rss_2.0Creativity. Theories – Research - Applications FeedSciendo RSS Feed for Creativity. Theories – Research - Applicationshttps://sciendo.com/journal/CTRAhttps://www.sciendo.comCreativity. Theories – Research - Applications Feedhttps://sciendo-parsed.s3.eu-central-1.amazonaws.com/6471a8ae215d2f6c89dac371/cover-image.jpghttps://sciendo.com/journal/CTRA140216Investigation of Pre-Service Science Teachers’ Social Media Usage Preferences:https://sciendo.com/article/10.2478/ctra-2025-0002<abstract>
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<p>Today, social media is widely used for many purposes, from socialization to communication and education to commerce. This study examines the social media use of pre-service science teachers in the context of creativity and the Big Five Personality Traits Theory. For this study, the participants were pre-service science teachers selected to represent the target group for examining the research objectives. Data from science teachers included in the study group were collected through an online questionnaire using purposive sampling, allowing for a focused examination of specific characteristics within this group. The data obtained from the questionnaires were analyzed and interpreted using an integrated SEM-ANN method. The findings obtained as a result of the study revealed that creativity and personality traits in the Big Five Personality Traits Theory affect the social media use of pre-service science teachers.</p>
</abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2025-00022025-02-16T00:00:00.000+00:00Moral Disengagement as a Main Component of Malevolent Creative Potentialhttps://sciendo.com/article/10.2478/ctra-2025-0001<abstract>
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<p>Malevolent creativity uses creative thinking for harmful or destructive goals, displaying characteristics of originality and effectiveness, but with harmful (i.e., malevolent) intent. In the present work, we hypothesized that one of the main components of creative potential in malevolent scenarios is moral disengagement, which should modulate the association between originality and malevolence in the generation of new ideas. The current study aimed at exploring malevolent creative potential in a sample of 190 participants, both in neutral everyday situations and in scenarios evoking malevolent intentions. The results showed that moral disengagement was indeed associated with a higher rate of malevolent creative behaviors as well as with a higher ability to produce original solutions, especially in scenarios requiring malevolent intentions. Particularly, moral disengagement proved to be the moderator between malevolence and originality of participants’ responses. Specifically, in malevolent scenarios, results revealed an association between malevolence and originality but only at medium or high levels of moral disengagement. In conclusion, moral disengagement represents a pivotal resource to succeed in creativity in scenarios eliciting malevolent intentions.</p>
</abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2025-00012025-01-30T00:00:00.000+00:00Aesthetic Experience and Creativity of Expert Cultural Entrepreneurs in Colombia: A Qualitative Studyhttps://sciendo.com/article/10.2478/ctra-2024-0015<abstract>
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<p>This qualitative research addresses the psychological study of the confluence between aesthetic experience and creative process in cultural entrepreneurs, taking into account that research in Psychology of Aesthetics and Psychology of Creativity is necessary to achieve a better understanding of innovation in creative industries. We conducted a qualitative study on the role of aesthetic experience in the creative process, through in-depth, semi-structured interviews with 12 expert cultural entrepreneurs from the Colombian Caribbean. As a result of a thematic analysis, we found that aesthetic experience is a relevant guide in the creativity of cultural entrepreneurs, usually represented in receptivity to aesthetic sensations that emerge during the creative process. Also, in the midst of the creative process, the entrepreneurs try to maintain a balance between individual and collective needs.</p>
</abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2024-00152025-01-29T00:00:00.000+00:00Assessing Creativity in a Greek Sample: Reliability and Validity of Two Predictors and Two Criteriahttps://sciendo.com/article/10.2478/ctra-2024-0014<abstract>
