4.1.2 Creativity: A Universal Language for Global Classrooms

Sociolinguist Rodney Jones (2016) reminds us that creativity is inherent in language and “at the heart of all successful communication.” According to the American linguist Noam Chomsky, language acquisition is a creative process in which people constantly produce and interpret language. An example of this is just 15 years ago we started using the word Google as a verb. Linguistic creativity is so much a part of learning language that we take it for granted. It takes creative thinking to construct new meaning.

There is a difference between productive and receptive language. Some say there is no creativity with receptive language because nothing is being created. This is not true. Listening and reading are active processes. Maley (2012) considers creative writing creative because the writer uses fewer facts and focuses more on imagination, events and experiences. In a study conducted in Turkey, they discussed creativity using a poem format. Researchers found when students are required to use a particular sentence structure with a familiar topic this leads to retrieving known meaning rather than evoking imaginative responses.

Persson says there is a difference between countries and cultures when it comes to creativity. If students are taught to repeat ideas and knowledge then they will have difficulties creating new knowledge and new understanding. In our global world today, such tradition can be potentially devastating. Such nations will depend upon creativity, innovation and production from other countries. Schools who do well preparing students for test taking are now realizing limitations.

Is creativity content specific? In a study at Vanderbilt University, eighty percent of art students, three percent of biology students and thirteen percent of engineering said their coursework includes creativity. Creative thinking can and should be emphasized in all content areas not just in the arts.

Teachers who teach in a culture of compliance and control may feel they do not have the opportunity to include instruction geared toward creative thinking. In other cases, teachers have not been taught to use creative thinking skills. They feel they do not know how to teach creatively.

There is no one universal way to teach creativity; however, teachers should know how to teach creatively whether they think they are creative or not. The presenter translates best practices into a framework that articulates a step-by-step “how to” shift instructional focus to one that embraces creativity, creative problem solving and innovation in a classroom, school or district.

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