course syllabus ct-ell: assessing creative thinking · ct-ell: assessing creative thinking page 2...

Course Syllabus CT-Ell: Assessing creative Thinking

8-12 June, 1998 National Institute of Education-Singapore Dr. Don Treffinger

Course Description. This course provides a broad, introductory overview of gods, purposes, methods, and resources for assessing mativity in educational settings, with emphasis on p r a d i d approaches in the classroom setting (rather than individual clinical assessment or research instrumentation). We wi.ll review briefly the relation of basic concepts and prinaples of testing, measurement, and evaluation to creative thinking and the uses and misuses of tests in assessing aeativity. The workshop tyill also indude a brief overview of several tests, rating scales, and checklists for creative thinking, and an introduction to the nature and uses of alternative assessment tools, including profiles, performance tasks, rubrics, and portfoLios in evaluating creative thinking and creative products at various age levels (childhood through adult). Participants w7ilt be asked to consider the implications of these topics for practical application in their own setting.

Instructor. The instructor for this course is Dr. Donald J. Treffinger, of Sarasota, Florida (USA). Dr. Treffinger is President of the Center for Creative Learning, Inc., and also Professor of Education at the University of Sarasota. Previously, he has taught at the Center for Studies in Crea~vity a t Buffalo State College, the University of Kansas, and at Purdue University. He is the author of more than 300 books, chapters, and articles on many aspects of creativity, Creative Problem Solving, and talent d eveloprnent. Dr. Treffinger can be reached by e-mail at dontreff@gte-net and the Center for Creative Learning website is cww-w.creativelearning. corn>.

Textbook. ATo textbook is required for this course. You irrilI receive an extensive set of handout materials, entitled, "Assessing Creative Thinking." The follotving books are recommended as valuable supplementary resources for this course:

Treffinger, D. J. (1994). Assessing CPS Perfor 7na nce. Sarasota, FL: Center for Creative Learning.

Isaksen, S. G., Treffinger, D. J., & Dorvd, K. B. (1996). Clrrnate ,for creati~ity and innosatiorr: Educaflbnal implications. Sarasota, FL: Center for Creative Learning.

Treffinger, D. J. (1996). Dimensions of creafioify. Sarasota, FL: Center for Creative Learning. . .

Treffinger, D. J. (1996). Cr~atioiiy, crea tioe thinking, and critical thinking: In search of de-finr from. Sarasota, FL; Cenier for Creative Learning.

CT-Ell: Assessing Creative Thinking

Daily Agenda Monday

As a result of your participation in this' session, you should be able to:

Define creativity and creative thinking, and describe ways that creative and critical thinking are related. Define and distinguish among assessment, testing, measurement, and evaluation. Identify at least three important purposes for assessing creativity, D d b e several myths and misunderstandings about creativity assessment. Identrfy and give illustrations of uses and misuses of creativity tests. Define validity, reliability, and usefulness and explain their implications for assessing creativity. Idenhfy and give exampIes of four components of creative productivity and describe their implications for assessment.

Topics of Discussion

Introductions and course overview, gods, and objectives Defining Some Terms

- What is "aeativity" - What is "assessment"

Purposes for aeativity assessment ("Why assess?")

h4yth.s and some misunderstandings about creativity assessment + Uses and abuses of meativity tests

Basic principles of assessment and measurement -Validity, Reliability, and Usefulness

The C-GC-0 framework and its implications for assessing creativity Personal characteristics; Climate / Blocks

Assignment

Read: Pages 1-24 in the handout set. Bring to class an example of something you consider a "creative product" (or a picture of that product) and - . be prepared . tr, justify why you believe it is creative.

CT-Ell: Assessing &a tive Thinking

Tuesdav

Objectives

As a result of your partidpation in this session, you should be able to:

Define three categories and fourteen criteria for assessing creative products, and identify the implications for education. Identify and deSQibe the implications for assessment of a model for teaching and learning creativity. Define, distinguish among, and give examples of at least three kinds of creativity assessment resources. Desaibe at least three ways to provide for creativity in teacher-constructed tests, quizzes, projects, or assignments.


