Creativity and learning are two compatible processes that can go hand in hand. Integrating both will make them strengthen each other.
Creativity is not a new concept, but the accelerant changes caused by the encroachment of technology on all life aspects have made it a prominent buzzword among business leaders and educators. More and more jobs have been being taken over by automated technology. To adapt to such a new technological environment, organizations should keep on making innovations. To innovate, having creative staff is a must. The result of a study on 35 million UK job adverts from 2013-2017 shows that the need for creativity is likely to grow in importance in the future workforce. It is confirmed by a study (2014) involving 1,000 U.S. hiring managers which revealed that 78% of the participants view creativity is required for economic growth; 85% believe it is valuable to society, and 94% agree it is key when evaluating candidates for a job.
Despite the growing need for creative talents, most current graduates are found unprepared
fill in the need because the present educational system does not yet facilitate
creativity development since the system is still dominated by the first
Industrial Revolution paradigm, i.e. to train students to be good workers who
follow instructions. Such a paradigm not only ignores but also kills creativity.
Can English as a
Foreign Language Educators contribute to creativity development among the
students? The answer is yes for four reasons: (1) all individuals are naturally
creative, and (2) creativity is a manageable process and a skill that can be
honed; (3) creativity process is compatible with the student-centered learning
process; and (4) a foreign language classroom is a very suitable environment to
develop creativity. All EFL teachers need to do is infusing creativity into the
process and activities of learning employing the student-centered approach.
By definition,
creativity is the process and the product of creating novel, effective, and
ethical products, actions, or ideas (Cropley, 2011). These criteria (novel,
effective, and ethical) designate three hierarchical levels of creativity, in
which novelty is the lowest qualification and ethics is the highest. Thus, an
idea that is novel, appropriate, generative and influential is more creative
than an idea that is only novel and appropriate. Novelty indicates that
creativity’s process and products should be something different from the
existing ones. Effectiveness imposes that good and rewarding creativity should
work and be useful--be it in the aesthetic, artistic, spiritual, or material
sense. Ethics accentuates that creativity should not be destructive, selfish,
criminal, and harmful.
Everybody is
naturally creative, although some people’ creativity is different from others’
creativity in types and levels. Beghetto
and Kaufman (2009) divides creativity into four
levels: (1) “Big C” level which belongs to the eminent creative person (e.g.,
Mozart and Edison); “Pro C” level, possessed by experts in their fields (e.g.,
musicians and scientists); (3) “little-c” level, regarded as creative by peers
(e.g., winning a writing contest); (and) “mini-c”, i.e., individuals creativity
used in learning (e.g., learning insights), which is shown by most students.
Each of these
creativity enables the owner to create ideas, thoughts, and objects that are
different by through a creative process. Creativity should not always be
regarded as creating something out of nothing, but as the act of uncovering,
combining, rearranging, regrouping and synthesizing already existing elements
is more appropriate. Thus, when a student is creating a unique expression using
existing words, it is creativity.
The process of
creativity and student-centered learning are essentially compatible. Based on
the constructivist theory, learning is viewed as a process of generating
understanding, knowledge, skills, and attitude through experience and
reflection on the experience. Thus, both
learning and creativity are both a producing process. Similar to a creative
thinker who generates
something new, a
student who learns
using the constructivist approach is also an active
creator, not a passive recipient, of knowledge. As a creator,
he actively asks,
explores, and assesses
what he knows
during the learning process.
The compatibility of the process of
creativity and learning makes it possible to integrate both so that they go
hand in hand. By so doing, they will strengthen each other. Therefore, infusing
creative thinking into any learning process will essentially not bring an extra burden to both students and teachers. Rather, it will make learning more
effective because creative thinking is also an important learning tool (In
Bloom’s taxonomy, creation is placed at the highest level of thinking).
Research findings (Adesope et al, 2010; Ghonsooly & Showqi, 2012; Vasudevan, 2013) revealed that learning a foreign
language significantly enhances one’s creativity,
and, conversely, the integration of creativity increases students’ language
skills proficiency.
Why
is a foreign language classroom a very suitable environment for honing
creativity? Simply because every individual naturally has linguistic creativity
which enables him to keep on creatively exploiting the foreign language system
in phonological, morphological, or syntactic domains. If a student is
facilitated with appropriate environment, he will be able to create an
unlimited number of new, fresh and imaginative expressions and solutions by
manipulating, combining, or recombining a finite number of existing items of
phonemes, morphemes, lexemes, or phrasal units. During the process, the student
could also identify new conceptual structures and generate unexpected
associations between previously distinct concepts.
Author: Parlindungan Pardede (parlin@weedutap.com)
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