<abstract xmlns="http://www.w3.org/1999/xhtml"> This paper explores the place of teaching in the landscape of creativity. It draws on analyses of interview narratives from dedicated teachers from various educational levels and teaching contexts; none had been singled out as creative by their institutions. Asked when teaching had been experienced as a creative process, rather than describing specific incidents, the teachers told of projects and goals that spanned a semester or year. Daily activities contributed to the projects, making creativity in teaching everyday creativity in both the technical and literal senses. Interview protocols were analyzed into meaning units and categorized into themes. Some themes were similar to those in studies of creative teachers and teaching, though no prior study explicitly put forward all of them. The interviewed teachers described practices previously suggested for nurturing student creativity. Most themes echoed features found in creativity studies of various other domains. Two unique features were the double nature of intrinsic motivation and the nature of the creative “product.”</abstract>

Teaching as Creative Process: Perspectives From Personal Narratives

<abstract xmlns="http://www.w3.org/1999/xhtml"> Recent research points to the essential role of creativity in coping with and acting in a changing world. It has been shown that individual, collaborative and communal efforts are a core capacity for acting in and coping with ever changing circumstances, such that a novel emphasis on cocreativity has arisen. Yet there is very little research on how to provide occasions for co-creativity in classrooms and so the research problem focuses on enabling co-creativity. Therefore, a playful pedagogical design was created and facilitated in classroom. The qualitative data collection methods involved narrative-Socratic dialogues with teachers and students, field notes, and gameplay videography. The Narrative-Structural Method was used to analyze the research material. The main results show that playful classroom activities provide an occasion for co-creative reframing's, engaging in dialogue, expressing emotions, and co-creating a shared story that is rich in co-determined actions. In conclusion, the pedagogical implications of the results are that classroom activities for co-creativity may facilitate mixed playful pedagogies and empty content spaces, so that children and young people can playfully identify, explore and negotiate shared topics that are novel and meaningful to themselves and others.</abstract>

On Co-Creativity in Playful Classroom Activities

<abstract xmlns="http://www.w3.org/1999/xhtml"> More than a hundred years of research on the drawing activity of children and young people shows both a change in the way it is perceived and in its importance for healthy development. Numerous monographs, dissertations, research conducted by psychologists, pedagogues, aestheticians, art historians and visual artists has contributed to the popularity of terms such as “children’s art” or “children’s artistic work”. Children’s and young people’s drawings have not only been acknowledged for their artistic and aesthetic value, but also for their projective and psychometric qualities. Research on children’s drawing shows that the depiction is a result of knowledge and perception, which depends on personality and intelligence, as well as on emotions, persistent views and attitudes. Furthermore, the content, as well as the formal qualities of a drawing are subject to the constant influence of changing aesthetic conventions and cultural processes. This article deals with selected classic concepts of artistic development in children aged 3 to 12 defined by researchers such as Stefan Szuman, Georges Henri Luquet, Viktor Lowenfeld and Lambert Brittain, Rudolf Arnheim, Ernst H. Gombrich and Władysław Strzemiński. The crucial aspect of this disquisition was to emphasize the value of spontaneous children’s drawings and of the role of spontaneous drawing in their appropriate development. It was equally important to highlight the need for the students to do their own creative work with a teacher assisting them only as a guide, a discrete observer and potential advisor. This is why I pondered upon the following key notions in characterizing the drawing activity of children aged 3 to 12: the period of scheme in drawing development (ideoplastic art, S.Szuman), spontaneous drawing and drawing scheme.</abstract>

Selected Concepts in The Development of Drawing Activity in Children Aged 3 to 12

<abstract xmlns="http://www.w3.org/1999/xhtml"> This research examined the effects of past creative experience and attitude toward risk-taking on creativity before and after training. College students enrolled in a creativity course participated in the study. Creativity was assessed by independent experts and self-assessed by the participants. Based on the results, an inverted U-shape relationship was proposed between (a) past creative experience and risk-taking, and (b) risk-taking and self-assessed creativity. Risk-taking was related to self-assessed creativity before and after the training, but not expert-assessed creativity. Past creative experience was not related to creativity, self and expert-assessed, before and after the training.</abstract>

Relationships Between Creativity and its Antecedents Before and After Training: The Role of Risk-Taking and Past Creative Experience