What makes us call a product "creative?" -Exercise -Criteria -Discussion -Implications for looking at students' work Assessment and the Instructional Process - Various levels of instruction for ueativity - h4easurement implications of instructional levels Assessment resources -Tests -Rating Scales -Checklists Teacher tests and activities for assessing creative thinking

Assignment

Read Pages 25-34 in the Handout Set. Consider your o ~ n fluency, flexibility, originality, or elaboration proficiency in one or more areas. Think about your o ~ m "creative strengths profile,"

Cf-Ell: Assessing Creative Thinking

Thursdav

Objectives

As a result of your participation in this session, you should be able to:

Define metacognition and give examples of several rnetacognitive skiiIs relating to creativity. Jdentrfy the role of case studies and practice problems in assessing creativity, Define, describe, give examples of, and apply performance tasks and rubrics in assessing mea tivity . Define a profile and explain how assessment and instruction are importantly interreIated in teaching for aeativity.


Metacognitive skills Various types of performance tasks Constructing and using rubrics Case Studies and practice problems Introduction to profiling Linking assessment and instruction.

Assignment

Read pages 35-54 in the Handout Set. Consider other dimensions of your own creative strengths, and begin to elaborate on your own personal profile. Consider the implications of profiling in your work with students.

CT-Ell: Assessing Creative Thinking

Fridav

Page S

Objectives

As a result of your participation in this session, you should be able to:

D e b e the purposes, and key elements, of portfolios and explain the implications and uses of portfolios in assessing creativity. Identify and give examples of four levels of a model for evaluating creativity instruction, and d h b e the importance and implications of such efforts in relation to Singapore's national educational mission. Create a personal adion plan for assessing creativity in your o ~ m professional setting. Understand better your oum personal creative strengths.


Portfolios Evaluating programs to foster creativity: four levels Putting the pieces all together: what will you do to assess ueativity in your school? "Thinking Schools and A Learning NationJ'--Holv 1td1 you know if it is working? Personal Planning for Action Sharing key learnings Closing

Assignment

Read pages 56-69 of the Handout Set Complete your personal Creative Strengths Profile. Complete your Personal Action Plan.

f Dr. Don Treffinger Center for Creative Learning

I? 0. Box 3736 Sarasota, Florida, 34230-3736 USA

www. creativelearning.com [email protected] t

O 1996,1998 Center for Creative Learning

43 1996,1998 Center for Creative Learning

All rights reserved This material may not be duplicated or reproduced in any form, in whole or in part, in any format or for any purpose, without the advance written consent of the Center for Creative Learning. Tlus pilot edition is intended for Limited use, and its distribution is reshcted to participants in Center for Creative Learning courses, workshops, or seminars. To obtain information about ordering the h a 1 published version of h s book, please contact:

Dr. DonaId J. Treffinger Center for Creative Learning P. 0. Box 3736 Sarasota, FL 34230-3736 941-351-8562 . Fax: 941-351-9061 e-mail: dontreff@gte. net Websi te: www.creative1eaming.com

Section One: Understanding and

Assessing Creativity (Introduction)

Creativity Assessment Purposes

Helps to recognize and affirm the strengths and talents of individuals and to enable the person to do so, too.

Expanding and enhancing our understanding of the nature of human abilities and giftedness.

Provide "baseline" data for assessing individuals or groups, to guide teachers in planning and conducting instruction.

Pre-post data for group comparisons for research or evaIu- ation.

Helping instructors, counselors, or individuals to discover unrecognized and untapped resources and talents.

Provide a language or operational v o c a b d a j for communicating with others about creative talents.

Helps to remove creativity from the realm of mystery and superstition.

Advances research and theory.

Source: Treffinger (1987)

EASE OF USE

High Low

Rich

INFORMATION DERIVED

Li rn i ted

Myths and Misunderstandings About Creativity

' I m-2m Fy \:ij- '\l. 7 L G > - J

Creativity as a rare form of genius, pos- sessed only by a few people.

An elusive thing, which "evaporates" if you look too closely. (Muse)

Creative behavior is usually strange, bi- zarre, weird, or "flaky."

Creativity involves trickery or sleight of hand, not substance.

Creative behavior is totally spontaneous and undisciplined.

Assessing Creative Talent: Some Hypotheses

Don Treffinger

Interest in creativity assessment has waxed and waned through the Iast three decades. h recent years, however, with growing pressures for evaluation and accountability in education, training, and other areas, interest in creativity tests and assessment of creativity has begun to grow. The inquiries we receive usually begin with, "What test shouId we use?" There are other, more important starting points, however, such as: "What are you trying to measure? Why? How you do define 'creativity' as you would like to assess it? How will you use the results?" Most often, these questions are greeted with a puzzled silence.