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<p>The present investigation assessed the reliability and predictive validity of four creativity measures with a Greek sample (<italic>N</italic> = 433). Two of the measures were predictors of creativity. One of these was the <italic>How Would You Describe Yourself</italic> (HWYDY) and the other <italic>Creative Attitudes and Values</italic> (CA&V). The other two measures were criteria of creativity. One of these was <italic>Creative Activities and Accomplishments Checklist</italic> and the other the <italic>Runco Ideational Behavior Scale</italic>. Versions of these measures have previously demonstrated good psychometric properties in other samples, but these may not apply to a Greek sample. Indeed, the present analyses uncovered an idiosyncrasy. Correlational analyses indicated that three of the measures were reliable in the Greek sample but one—the HWYDY—was not, at least initially. When the contraindicative items in the HWYDY were removed, reliability was high. Interestingly, the descriptor “originality” lowered reliability of the measure. Several explanations for this are discussed. Regression and confirmatory factor analyses also indicated that the predictive validity of the HWYDY and the CA&V measures were well within the range that is usually interpreted as acceptable. Their predictive validity was also supported by canonical analyses using all four measures, and in regression analyses testing each criterion individually. Future research is recommended, given some limitations in the present effort, but the current results are largely supportive of the use of these four creativity measures in Greek samples.</p>
</abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2024-00142025-01-29T00:00:00.000+00:00The Houses of Creativity: An Integrated Framework of the Creative Process in Honeycombhttps://sciendo.com/article/10.2478/ctra-2024-0013<abstract><title style='display:none'>Abstract</title>
<p>Wallas’ (1926) model, <italic>The Art of Thought</italic>, is the most popular model of the creative process, coexisting with other later models. It encompasses only cognitive processes: preparation, incubation, illumination, and verification, within a limited stage of the process, excluding other crucial non-mental activities, such as the materialization of the idea or its communication. The 25 models of the creative process analyzed in this study apply a linear temporal framework to a process that is inherently nonlinear. The most popular tests and programs to evaluate and enhance creativity primarily intervene in the ideation stage, and by ignoring other parts of the creative process, they are not effective. Unlike previous models, The Houses of Creativity identify the phases with a conceptual rather than a temporal criterion, structured in a honeycomb pattern, addressing the non-linearity of the process. Additionally, its phases apply not only to creative production but to all tasks susceptible to the process. It includes: <bold>supermarket</bold> (selecting), <bold>temple </bold>(observing, perceiving, questioning), <bold>library</bold> (informing), <bold>cabin</bold> (ideating), <bold>bar</bold> (distracting and socializing), <bold>warehouse</bold> (stockpiling), <bold>hobby house</bold> (enjoying), <bold>laboratory</bold> (developing and verifying), and <bold>gallery</bold> (communicating and convincing). A person who is only good at ideation in the cabin (according to Torrance tests) will not be able to successfully complete the creative process. This theoretical research could pave the way for developing personalized tools to assess and enhance creativity, or to form interdisciplinary teams that incorporate them.</p>
</abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2024-00132024-12-31T00:00:00.000+00:00Recalling Ideas: Mnemonic and Attentional Inhibition in Creativityhttps://sciendo.com/article/10.2478/ctra-2024-0012<abstract><title style='display:none'>Abstract</title>
<p>Executive functions (updating, shifting, and inhibition) play an important role in creativity. Until now, only attentional inhibition (the Stroop effect) but not mnemonic inhibition (Thinking-Induced Forgetting, TIF) have been studied. Additionally, the temporal dynamics of the influence of the executive functions on creativity remains unknown. Using structural equation modelling and multilevel models, the relationships between both types of inhibition with creative thinking, as well as their temporal dynamics, were tested on a sample of 300 individuals. Mnemonic and attentional inhibition were shown to be independently associated with originality of thinking. Mnemonic inhibition was found to be more important in the later phases of generating ideas, while attentional inhibition was equally important throughout the idea-generation process, consistent with the predictions of the controlled attention theory of creativity. An interaction between both types of inhibition was also observed, indicating that attentional inhibition may be a prerequisite for mnemonic inhibition.</p>
</abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2024-00122024-12-24T00:00:00.000+00:00Children’s Creative Storytelling Processes: A Cross-Cultural Study in the United States and Spainhttps://sciendo.com/article/10.2478/ctra-2024-0011<abstract>
