Building a Foundation for Making Sense of Creativity: Breaking Free from Old Ideas of Teaching and Learning Creativity


Creativity is important in many areas of life, whether personal, professional or artistic. Because it is not a primarily rational skill, as well as because it has usually been seen as inseparable from mastery of a particular craft (and inseparable from the arts), it has been thought not to be teachable or has been ignored. In this post, I will lay the foundation for showing how people can discover and develop their own creative capacities. Briefly, to give an idea of how this is possible, the focus will be on the broadening ways of perception and abilities of expression of self so as to allow for more creative possibilities instead of focusing solely on the abstract idea of creativity as it has been previously framed (though we will talk a lot about creativity as well).

There are possible dangers of making huge mistakes when attempting to teach creativity. The easiest one of these to make is imposing oneself and one’s own limitations on others; pounding one’s own philosophy into the heads of others and thereby imposing new barriers and limitations instead of freeing up another’s creative possibility hurts not helps creativity because other people have their own unique backgrounds that makeup who they are, where possibilities exist outside of the imposed upon philosophy. The other major danger is teaching in a way that presupposes knowing creative possibilities that are not known or cannot be known—and there will always be these unknown possibilities: there are some people who think they “know it all” but there are many more well intentioned people who simply have a problem embracing the fact that there are unknowns; it is never possible to know all possibilities of what may or may not be creatively possible in general or for another person (including oneself).

What is important is to emphasize is that everyone is creative in their own way, a way that should never be assumed to be fully known or fully knowable, and it is also important to continually highlight the fact that there is no right way to be creative. So, every attempt will be made here to not impose “right ways” of being creative but rather allow for people to uncover their own natural ability in whatever way is best for each as individuals. With this in mind, and the brief outline of approach just given, it will be the goal here to break down barriers that block possible creative capacities—so that people will work towards developing greater degrees of creative self awareness and creative ability without imposition of other biases. More simply put, teaching and learning creativity is about breaking through barriers on an individual level to open up to greater possibility. Or, to say it another way, teaching and learning creativity, is to unite (or reunite) people with creative potential through expansions of what is possible, which is done through expanding one’s relationship with the world as a whole, including oneself.

I believe everyone has the innate ability to be creative and to recognize creativity. If you don’t feel like you are creative, try to be open to the idea that you already are creative in ways you might not have thought about yet. So if you are thinking “I am not creative,” consider the possibility that everyone is creative in some way. Consider all that you do that requires some kind of creative thinking or expression, there is likely many areas for every person. If you are already a parent, you definitely have to be creative on multiple levels. Other examples of creative areas could be ways of communicating both in how you think about communication as well as how you express yourself when communicating—or things like what you wear, how you play a game or sport, and how you arrange your furniture.

Let’s give a definition of creativity that we can work with to further build a foundation of awareness of creativity. My definition of creativity is rather simple, different than most others—it is: any thinking or expression that is not wholly pre-prescribed. The reason I write it this way is to have it be inclusive to the wide diversity of what might be creative. I think it makes sense because of this inclusiveness, and because of highlighting the aspect of doing or thinking in a way that isn’t formulaic. In highlighting these aspects in this way, creativity can be either an internal process or an external process. And by simply saying not pre-prescribed, this leaves open a multitude of diverse possibilities. Some might say this definition is too open, but I will show how and why this definition is the one that is more fair and accurate than most others as well as allows for the discussion of learning and teaching creativity in the first place, whereas other definitions cut this off, taking it away as an option.

To give a better idea of what creativity is in this view and how this view is different from those of other people thinking and writing on the subject of creativity, as well as why I think this is the right way to approach creativity, I will compare my definition of creativity to Sir Ken Robinson’s definition from his book “Out of Our Minds: Learning to be Creative.” Robinson is a brilliant thinker, and if I hadn’t read his work I doubt I would have put the ideas that I have been able to put together in any way that makes sense for at least a few more years. I actually agree with him on most everything and highly recommend this book; it is full of sharp insights on the nature of creativity, as well as the obstacles to creativity. However, one of the things I don’t agree with him about is his definition of creativity itself—a rather major point of disagreement, yet I still agree with him most of the time.

Robinson gives the definition through a process of adding parts, starting out with a partial definition and then adding to it in a couple steps; but here I will give it all at once—he says that creativity is an: “Imaginational processes with outcomes that are original and of value.” His use of the term “outcomes” shows how he differentiates between imagination and creativity by only including creativity as a form of production. He says: “It would be odd to describe someone as creative who just lay around and never did anything. Whatever the task, creativity is not just an internal mental process: it involves action. In a sense, it is applied imagination. To call somebody creative suggests they are actively producing something in a deliberate way.” This definition makes a lot of sense at first glance—perhaps even at the fifteenth or nineteenth glance too. But there is a major problem with it, and the problem is how it frames creativity in relation to self. And it is by refocusing this that we are able to construct our foundation here.