It is certain not the case that there are easy answers to those questions. Although we have made considerabIe progress in our ability to define and assess many specific aspects of creativity, many problems remain to be unravelled. Frequently we are still learning how to frame the questions better, so research wilI yield more helpful outcomes far theory and practice. A number of the imporbrit issues that need to be discussed, refined into hypotheses, modified, and tested are presented below. Some are expressed as statements, and others as questions; this was a choice based on convenience and ease of expression ody. Although we might marshal more evidence in support of sowe than others, there are faxi- nating and unanswered dimensions in all of them.

Creativity assessment is more a reaction to how people function over a period of time &an a predesignation or certificabon of certain ~ndividuais' creativeness.

CalIing someone a "creative person" is a description of his/ her accomplishments from an hstorical perspective.

- Creativity is complex and multi-dimensional, and can be expressed in nearly infinite ways; tve should not expect a single test or a single index to-account for all its compo nents and manifestations. We must sbuggle to avoid a creativity test and a "CQ" that might be abused as much as intelligence tests and IQ have been misused.

Creative tdent shouId not be assessed outside the contexts or environments in which the subjects are expected to function; it is not a simple trait that exists entirely within the mind ot personaLity of the individual alone.

The operations (or the tools, strategies, or methods) an individual knows and can apply successfully in authentic settings will be important an indication of creative talent than any test score (and may also influence future growth in powerful ways).

. - Rather than askrng how much or how litfie creative ability an individual possesses, it would be more productive to ask

-In W hat settings might creativity best be encouraged tor h s person? -W hat creative strengths does this person demonstrate? -How can the person's creative expressions anc! accornp~ishments best be documented

or monitored (by the person? by others?)

B

Although effective probIern solving is a function of both creative and critical thinlung shlls, these may not be equaUy well developed or preferred in all people.

-There is a need for bdanced effort. -We should dso buiId on individual strengths. -Group activity and support can be very significant in creative action.

Certain components of creative behavior may be described differently from internal, rather than externd, frames of reference.

-Does creativity really involve "risk-taking," or is that more in the eye of the beholder than the one whose behavior is observed?

Both playfulness and task intensity are integral for creative effectiveness, but they present assessment challenges, since they are difficult to synthesize or simulate in contrived assessment settings.

Environmental preferences associated with the lifestyles or "workstyles" of creatively productive people (often assumed to represent basic dimensions or characteristics of creativity) may be better explmed by individual differences in learning style.

Charisma is not the same as szibsfanci., nor is it a good long range substitute. An engaging presentation does not assure a solid conceptual or theoreticd foundation. Engaging examples, however familiar or redlstic, are not su bstihrtes for mpirical m.dmce.

Creativity is not a "hding place." It is not a rationale or justification for ineffectiveness, careiessness, lack of effort, or lack of discipline. ("I'm creative, so you shouldn't expect me to be well organized.")

Calling an instrument an "inventory" or a "checklist" does not provide an exemption from the principles and standards of psychoIogicaI measurement. Instrument development is a long and rigorous process. Thus, creativity measures, li& any other instruments, must be valid, reliable and useful. Beware of fads and homemade instruments. I£ it has four paws and barks at you, it's probably a dog; saylng that you'd prefgr to call it a teiephone will not relieve you of the responsibility for caring for it properly.

Telling people about descriptions of themselves (or categories into which you think they fit) can become a mere parIor game-- probably foolish, and perhaps even dangerous- unless there is &so a signijicanf 'so w h f . " Effective assessment should lead to a response that promotes instruction or growth; testing should not become an end in itself.

Creativity Tests In Education

COMMON USES

Comphng group performances

Enhance our comprehensive understanding of student abilities, through a profile

Assessing mastery of basic divergent t h d a n g skills to prepare more complex thinking skills/ processes

Asess pupils' growth in creative abilities over time

Assist teachers in understanding and identifying dimensions of creativity that are relevant to instruction

Develop a "data base" for prediction of students' academic and creative accomplishments

Inaease teachers' ef€ectiveness at recognizing and responding to studentsf strengths

Complex data used as part of our effort to obtain a richer, more comprehensive understanding of the student's characteristics and needs

AND ABUSES

Cutoff scores for individual students

Seelung a "C.Q." instead of "I.Q." (Substituting a misuse of one test for a misuse of another)

"Divergent Busywork" Assigning more divergent thinking exercises to students already strong in those shlls

One-shot judgments

Requesting gtobal nominations, without training or experience, to seek ways to sort or label students

Short-term assessment, relylng only on externalnorms

Searchng for "weaknesses" to remediate

"Quick and Dirty" quantification to "justify" inclusion or exclusion decisions

Some Ways That Creativity Tests Shouldn't Be Used .....

Selection of individual students for participation in a single, global program.