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<p>Creativity is contextual; opportunities for and ways of being creative vary by culture. While studies have documented the differences between creative behavior in Eastern and Western cultures, comparisons between the United States and Western European nations have been much rarer. This paper presents research comparing the creative storytelling of children in the United States and Spain. Moreover, instead of focusing only on differences in mean scores, we ask a different question—what predicts ratings of children’s creative storytelling from different cultures? Results show that in the U.S., only novelty predicted ratings of creativity, but in Spain, novelty and the use of emotions independently predicted ratings of story creativity. Several explanations for these observed differences are discussed, including differences in overall culture, as well as possible differences in socialization at school. We discuss how cultural values and national identity contribute to how children approach creative tasks.</p>
</abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2024-00112024-11-23T00:00:00.000+00:00Mapping the Creative Process in Arts Education: From Task to Theoryhttps://sciendo.com/article/10.2478/ctra-2024-0010<abstract>
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<p>Creativity stands as a cornerstone of contemporary education, fostering innovation, problem-solving, and dynamic thinking in today’s learners. However, how creativity is defined can vary significantly across different creative fields, contributing to complexity about its nature and role in education. This article explores the definition and application of creativity across various creative arts domains—music, visual art, dance, and drama. This article looks at creativity in these domains at the level of the curriculum, and in examples of classroom tasks. Curriculum analysis showcases alignment among domains with the creative process through its sequential strands—Explore, Develop, Perform, and Explain, specifically in the content relating to Explore—reflecting educational standards that promote structured creativity. Task level analysis reveals how students engage with specific activities mirroring creative stages, fostering meta-awareness of the creative process during learning tasks in drama and music, and evaluating existing artworks’ ability to communicate meaning as in visual art. Theoretical perspectives reveal broad similarities in the creative process across the levels, with nuances such as collaborative processes being more pronounced in dance and drama. Despite limitations such as focussing on a small number of curriculum and task examples, this article provides insight into the commonalities of the creative process across artistic domains and educational levels.</p>
</abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2024-00102024-11-07T00:00:00.000+00:00Creativity Among Adolescents and Emerging Adults in the Post-pandemic Era: A Review of the Role of the School and University Systemhttps://sciendo.com/article/10.2478/ctra-2024-0009<abstract>
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<p>This literature review, focusing on creativity in the time of the pandemic and post-pandemic, aims to explore the role of creativity in young people’s well-being through the education and university system. The article starts from a redefinition of creativity in the light of a dynamic and interactionist view between person, environment and task as proposed by contemporary studies. A major focus is on the role that creativity has played in well-being in the pandemic and post-pandemic period, especially for vulnerable populations such as adolescents and emerging adults. The article also focuses on the developmental tasks of adolescence and emerging adulthood, which make them particularly appropriate times for developing and promoting creativity. Finally, the review analyzes the contribution and support that schools offer young people during the pandemic. What resources and obstacles still stand in the way of the education system fostering creativity in adolescents and young adults today? The review aims to draw attention to the debated topic of creativity in education systems. Schools and universities can continue to support young people in the post-pandemic era by helping them to play an active role in society using their creative potential.</p>
</abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2024-00092024-09-07T00:00:00.000+00:00Definitions of Creativity by Kindergarten Stakeholders: An Interview Study Based on Rhodes’ 4P Modelhttps://sciendo.com/article/10.2478/ctra-2024-0008<abstract>
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<p>In 2017, Hong Kong included the notion of creativity in its official kindergarten curriculum framework. However, the curriculum did not define what creativity means in relation to 3- to 6-year-old children. Stakeholders such as teacher educators, kindergarten principals, and teachers may have different understandings of creativity, possibly leading to difficulties in implementing this notion into practice. We adopted Rhodes’ 4P model to examine Hong Kong kindergarten stakeholders’ definitions of creativity in relation to young children. We posed two research questions: (1) What are the themes and elements that Hong Kong kindergarten stakeholders refer to in their responses when defining the notion of creativity? (2) How do these stakeholders differ in their responses when defining this notion? We asked 50 kindergarten stakeholders (20 teacher educators, 10 principals, and 20 teachers) to define the notion of creativity using their own words. Content analysis, descriptive statistics, and multiple Fisher’s exact tests (2 × 2) were used to analyze their responses. We found that all stakeholders possessed a partial understanding of creativity, especially teachers. Stakeholders’ definitions mainly focused on the importance of creative processes. Other components such as the learning environment, the traits of a person, and the creation of products were rarely alluded to in their definitions. We conclude that there is an urgent need to explicitly articulate and conceptualize the notion of creativity in kindergarten curriculum frameworks, such as Hong Kong’s curriculum Guide. This would allow stakeholders to find common ground in the teaching and learning of creativity. Implications for the enhancement of creativity education are discussed.</p>
</abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2024-00082024-09-05T00:00:00.000+00:00Boosting Scientific Creativity Among Researchers: How Efficient are Creativity Trainings?https://sciendo.com/article/10.2478/ctra-2024-0007<abstract>
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<p>How can scientific creativity be fostered or encouraged among researchers? The present contribution proposes a critical and constructive review of programs or methods designed to develop the creative abilities of individuals, the so-called ‘<italic>creativity trainings</italic>’. More specifically, it examines whether these trainings can be used in the specific context of scientific disciplines, and how efficient they are. At first glance, the literature seems to indicate that creativity trainings are effective when it comes to stimulating individual creativity, including scientific creativity. However, these general conclusions should not overshadow the serious limitations of these studies. Some of these theoretical and methodological limitations are common to all creativity trainings (e.g., difficulties in defining creativity itself), while others are specific to scientific creativity trainings (e.g., linked to specificities of scientific work). In a nutshell, all trainings are not made equal and do not look as efficient as they seem to be. This contribution also proposes some recommendations that would allow researchers to produce more valid results and to make it easier to interpret the results of creative training studies in the scientific domain and beyond.</p>
</abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2024-00072024-08-12T00:00:00.000+00:00You Want to Foster Creative Behavior? Try Behavioral Sciences Modelshttps://sciendo.com/article/10.2478/ctra-2024-0006<abstract>
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<p>Why do individuals confronted with a specific situation act creatively or not? To answer this question, the psychology of creativity needs to rely on comprehensive behavioral models allowing researchers to better identify the determinants of creative behavior and to be able to efficiently foster this behavior. Behavioral sciences precisely developed behavioral models that allow us to understand and influence a wide variety of behaviors. The present contribution argues for the use of behavioral sciences models in creativity research, and describes three main functions for creativity research: (1) a <italic>heuristic function</italic> (supporting the development of scientific knowledge about goal-directed creative behavior), (2) an <italic>interventional function</italic> (supporting the elaboration of efficient behavioral interventions to foster creative behavior), and (3) a <italic>categorization function</italic> (providing a clearer view of the types of interventions designed to foster specific creative behavior and of the behavioral drivers used).</p>
</abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2024-00062024-08-12T00:00:00.000+00:00Creativity Unlocked Locked Down: Different Creative Activities Differently Affected by Restrained Social Interactions During the COVID-19 Pandemichttps://sciendo.com/article/10.2478/ctra-2024-0004<abstract>
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<p>Both social interaction and the lack thereof have been discussed as being beneficial for creativity. Strikingly, in both cases there seems to be an implicit assumption that different creative activities are all influenced in the same way. However, the idea that different creative behaviors are all equally influenced by social interaction seems not reasonable (e.g., poem writing <italic>vs</italic>. singing a song at a family celebration). The reduction in social contacts in Germany during the coronavirus pandemic offered a unique opportunity for a field experiment with high ecological validity. To explore how different creative activities are each influenced by reduced social interaction, 130 participants were asked in an online survey using a proxy pretest design about the frequency of everyday creative activities before and during the core episode of social distancing. The change in frequency for performing a given creative activity depended on the frequency at baseline, but not in a linear manner. Instead, the relationship was u-shaped: creative activities most frequently performed at baseline showed an increase in frequency, creative activities of medium frequency at baseline decreased, and the least frequent activities changed the least. In particular, activities represented by “Personal Environment Creativity” increased in frequency, while activities represented by “Self-Expressive Creativity” decreased in frequency during lockdown. Recalling the four p’s of creativity, it is accepted that the person aspect differs between domains. It is therefore surprising that we commonly assume press-level features work the same way across all domains, which is challenged by the current study.