Over the past few years I have assembled a small library of books that relate to intelligence and creativity, usually purchased for a buck or two at the Provo Deseret Industries. In preparation for my upcoming workshops I am reviewing some materials from some of these well-known psychologists. Here are some notes from and thoughts about a book called Creativity by E. Paul Torrance, part of the Dimensions in Early Learning Series, Dimensions Publishing Co., San Rafael, California, 1969.
As Torrance’s book was part of a series addressing learning in young children, much of this small book (83 pgs) speaks to pre-schoolers and elementary school age concerns. However, Torrance is one of the recognized and oft-sited experts in the field of creativity and his ideas in this book can be distilled and applied to all ages.
In no particular order:
There are many ways to define creativity, as one might expect from anyone interested in the subject. (Think Divergent production.) “New order from chaos” is one that I like.
Creative people:
Are free to be conforming or non-conforming.
Are willing to try the difficult.
Prefer a calculated risk.
Have a tolerance for chaos & ambiguity.
Discard the irrelevant and produce new order from disorder.
The creative process can include:
Questioning, inquiring, searching, manipulating, experimenting, playing, guessing, testing, revisiting, retesting
Creative people return to familiar things and see them in a different way and in greater depth. They can abide silence and hesitation before responding. Are adept at physical manipulation of items and as such produce a greater number of ideas than those who aren’t. Absorbed thinking and dreaming are common, as are fantasy and role playing.
From Chukovsky (Russian psychologist): “Fantasy is the most valuable attribute of the human mind and should be diligently nurtured from earliest childhood.”
Children who produce greatest number of creative answers are also seen as producing wild or silly ideas, and possessing originality, humor and playfulness.
Those seen as being the most creative are not necessarily credited with being the most important member of a group nor are their ideas typically used. Studies indicated that by 6th grade the lesser creative members of a group had developed the ability to diminish the impact of the more creative members by consensus building, thereby frustrating and isolating the creative members.
Torrance relates some findings about family patterns of highly creative children from a 1961 study by Weisberg and Springer: “The family unit is not an overly close one, there is little clinging to one another. There is little stress on conformity to parental values. The marriage is not always a particularly “well-adjusted” one. There is open, and not always calm, expression of strong feelings. The father interacts strongly and positively with the child, and the mother also interacts strongly but is sometimes ambivalent in her maternal feelings. When the child regresses, the parents accept the behavior without great discomfort. The creative child is often an older sibling. He is not particularly favorite, however, there is no over-evaluation of his abilities by the parents. The father of the more creative children have greater occupational autonomy or independence than the fathers of their less creative peers.”
Yes…that was 1961, it was a small study of just 32 children, and the world has changed since then. I couldn’t help but think Orange-Green or Green-Orange (True Colors) when I read that paragraph.
Torrance also mentions a 1962 study by Goertzel and Goertzel of autobiographical data of 400 eminent people whom most others would regard as creative. “Many of them had opinionated parents, failure-prone fathers, dominating mothers but few dominating fathers. Some came from troubled homes while others came from relatively happy homes. Many of them experienced considerable agony during their childhood years, but persisted in developing their talents and skills in spite of almost every known type of adversity.”
Also, Catherine Cox Miles commented about her1926 study of historical geniuses that these 300 hundred people were outstanding at a young age and differed from average children most conspicuously in persistence, effort, self-confidence, and great strength and force of character.
Torrance: “In the upper range of intelligence there is practically no relationship between measures of intelligence and measures of creative thinking abilities.”
Being human, I suppose that I pulled the parts from Torrance’s book that supported what I already believed about creativity. I still believe that creativity is a function of our intellectual abilities (Guilford, Structure of Intellect) and can be enhanced through training, practice, and persistent effort. Yes, some are naturally more creative than others…but we can improve our creativity regardless of what degree we were born with.