Exclusion of particular students from instructional programs.

To meet a demand for multiple criteria.

To establish more hoops through which students must jump during a screening process.

And Some Ways They Can Be Used:

Baseline data for evaluating enriched instructional opportunities (for MANY students!)

Baseline data for experimental projects involving group comparisons.

Creating new instructional opportunities,

Helping creative people learn to understand and accept their talents.

Specific Uses of Creativity Tests in Education

l. Comparison of experimental/control group performance in studies of effectiveness of teachng strategies or currirruIum programs designed to enhance creative thinking.

2. Enhance our profiie of sfrrdmt abilities by assessing aspects of cognitive functioning not measured by traditional ability and achievement tests.

a) relating to "diagnostic/ prescriptive" assessment b) help in understanding "overachievement"

3. Assess a group's mastev of basic divergent thinkrng skills in preparation for instruction in more complex &&ng skills.

4. Evaluate (averages in) p p i l growth in aeative thnkzng variables ove; time (developmental data).

5. Help teachers identify dimensions of creativity that can be translated into insh&onaI procedures / activities.

6. Develop regression equations for forecasting students' academic and creative accorn- piishrnents.

7- See variability among students more dearly, hence becoming - more effective at recognizing individual differences. - ,

8. Possible indications of mental health status, with dues for effective remedid or thera- peutic programming.

9. As part of our comprehensive efforts to assess growth potential and antidpate possible future guidance needs.

Why Not Evaluate Students On Their Level of Creativity?

1. The complexity of the construct of creativity makes such judgments irnpracticd and unrealistic. Creativity can be manifest in a nearly infinite number of ways, in any domain or human expression or productivity. It is not meaningful to say a person is or is not "creative;" we must think about "creative in what.. .."

2. In m y domain, creativity is not a unitary trait or a single variabIe; rather, it is a complex or multi-dimensional. The construct of creativity involves many variables, worlung both independently arid in interrelated ways.

3. Creativity does not just represent a "kind of person," and it does not just exist "withm one's head." It is, instead, "thick and deep," richly textured or contextudized. To understand it, we must consider, in addition to personal characteiistics, styles, abilities, interests, and rnotivations of the individual: the setting or environment; the domain, task, and gods or outcomes; the role of time and lustory; and a variety of interpersonal factors. In addieon, these factors all interact with each other "syner- gistically."

4. Most of the instruments we have for the creativity-related variables we can define are not well-suited for individual, clinical use. They most often have limited norms. They have limited long-term predictive validity. In addition, the very construct of aeativity may not be appropriate for evaluation using instruments for which there are traditional psychometric expectations and assumptions (eIg, evaluating reliability assumes stability in the trait being measured; creative productivity may, in fact, vary substantially).

5 . Arguably the most important concern: seelung to sort people into categories (high or low on creativity) asks the wrong question! Most dimensions of creativity, a m s s a broad array of domains or talents, can be nurtured with effective instruction and experience. We would be wise to be more concerned with developing creativity than with sorting people into groups based on some assumed levels or degree of "natural" ability or aptitude. In the long run, educators are more concerned with stimulating productivity than wit h explaining its origins!

A

[P. S. Might each of these concerns be equally valid if we substituted the word "gft- edness" for the word "creativity?"]

Common Definitions of Creativity

Making new connections. Doing things differently. Finding and solving problems that call for new ideas. Recognizing one's own uniqueness, and readung for one's fullest potential. Marching to the beat of your own drummer. Generating many, varied, or unusual ideas; refining ideas, and making them workable. Translating gifts and talents into products and actions. Being a wonderful artist, musician, writer, or inventor. Engaging more of your mind for more time. Using imagination and imagery to form and express new insights or ideas. Thinking divergently. Immersing yourself with passion in an area of interest and expression.

Creativity is.. .

. . .the encounter of the intensively conscious human being with his world. (Rollo May)

... the occurrence of a composition which is both new and valuable. (Henry Murray)

. . .the disposition to make and to recognize valuable innova- tions. (H. D. Lasswell)

. . .the emergence in action of a novel relational product, growing out of the uniqueness of the individual. (Car1 Rogers)

. ..the ability to make new combinations of social worth. (John Haefele)

. ..the ability to see (or be aware) and to respond. (Erich Fromm).

. ..any thhhng process whch solves a problem in an original and useful way. (H. Herbert Fox)

As cited in: You And Creativity (1968). Kaiser Aluminurn &d chemical Corp.