</p>
</abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2024-00042024-07-29T00:00:00.000+00:00The Japanese Conception of Creativity: Myths and Factshttps://sciendo.com/article/10.2478/ctra-2024-0005<abstract>
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<p>Empirical research on creativity spanning decades has identified several stereotypes on creativity that are not supported by scientific evidence. Known as creativity myths, these stereotypes can harm an individual’s creative endeavors in school or at the workplace. In prior research, the Creativity Myths and Facts Questionnaire (CMFQ) has been used to empirically investigate the extent to which people approved particular myths and facts related to creativity and the reasons for their belief in them (participants from Austria, Germany, Poland, the USA, China, and Georgia). The current study translated the CMFQ into Japanese and surveyed Japanese participants (N = 3,101). The approval rate for creativity myths among the Japanese was 58%, slightly lower than that for creativity facts (61%), a trend similar to that of other countries. The average approval rates for creativity myths in the Japanese sample suggest that the participants, compared to those from the six countries examined in prior research, have a stronger belief that creativity is a rare talent, that creativity is the same as art, or that it is difficult to change creativity. Furthermore, the results show that demographic variables, knowledge sources, and personality type, which have all been identified in existing studies as factors contributing to the belief in creativity myths, have a weak but significant influence among Japanese participants. We also discuss the high rate of uncertainty as a distinct characteristic in Japanese participants’ responses to creativity myths and facts.</p>
</abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2024-00052024-07-29T00:00:00.000+00:00Artists’ and Creators’ Reframed Relationship with Nature Since the COVID-19 Pandemichttps://sciendo.com/article/10.2478/ctra-2024-0003<abstract>
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<p>This report is part of a wider research project, Reframing Creativity, which studied how the COVID-19 pandemic affected the work and creative practice of professional artists, producers and makers. Here we discuss a specific finding about artists’ and creators’ relationships with nature. After conducting a first round of interviews with 11 participants, we identified that around half of them had talked about having found a valuable connection with nature since the pandemic—even though nature was not a topic in our sequence of questions. This led to a deeper analysis of nature and creativity through a second round of interviews with 11 further participants. For both rounds of interviews, we used a semi-structured questionnaire with a snowball sampling method for recruitment. We conclude that artists and creators developed new meanings and perspectives on their relationship with the outdoors as an unexpected result of the new first-hand experiences they were able to have outside, that is, as a result of the <italic>opportunities</italic> the pandemic enabled. We also argue that creators face an urgent need to find a healthy balance between the unstoppable advancement of digital technologies, accelerated by the pandemic, and the fundamental need to be connected with the natural world. These new creator-nature connections should be fostered, preserved, and researched further.</p>
</abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2024-00032024-04-29T00:00:00.000+00:00When Language is Played: Looking into Linguistic Creativity through Language Playhttps://sciendo.com/article/10.2478/ctra-2024-0002<abstract>