<abstract xmlns="http://www.w3.org/1999/xhtml"> Procrastination has been found to negatively impact academic and job performance. However, little attention has been given to the effect of procrastination on creative performance. Moreover, past studies have mainly focused on the antecedent role of anxiety in procrastination. The impact of procrastination on anxiety is not clear, though literature has suggested that procrastination may induce anxiety. The primary question addressed in the present study is whether and how procrastination influences creativity. Some exceptional studies have indicated that procrastination allows incubation and hence is conducive to creativity. However, on the basis of the literature, we argued and hypothesized that procrastination may impair creativity through state anxiety. A total of 218 Malaysian undergraduate students were recruited via social networking sites and responded to a packet of online survey questionairres, including self-report of procrastination tendency, state and trait anxiety, and creativity. Results showed that procrastination was positively associated with state and trait anxiety and negatively correlated with creativity. A negative relationship was also observed between state and trait anxiety and creativity. In addition, mediation analysis supported our hypothesis that state anxiety mediates the relationship between procrastination and creativity after controlling for the effect of trait anxiety. Specifically, people tend to experience feeling anxious when they postpone task completion. The high level of anxiety, in turn, is negatively associated with creative performance. As a whole, the findings not only offer the first empirical evidence supportive of the detrimental effect of procrastination on creativity, but also reveal the underlying process. Future directions and limitations are also explored.</abstract>

Procrastination is Detrimental to Undergraduate Students’ Self-Rated Creativity: The Mediating Role of State Anxiety

<abstract xmlns="http://www.w3.org/1999/xhtml"> The aim of this study is to reveal relations between creativity in design and the cognitive developmental stages of designers within a Post-Piagetian approach. In this study design processes were deeply inspected with the aim of obtaining more comprehensive information about the effects of individual’s cognitive status on the design processes, problemsolving and quality of idea generation . In this field, studies done so far have been conducted on test results as indicators of creativity. Withinthe present study, however, protocol analyses were also evaluated, in addition to test results, and thanks to this addition, it was possible to determine the qualitative and quantitative effects of cognitive developmental stages on creativity. A total of twenty-five students voluntarily participated in the research. To collect data, two different methods were employed. The Social Paradigm Belief Inventory (SPBI), was employed to determine students' cognitive stages and scores, and the Think-aloud protocol was used to elicit verbal reports of the thought sequences of the students. In order to analyse the verbal reports reflecting designers' cognitive activities, the method of Linkography was conducted and the general statistics of segments were measured. To assess the relations between creativity in design and the cognitive developmental stages of the designers, SPBI scores and the general statistical values obtained from the design sessions were correlated. Findings showed that there is a strong and significant correlation between the cognitive development levels and creativity, in favour of dialectical thinking.</abstract>

Links Between Creative Performance and Post-Formal Thought

<abstract xmlns="http://www.w3.org/1999/xhtml"> We raise two issues in the article at hand: how women who are mothers fulfil their creative needs, and what significance they ascribe to creativity in their role as mothers. A thematic analysis of structured interviews with twenty-seven women suggests that for mothers, creative activity mostly concerns fulfilling one’s responsibilities as part of the role taken on (be it parental or professional), and the main creative challenge they face is achieving a balance between their private and professional lives. Creativity in their role as mothers relates predominantly to two areas of activity: communication with the child and activities creating a climate conducive to the child’s development of creative ability. We discuss the obtained results in relation to those of previous research on the relationship between motherhood and creativity.</abstract>

Balancing Between Roles and Duties – The Creativity of Mothers

<abstract xmlns="http://www.w3.org/1999/xhtml"> The aim of this case study is to describe the social project "Wielkie nić / The Big Thread" - the creation of embroidered messages - which has many features in common with children’s play. Just like play, it needs space, time and rules, but at the same time, also a lot of freedom. And neither need spectators. Moreover, the project - like a form of symbolic play, where children use abstract things to represent reality - has a metaphorical significance. The threads, used for common embroidery, truly connect people. They realize how much they have in common and how they need each other. This can give a sense of unity and community and even change their consciousness.</abstract>

Wielkie Nić / The Big Thread. Case Study

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Creativity. Theories – Research - Applications

 The journal aims to provide a forum for the discussion of human creativity in all of its complexity - its recognition, correlates, determinants, possibilities for its encouragement and development - analyzed from the point of view of education, psychology, sociology, aesthetics, etc. Moreover, the journal will discuss issues of creative potential as well as actual creative achievements (everyday and eminent creativity). It will also consider methodological and statistical issues regarding quantitative and qualitative creativity studies in various countries. The journal is a platform for positive confrontation of the various ways of perceiving and investigating creativity and encouraging the interparadigmatic and interdiscursive dialogue of the representatives of distinct theoretical and methodological options.  Rejection Rate   65%  Archiving  Sciendo archives the contents of this journal in Portico - digital long-term preservation service of scholarly books, journals and collections.  Plagiarism Policy  The editorial board is participating in a growing community of Similarity Check System's users in order to ensure that the content published is original and trustworthy. Similarity Check is a medium that allows for comprehensive manuscripts screening, aimed to eliminate plagiarism and provide a high standard and quality peer-review process. 