I

Effective Problem Solving Relies Upon

Creative Thin king

Encountering gaps, paradoxes, opportunities, challenge::, or concerns;

then searching for meaningful new connections by generating-

* Many possibilities; Varied possibilities (from different viewpoints or perspectives); Unusual or original possiblities; Details to expand or enrich possibilities.

Critical Thin king

Examining possibilities carefully, fairly, and constructively;

then focusing your thoughts and actions by-

* Organizing and analyzing possibilities; Refining and developing promising possibilities; Ranking or prioritizing options; Choosing or deciding on certain options.

-

Source: Creative Problem Solving: An infrodricfion (R#. Ed.), by Treffinger, Isaksen, & Dorval, 1994.

Productive Thinking

Productive thinking occurs when a student:

A. Gathers, organizes, and analyzes information.

B. Asks questions and generates ideas.

C. Refines and tests ideas.

D. Makes inferences, deductions, choices, and decisions.

E. Finds, manages, and solves problems.

F. Continuously monitors, reflects, and evaluates.

G. Implements -. decisions and action plans.

Productive Thinking Skills- Part 2

Discoven'r~g and Formulating Problems Being sensitive to problems and puzzling phenomena Determining the red probIern Formulating the problem in workable terms Retlecting on the problem Keeping an open mind- not jumping to condusions Being pladul-laying out systematic steps for problem attack

Organizing and Making Use of Information Getting the h o r n facts well in mind Classifymg mformation Distinguishng between relevant and irreIevant data Deciding what additional data are needed Inquiring: as- h t i u l fact-finding questions Drawing inferences- reasoning and analyzing Reviewing the facts

Generating Ideas Thinking of many possibilities, not just a few Searching by systematic scanning of problem elements Searching by systematic outline of possibIe solutions Using simihrities, mdoges , and metaphors Thinking of appropriate but unusual ideas G e a t h g hypotheses to account economically for puzzling facts

EonZunting and Improving Ideas Checking ideas against the available facts Experimenting: devising ways to test hypothess Decision-mhg: selecting the best ideas and plans Seeing impiications of ideas and considering consequences Elaborating- bringing ideas to full development Modifmg- changing good ideas to make them even better

Crea ting Nevl Perspectives Reformulating- looking at problems in new ways Sseing probfems and issues from the view.?oint of otl-,ers Combining ideas into neiv and surprising iorms Transforming unlikely ideas into productive possibilities

Source: Covington, Crutchfield, Olton, and Davies. The Prodrictizle Thinking Progmrn (1972).

Assessing and Evaluating Creativity: Some Fundamentals Donald J. Treffinger

In any assessment or evaluation task. some data will be gathered, analyzed, and inter- preted. These data might be either qualitative or quantitative.

Qualiiaiive refers to information based on observation, biographical information, anecdotal records. o r other similar efforts to view the subjects. Qualitative data include descriptions and anecdotal records. which provide a basis for in depth analysis and discussion, including consideration of relevant context issues, possible biases, and values, Ana- lyzing qualitiative data is a process concerned more with discerning the meaning of irdor- mation than with formulating and testing statistical hypotheses. When trying to answer questions such as when or why some behavior is occurring, qualitative data analysis can oRen yield important, valuable, and o r i a a i ksi&ts.An observer's description and andy- sis of a child's curiosity and creativity, as expressed in spontaneous exploratory behavior in a typical school setting is an example of the use of qualitiative data concerning creztiv- i@. Data might be gathered in classrooms. in the lunchroom, and on the playgrcund, involving many instances and examples of the student's curiosity and exploration, gathered over a period of several weeks.

Quantitatiue data analysis draws upon resources that yield numerical scores or resuits. such as tests, rating scales, checklists. and self-report inventories. Quantitative procedures yield scores for variables based on clearly identified attributes, characterisitcs, or specific objectives; these spec3c scores or numerical data are used for stat ist icd treatment. Thus, the results of quantitative data are expressed numericdy (by using percen- hies, averages, or means, for example). For quantitative analysis, the items on insnu- ments are intended to be free of judgments based on values, and efforts are made to eliminate error or bias or to control e m r by statistical procedures, Quantitative measures are best used to answer such questions as, "How much. .. or how many. ..? What is t h e relationship between..?" T h a t are the effects of...?" or What are differences between...?" for one o r more operationally defined variables. The-number of items gener- ated by a participant in response to an open-ended question on a test of divergent thinking is an example ofqwntitutive data on creativity assessment. After asking students, for example, to "List as many things as possible that you might see inside an elementary schooI," count ing the total number of responses (a measure of ideational fluency) for each student involves using quantitutive data.