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<p>This article opens a window on linguistic creativity through an in-depth discussion of language play. To this aim, language play is initially conceptualized from a socio-cognitive perspective. ‘Language play for fun’ and ‘language play for practice’ as two dominant approaches in the relevant literature are, then, touched upon. Afterward, the paper elucidates how language play, in its various manifestations, can inform and influence linguistic creativity. In this respect, a theoretical (linguistic) and a socio-pragmatic perspective are presented. In particular, the paper addresses the possibility of playing to ‘language’ outside the box (i.e., to go beyond the conventional systemic constraints of language). Highlighting the ubiquity of language play, it also considers Wittgenstein’s notion of ‘language games’ (or <italic>Sprachspiele</italic>). Furthermore, the performative power of playful creativity to make and ‘unmake’ language in society is elaborated on. The article contends that language play may offer valuable insights to extend the borders of linguistic creativity. This argument is further developed under the purview of ‘complexity theory,’ ‘soft computing,’ and ‘computational linguistic creativity.’ Finally, the paper advocates an ‘integrated science’ approach to advance play-based research on linguistic creativity.</p>
</abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2024-00022024-03-25T00:00:00.000+00:00Time is a Funny Thing: Response Times and Humor Quality in a Creative Joke Production Taskhttps://sciendo.com/article/10.2478/ctra-2024-0001<abstract>
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<p>Generating creative ideas takes time: the first idea to come to mind is usually obvious, and people need time to shift strategies, enact executive processes, and evaluate and revise an idea. The present research explored the role of time in creative humor production tasks, which give people a prompt and ask them to create a funny response. A sample of 152 young adults completed four joke stems prompts. Their response times were recorded, and the responses were judged for humor quality (funniness) by six independent judges and by the participants themselves. Mixed-effect models found that, at the within-person level, response time’s link to humor quality diverged for judges and participants. The judges’ ratings of funniness predicted longer response times (relatively funnier responses took longer to create), but participants’ self-ratings of their own responses predicted shorter response times (relatively funnier responses were created faster). Controlling for elaboration (quantified via word count of the response) diminished the effect of judge-rated humor but not participant-rated humor. Taken together, the results suggest that the role of time in humor generation is complex: judges may be weighting elaboration more heavily when judging funniness, whereas participants may be weighting metacognitive cues like ease-of-generation when judging their own ideas.</p>
</abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2024-00012024-02-10T00:00:00.000+00:00Reviewershttps://sciendo.com/article/10.2478/ctra-2023-0009ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2023-00092023-12-30T00:00:00.000+00:00Correlates of Self-Assessed Creativityhttps://sciendo.com/article/10.2478/ctra-2023-0008<abstract>
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<p>The aim of this study was to examine demographic, ideological, and personality trait correlates of self-assessed creativity. A large group (<italic>N</italic> = 1,299) of adults estimated their creativity score on a 100-point scale. This rating was related to participants’ demographics (sex, age, education), ideology (religious and political beliefs), self-confidence, and six personality traits. The regression indicated that those who thought of themselves as more creative were more optimistic, higher on trait Curious (Open), but lower on trait Adjustment (low Neuroticism) and trait Competitive (low Agreeableness), and had higher self-esteem. The status of self-assessed/estimated creativity is discussed alongside limitations and recommendations for future research.</p>
</abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2023-00082023-12-26T00:00:00.000+00:00Dyadic Parent-Child Creative Activities and Early Childhood Resilience: Audio-recordings and Home Activities as Methodological Propositionshttps://sciendo.com/article/10.2478/ctra-2023-0007<abstract>
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<p>This commentary invites creativity researchers to address an area that, to date, has received little attention: the effects of dyadic creative activities on early childhood resilience. There is, indeed, a growing body of work on how creative behaviour can contribute to resilience in older children, adolescents, and adults. There is less research on this topic for populations of children aged 3 to 6 years. Yet, young children are particularly dependent upon the bonds they form with their caregivers, notably their parents. The quality of the ties they maintain with them can promote, or on the contrary hinder, their resilience. After presenting the need to foster resilience among young children through dyadic creative activities, the commentary proposes audio recording as a method of investigating this phenomenon. It presents perspectives on the analysis of momentary processes. It concludes with perspectives creative activities at home that researchers can propose to parents and children to address their effects on young children’s resilience.</p>
</abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2023-00072023-12-26T00:00:00.000+00:00en-us-1