external evaluation and self-perceptions of creativity and support the hypothesized relationship with cognitive style.

Figure reversals and creativity: a research note.

In a series of studies, Bergum and Bergum (1979a, 1979b) noted a positive relationship between college students' self-perceptions of creativity and their passive rates of ambiguous figure reversal. While these authors suggest that a relationship may also exist between figure-reversal rate and creativity, as assessed by external measures, their research does not support this claim. Indeed, other research has not substantiated a relationship between rate of figure reversal and objective tests of creativity (Bloomberg, 1971; Bergum & Flamm, 1975). It may also be the case that students' perceptions of their own creative ability differ markedly from externally-derived measures of such ability. As part of a larger study relating figure-reversal rate, creativity, and handedness, the present authors attempted to replicate and extend the work of Bergum and Bergum through the use of professors' judgments of students' creativity. The subjects were 48 senior students of architecture (40 males, 8 females). Each student initially read a description of six factors commonly associated with creativity in the psychological literature and then rated himself in creative ability in comparison to his classmates. In accordance with Bergum and Bergum (1979a, 1979b), the students passively viewed (and recorded) figure reversals of six ambiguous figures. The six figures were presented for 60 sec. each, with 10-sec. intervals, in two random orders. Students' creative ability was also determined from rankings by two architecture professors who were familiar with the students' work. To guide their rankings, the professors used the same description of creativity as was given to the students.(ABSTRACT TRUNCATED AT 250 WORDS)

Undergraduate self-perceptions of creativity and independence.

596 undergraduate students from 7 schools of a major university responded to a group of 20 questions relating to self-perceptions of creativity and independence employed in earlier studies of graduate faculty members and industrial inventors and producers. The hypothesis was that these students would tend to perceive of themselves in terms of popular expectations relating to the schools of their choice. The results indicated that students of architecture, engineering, liberal arts, and science tend to see themselves as significantly more independent, individualistic, and creative than students of business, education, and to some extent, agriculture.

Self-perceptions of creativity among academic inventors and non-inventors.

Among white collar industrial employees, those engaged in research activities are more likely to see themselves as than are non-research employees (Bergum, 1973) . They are also less interested in changing their work, show an aversion to careers in law enforcement and administration, and have a hiscory of high academic achievement. In addition, among the researchers themselves, the patent-holding inventors tended to typify this creative syndrome more clearly than the non-inventors. The present study is an extension of the earlier work to an academic population in order to determine the validity and generality of these findings. Approximately 450 technical and scientific faculty members of Texas A&M University were asked to respond co a group of: questions employed earlier with an industrial population (Bergum, 1973) . A total of 279 individuals responded to the request, of which 40, or slightly more than 14%, claimed one or more patented inventions, for an average of 3.1 inventions each. Statistical comparisons were made between the 40 inventors and 239 noninventors in terms of the seven discriminating icems in the earlier study. Of the seven comparison items, two yielded statistically significant differences ( p < .05) between the inventors and non-inventors. These items were Do you participate in team sports such as baseball, football, basketball, or hockey? (x2 = 5.13, 1 d f ) , and Do you think of yourself as creative? (x2 = 5.08, 1 d f ) . As in the case of the researchers in the earlier study, the inventors in the present study were less oriented toward team activities (25% vs 46%) and saw themselves as more than the non-inventors among the faculty. These results are also generally in line with those of a recent study employing selfdescriptive adjectives in a comparison of faculcy members with eirher high or low publication rates (Bergum, 1974) . In this case, the persons with high rates of publishing perceived of themselves as more original (42% vs 2 6 % ) than their less excitable and less efficient colleagues. In general, the results of all three studies suggesc that the more creative/productive members of these professional groups tend to be relatively independent-minded and self-sufficient, and confidently aware of their abilities.