The complex and mdtidimensional nature of creativity cannot be captured effectively and comprehensively by any single instrument or analyhcal procedure. Systematic efforts to understand creativity require a well-planned process of studying individuals o r groups, including both qualitative and- quantitative data. . -

Measurement, Gssessment, and Evduation

It may also be importmt to distinguish among measurement, assessment, and evduation. The term measurement refers to the use of any instrument or testing procedure through which quantitative data can be obtained, and thcs c a n be treated s t a t i~ t i ca i l~ .

B

Assessment is a process of "taking stock" of' an individual (or a group) by drawing together information from a number of sources and attempting to organize and synthesize those data in a meanin@ way. Assessment draws upon qualitative and quantitative data, and frequently includes (but does not rely only upon) measurement sources. Assessment might be undertaken to i d e n w and understand a person's (or a goup's or team's) strengths and deficiencies, or for more prescriptive reasons, such as for instructional planning or for placement in a specific experimental treatment or program. Assessment is, therefore, a broader and more inclusive term than measurement. Evaluation c a n be viewed, within the context of instruction or educational programs, as a systematic process t o guide decision-making and to determine the extent to which stated gods and objectives were achieved. Evaluation may involve the use of qualitatative or quantitative data. ar both.

In both creativity assessment (recognizing creativity in individuals or groups) and evaluation (determining whether creativity objectives have been attained). measurement will often play an important role. Creatiwity assessmenf might be regarded as an at- tempt to recognize or identify creative characteristics or abilities among people, or to uderstand &heir creative sfrengths and pofentiab. Measurement might play a specif3c role in creativity assessment to the extent that specific tests, inventories, or rating scales provide evidence to help answer such questions.

We would be concerned with creativity assessment in education, for exampie, if we were to pose such questions as:

W l o are the most (or least) creative students in this class? What characteristics suggest that a particular student is very creative? U'fiat are the creative strengths of the people in this group? How is creativity expressed differently among individuals of varying learning styles or preferences? How might we optimize a group's performance, or design the most effective training experience for a team or work group? - . -

Measurement commonly plays an important role in evaluating instructional or training efforts related to creativity. If a special program for students purported to enhance or stimulate students' creative thinking skills, for example, pre- and post-tests might be used as part of an evaluation design. The kinds of questions posed might include, for example:

Was the program effective in enhancing students' creative thinking and problem solving skills? What impact did the program have on those who participated in it? Were participants better able to recognize problems, generate ideas, and plan for creative action &er the training than they were prior to it? Did participants in an experimental group demonstrate greater gains in creativity than students in a control group?

O 1995, Center for Creative Learning. Adapted from Creative h a r u i n g Today Nmletter, Volume 5, Number I.

Basic Measurement Principles: Implications For Creativity Assessment

I. Measures Should Be Valid.

Content validity Criterion-related validity

(concurrent; predictive) Construct validity What makes an adequate criterion?

Relevance Free from bias Reliable Available

I(. Measures Should Be Reliable.

Stability Equivalence or Comparability Internal Consistency What are some threats to reiiability?

Changes in person Changes in task Limited samples of behavior

I t l. Measures Shou Id Be Practical And Useful.

Economy Test administration Test scoring . *

Norms and test interpretation

Using Creativity Tests in Education: General Guidelines

1. Clarify goals and objectives for creative learning and assessment.

2. Select and evaluate instruments carefully.

3. Avoid the use of "home-made" instruments.

4. Be alert for many sources of data.

5. Sample students' work early and often.

6. Assess complex aspects of creativity.

7. Gather data for a profile withn a talent or task domain, and use portfolios to document students' creative efforts.

8. Use group tests carefully.

9. Develop a written plan.

10. Build a data base.

11. C0mbir.e dinical [qualitative] and statistical (quantitative] analyses

12. Don't settle for decisions you can't defend.

13. Retain flexibility about decisions.

Sotlrcre: Treffinger, D. J. (1980). The progress and potential of identikng creative talent among gifted and talented students. Journal of Creative Behmior, 14,20-34.

.

Characteristics

Within their Context

COCO: Components of Creative Productivity

(Treff inger, 1 991)

Characteristics Level: "How creative are you?" (Personal and Cognitive) - Style: "How are you creative?" Motivation (Intrinsic and Exbinsic) Metacognitive skills (linked to Operations) Freedom from internal bIocks (l; nked to Context and Operations) Self Confidence

Context * Internal blocks to creativity (tinked

to Characteristics and Operations) -skatepc -perceptual . -value: %elf-concept External barriers to creativity (Organiza liond cul lure, climate, and environment; leadership) Group dynamics, teamwork, and collaboration (linked to Operations).

