Read the full PhD thesis here: Dr Jesvir Mahil PhD Research
Abstract
How do educators evaluate creativity in the business curriculum?
Current research into creativity, using a diverse range of approaches such as psychological, biological and historical (Kaufman and Sternberg, 2006), rarely seeks to explain the conscious and unconscious dynamics involved when educators evaluate creativity.
Evaluation, in the context of education implies a shared understanding of how entrusted educators, acting as societal gatekeepers (Gorny, 2007) define, recognise, assess, reward and promote creativity. However, my review of existing creativity research literature highlighted gaps in our knowledge and awareness in each of these essential aspects of creativity. To clarify some of the ambiguous aspects of creativity, I compiled a case study exploring my own role as an educator, using a systems thinking model of creativity (Csikszentmihalyi, 2014). This case study, using data from multiple sources including interviews, documents and media, through systematic content, thematic and discourse analysis, produced numerous insights to improve understanding of how we define, recognise, assess, reward and promote creativity.
How do we define creativity?
To provide a comprehensive definition of creativity, appropriate in the context of the business curriculum, I propose a framework based on its seven key aspects which I call the 7Ps, illustrated below:
How do we recognise creativity?
Using a democratic rhetoric of creativity (Banaji and Burn, 2010, Craft et al., 1997, Robinson, 2007) where we assume that everyone is capable of being creative, it is apparent that some people are more creative than others just as some students are more intelligent than others in specific domains (Gardner, 1999). My review of existing literature, supported by my research data, shows that in some socio-cultural contexts, highly creative people and the creativity they generate, can be seen to be an undesirable, unwelcome or destructive force. In classroom environments, highly creative students can be labelled ‘disruptive’, ‘withdrawn’ or ‘antisocial’. My findings suggested that the needs of highly creative students and teachers may be ignored in favour of priorities such as efficiency and standardisation.
How do we assess creativity?
My research data supported claims by humanist pedagogical approaches (Rogers, 1983) which advocate high levels of freedom and trust to stimulate and sustain creativity. However, when we assess student assignments, the focus is often on tangible, evidence-based outcomes produced inspired by behaviourist pedagogies with explicit rather than implicit markers of success.
How do we reward creativity?
As creativity is generally acknowledged to be an important business skill, educators may be expected to reward it fairly. However, I found that a multitude of internal and external pressures distort our perceptions resulting in biased judgements which fail to reward creativity appropriately. I propose a deep level of self-reflection when we are in privileged and powerful position, as educators, tasked to judge and evaluate the quality of creativity in education.
How do we promote creativity?
Through critical self-reflection on my role as an education inspector and thematic analysis of data from multiple sources including interviews, Ofsted reports and Further Education college websites, I conclude that there is a low level of interest in promotion of creativity skills in the business curriculum. The values prioritised in contemporary education culture are associated with normalisation, standardisation and efficiency rather than creativity. In view of this cultural hegemony that undermines creativity, I recommend that educators find sustainable ways to develop and promote creativity skills, reflecting on the long-term personal and public value of creativity.
Read the full PhD thesis here: Dr Jesvir Mahil PhD research
References
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