First, I want to say it is unusual for Robinson to appeal to what other people find as odd to make the point at all. When he did this about someone not being creative if they “never did anything,” it didn’t make sense to me compared to rest of his extremely well thought out ideas. Just because people would not generally say it—or even because it sounds very strange—doesn’t mean it is false. It is actually quite astonishing the variety of different definitions there are of creativity and the lack of agreement on what exactly it is (which I will address more in the future) in books and articles on the subject. So, in good books on creativity, it is not uncommon for the definition to be the weakest part of the book. The reason for this is the abstract and intangible nature of creativity at least in how it has been previously represented as well as (though not really with Robinson but with others) the linkage to ideas of creativity to ideas of genius (another topic I will discuss in a future post)—which is fine in and of itself—but not when it is instead of a linkage to people in general.

The other major problem with his definition is when he says that what is creative has to be of some “value” because this puts someone in the position of determining what is valuable and what isn’t, which falls into one of the dangers of creativity discussed before by imposing values onto others, thereby limiting their creative possibilities.

What are left of his definition (saving a discussion on what the difference between imagination and creativity is for another post) are original imaginational processes, which is essentially very similar to the definition I put forth.

To show how and why the more open definition that I put forth is important, so as to be able to build the foundation here in approaching creativity with the goal of continuing to build on it, I want to discuss further the internal nature of creativity and how overlooking it overlooks the fundamental nature of creativity itself. When creativity is understood as more than an external production, we can see that there is an internal creativity. This internal creativity may or may not have impact on the on the world in a measurable way. But what is for sure is that internal creativity has an impact on who you are and how you interact with the world, so there is always a high likelihood that it has some impact in some way, even if these ways are not clear. So, if we see creativity as internal as well as external, we can understand creativity to sometimes be the creating of self, or the creating of one’s internal world. In this way there is a “product” of sorts but not a tangible or measureable product in the usual sense. And this is important because in many ways, though of course outside barriers are still real obstacles, this kind of creativity plays a major role (along with external creativity) in creating possibilities for people’s future. And really—to revisit the idea of value—this is rather objectively a valuable thing. So perhaps Sir Ken Robinson and I don’t disagree as much as see things somewhat differently.

This internal creativity relates to our approach of teaching and learning creativity through the methodology of how to go about it. When someone says there is no way to teach creativity, what they usually mean (whether they are aware of it or not) is that there is not direct way to teach creativity given the kind of definition given by Robinson (though he absolutely does think creativity can be taught). Trying to teach creativity directly with that kind of definition is difficult because of what I said at the very beginning of this post about creativity being seen as inseparable from mastery of a particular craft (and inseparable from the arts). This kind of thinking has been a major obstacle to teaching creativity because if defined and approached in this way, there are really major limitations on what can be taught outside of the unbreakable link to mastery of the given craft of that specific discipline. This means approaching creativity in this way is to define and orientate oneself into a shackled cell. We need to break free from this approach. We need to start to see all the places creativity is present in our lives and how an awareness of this can help build confidence in our own creativity. And we need to start to develop ways to learn to be more creative now that we are free from being locked down by these old ways of thinking. The significance of this is the endless possibilities that looking at creativity in this way open up. In building a framework in the next posts, we will focus more on breaking down barriers within oneself to creativity and allowing for many more possibilities.

All this leaves a more open definition and a more indirect versus direct method of teaching as the foundation of approaching creativity. To me, figuring out how to teach creativity has largely been a struggle to synthesize ideas and to put them into a pragmatic framework. In the next post, I will start to build this framework.


Being Ready to Write about Creativity: Four (plus) Years of Questions

Creativity is something I became interested in over a decade ago through love of and engagement in the arts. After several years of focusing on creativity as something primarily related to the arts, I started to understand how it is relevant to many other areas of life. A little over four years ago, I had the idea of becoming a creativity consultant. Through thinking about what it would mean in practice to be one, all the skills and knowledge I would have to have, I began to think more and more about what creativity is and how what it is can be communicated to a diverse range of people in a large variety of settings. It was with this intention that I started this blog a little over three years ago.