Operations Diverging-. . generating options Converging- anal yzing. refining, and choosing options.

Defining. formulating. and soIving problems. Making complex choices and decisions. sfetacognitive skills (linked to Characteristics). Coilaboration and teamwork strategies.

Outcomes Novelpj Resolution Elaboration and Synthesis Goai-setting and vision Balance of quality and innovation

Some Personal Characteristics Associated with Creativity

Thinks of many ideas in everyday situations. Uses materials in unexpected ways. Looks at things from different points of view (varied perspectives). Sees unique or unusual possibilities. Refines ideas or ads details to make ideas more complex and interesting. May be seen by others as a risk-taker. Prefers and trusts own judgments and evaluations to those of others. (Can lead to resentment by others!) Sensitive to paradoxes, inequities or injustices, unusual events. Synthesizes: draws ideas from many sources, integrates ideas, makes patterns. Alert to transformations or ways to combine, modify ideas. Often a sharp, accurate, caustic wit. Non-conforming, but not necessarily deliberately so. High energy level for preferred tasks. Alert, aware, sensitive- often notices things that go unseen by others. Preference for complexity. Spontaneous in expressing ideas, emotions, reactions. Curious, exploring, playful, adventurous in spirit; enjoys toying with objects, ideas. imaginative, rich use of imagery. Strongly motivated to achieve in situations calling for independence. Eager to communicate ideas and accomplishments to audiences. More concerned with expression (using tasks or requirements as a springboard for own ideas) than with completing tasks or requirements set .5y others. Actively seeks opportunities to be creative. Suspends judgment about new possibilities. Affirmative, constructive in approach to new ideasar directions for problem solving. Easily bored by low level or routine tasks, may drift off into own thoughts. Intuitive in perceiving or gethering data.

Four Elements of Creative Thinking

Fluency

Flexibility

Originality

Elaboration

Generating a number of possibilities; emphasis on quantity- "Many" ideas!

Producing different hnds of ideas; shifting or changing one's point of view- "Variedff ideas!

Producing novel or unique ideas; focus on "Unusual" ideas!

Making ideas richer, more interesting, or more complete; emphasis on "Add- ing Details" to ideas!

Based on the pioneering contributions of E. Paul Torrance anf J. F! Guilford

\ Those W e Create Inside Ourselves I

I External Blocks and Barriers- \ U

Exploring the Climate For Creativity (Based on Research by G. Ekvalt)

Use this informal exercise only to probe your own thoughts and feelings about the climate for creativity and innovation in your organization. (This is not an assessment instrument!)

I. Challenge and Motivation. The extent to whch people who work here enjoy what they do, and view their work as meaningful and stimulating.

1-2--"-7d9-10

2. Freedom. The extent to which staff members perceive that there is room for individual initiative in their work in this school.

3. Idea Support. People are encouraged to take initiative and are supported when sharing new ideas.

4. Trust and Openness. The environmerit of the school is characterized by open communication and trust.

5. Livefiness and Dynamism. There is an exciting atmosphere, in which many things are going on.

1-2-"-1&7-9-10

6. PlayfuIness and Humor. The atmosphere is informal and allows people to show their sense of humor.

F 1 - 2 - r l + C 7-9-10

7. Debates. The climate provides for open sharing and discussion of new ideas.

1-7-5 7 9 - 1 0

8. Conflicts. There are power struggles and persond differences in the organization. [High scores on this dimension can irhbit c~eativity and innovation; Iower scores characterize a dimate that is conducive to creativi ty.1

9. Risk-Taking. The environment is actian-oriented, and is responsive and encouraging of new and uncertain ideas.

10. Idea Time. The pace of work provides flexibility and opportunities to develop new ideas.

Dimensions of Creativity in Products

The extent to which a product demonstrates newness- new processes, techruques, materials, or concepts; new products in or out of the fieId; and the effect of the product on future creative efforts Novelty indudes three of the 14 general criteria:

Originality. The product is uncommody found or observed in the everyday course of things; sta tist-ically infrequent or unusuai

Germinal, The likelihood of suggesting additional creative products in the future

Transfomational. The extent to which the product forces others to shift their thinking or look at things in a totally new and different way ["Things won't ever be the same again because of ths.. ."l

The extent to which there is a c o ~ e s s , completeness, or "rightness" about the idea or product, so that the produd clearly "fits" or fills the need it was intended to address. Resolution indudes five of the 14 general criteria:

Adequate. How well the product answers the needs of the situation- does it respond to mar@ of the needs?