Since that time, I have spent many many more hours thinking about these questions, wanting to get back online and write some clear answers to share with others. The more I thought, however, the more I realized not only the complexity of what is involved with answering questions about the nature of creativity and how people can be become more creative, but I started to feel the heavy weight of what it might mean if someone read something I wrote and believed me. It was clear to me that taking on this task was a huge responsibility because in no way did I want to misrepresent what is involved or misguide anyone. I also did not want to impose my own philosophy of creativity, but rather I wanted to be able to help others become aware of creativity within themselves on their own terms.

Figuring out how to think about and then communicate what can be helpful about creativity in this clear and open way has taken all of those three plus years since the first post on here, the year before it (as well as all my experience before that), and additional six or so months. About six months ago, I posted on here again, feeling like I was closer to doing what I had set out, but that was slightly premature; I had to go through more experiences and change some directions in my own life to be able to stopping looking only at the abstract and to start to focus on people more directly in ways that were practical, while still taking account of the more abstract issues. This brings me, and us, up to date to right now writing this post where with this new focus I am able to put the ideas that I have spent so much time thinking about into a framework that works. So I am going to, in a big way, revitalize this blog as I intended. This post with be followed almost immediately by another because I am going to start doing what I intended instead of talking about doing so. And I plan on getting another ten or so posts done in the next few weeks.

Before I start writing the next post, I want to lead into it a bit and say something specific about creativity. Creativity can be taught if it is looked at for what it is without artificial attempts at categorizing it and without the unnecessary various lenses of specific academic disciplines (I will clarify how it can be taught and the entire statement more in future posts). While specific work in specialized fields on creativity is valuable, it will not allow for a fundamental view that is also practical if the specialized view is the only perspective. So what I am going to say about creativity isn’t meant to be academic, or self-help—or anything other than what is most clear and practical, what is communication of the nature of creativity in its fundamental state in as far as it is useful to people. I fully believe that creativity is available to everyone. And I additionally believe that creativity is relevant to many areas of life where creativity has not been normally valued as important. All this might seem like a lot of big statements, but I am not claiming ultimate authority, nor do I think it would be good to listen to anyone who did claim such a perspective; what I am claiming is that if you think about creativity in these ways, there is a real life relationship to increasing creative possibilities through doing so. There are many useful perspectives on creativity, but here in this blog I am interested in breaking down categories and focusing on usefulness in all aspects of life, on interacting in the world and how one can approach creativity on a day to day basis. I am interested in how one can stop getting caught up in yet more barriers to creative possibility. I am interested in building a framework where real ground can be walked on.

Please always feel free to ask questions that you would like me to specifically address in this blog and to suggest ideas for future blog posts on topics or ideas that you would like me to discuss in depth.

Reviving This Blog

It has been nearly three years since I wrote the first and only blog entry here. I had much that I wanted to explore, but I found myself with so many questions that I was unable to clearly express anything I felt was worthwhile. During the past three years, however, I have had the time to think through a lot of the questions that once overwhelmed me. I have done a good deal of research, and I have found good books to read and discuss as a clear means of communication and expression of the complications of both the questions and ways of understanding possible answers, regarding the subtleties of creativity’s nature, and how we are part of it.

So I will be posting more blogs in the near future. They may not be fully in line with the methodology discussed in my first post, but what I will do will be in the same spirit–and the ideas and topics in terms of creativity specific to art or creativity in other contexts will, I think, show to make sense once creativity is approached through its fundamental nature.

If anyone has any comments, questions, or reading suggestions, I would very much welcome and appreciate it.

In the next post I will discuss a couple books I will be examining and start to explore how fundamental relationships of creativity can be made sense of as a whole through the parts of what creativity is in its vital being.

The Nature of This Blog

In this Blog, I will explore the nature of creativity from many different angles of approach. More particularly, I will focus mainly on creativity as it relates to artistic expression. In doing this, it will be the point of this blog to examine the value of this kind of creativity, why it matters, its roles in life. Additionally, the point will be to define what artistic creativity is through the explorations of its roles within life and how it seems to matter in many different ways, how it is met and how it meets us and the significance this has.

Having laid the foundation of a philosophical yet also practical examination of creativity, and artistic creativity specifically, it will be the great ambition of this blog to discover how it can be for a person to approach creativity so that it is possible to be more creatively aware, so that it is possible to be more creatively expressive. This blog, will be then, a pragmatic exercise in the openness of consciousness–approaching the opening of new possibilities of awareness and the expression that can perhaps come from this.

It will be necessary to ask: How it is possible to be artistically creative?  What is creative expression? How it is possible to be more creative? What is the relationship between creativity and expression? How much of creativity’s potential possibilities are realized in expression for a person who is creating? How it is possible to be more expressive? And, finally–for now–what is the relationship between creativity and meaning?