Appropriate. The product makes sense and is relevant to the challenge

Logical. The extent to which the product follows the accepted and understood rules for the discipline or universe in which it operates

UsefuL The product has dear, prarticd appiications

Valuable. The product is deemed worthy by users, listeners, viewers, or consumers

ELABORATION AND SYNTHESlS

The degree to which the product combines unlike elements into a refined, well-developed, or coher- ent whole. Resolution includes six of the 14 general criteria:

Attractive. The product commands the attention of, and appeals to, the intended audience.

CompIex. The product or solution contains many eIernents at one or more levels.

Elegant. The product or solution is expressed in a refined, understated way.

, Expressive, The product is presented in a way that promotes communication or makes the solution easy to understand.

Organic. Thy prodttct has . a . sense of completeness or wholeness. - Well-Crafted. The product has been worked and reworked with care, to develop it to the

highest possibIe level for that p i n t in time.

Source: Besemer, S. & Treffinger, D. (1983).

Calls for students to demonstrate performance on an authentic task.

I Emphasizes use and application

I more than just acquisition and recall.

I Involves tasks similar to those I I students will encounter in real life. I 1 Perceived by students (and by the

adult world) as meaningful and worth doing.

Assessment and Instruction-

In Search of

Connections .'l

Context: Climate and Physical Setting for Learning

hletacogni tion

, -

Personal Charactersties (Cognitive and Affective)

Problem Solving

. Independent Projects (Individual or Group) , '

\ / \ /' '. 0'

Foundations Redistic Tasks

O 1998, Center for Creative Learning. Source: Treffinger & Feldhusen, Planningfbr Productive Thinking and barnin8

Real Flying an airplane.

1

Realistic Being in a flight simulator.

Artificial Viewing a movie in which you watch someone flying an airplane.

Level of Teaching and Process Learning Outcome Dimensions

Evaluation Implications

Learn and Direct instruction Use Basic ("Teaching") ' ~ o o l s " Learner receives,

masters, applies [Desirable: teaching for transfer to content. 1

Mastery of tools; Ability to use tools in more than one area

[Tests, Rating Scales, or Check Lists.]

Learn and Collaborative work; Performance Practice Group involvement demonstrations Complex Leadership by Case Studies Process[es) teacher . Simulations

[Cooperative or Scenarios collaborative skills, Practice Problems guided by teacher. ] Computer-based

(interactive)

V%%:al Student-directed Portfolio eEorts -written

Problems (Individual or -work or product and groups) samples Challenges [Facilitation] -prototypes or

models -videos, slides, or tapes

- .-"testimonials"

Learning and Evaluation Dimensions of the Creative Learning Model O 1994, Center for Creative Learning; reproduced by permission

U . . . . = Primary Assessment or Evaluation Approach at Each Level

Assessment or

Evaluation Approach

Tests

ance Tasks

Portfolio

. .

Assessment and Evaluation within the Creative Learning Model Source: Trefiger & Cross (1994 In press)

O 1994, Center for Creative Learuing; reproduced by permission *

Level of Creative Learning Model Level m:

Real Problems

Not recommended.

kvef X: Basic Toolsw

. . . . . . . : : . . : : ...:: :* ..: :::.:.:..:.:::- . ...................................... . : . . . ~ 4 - f bi ii ;iii . . . . . . . . . . . . . . ..................... i G& i ~ f ~ p r & ~ ~ ~ ~ i j i . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

g&- Slb& i i i ii . . . . . . . . . . . . . . . . . . . . . . . . . . . . _,__. . . . t-w{eig . :: eeakv+$: t . &i&&a;2hi*::: : i : . . , - *'*g):; - _ . . . . . . . . . . _ _ _ . . . . - . . . . . - . . . ..................... . . . . . . . . . . . . . . . . . .c::.: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .I.:.:..:: ............................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Level If: LeardPmctice P m e

~ ~ ~ d d choice responses to assess process ski]Is may beuseful.

. . . . : ................................~. Tasks of brief scope and duration (e.g., uevents tasks) can yield information relating skiu proficiency with basic tools.

Might include documentation of applications of specific tools or strategies in particular contexts.

-. -

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ~~W@~~$$&&y&~;~!j;~; . . . . Edended tasks or . . . . . . . . . . . . . . . . . . . . . . . . . . ji$&&i@ijbe&$ed . . . . . . . . . . . . . . . . . . . . 6a j ~ $ % & : & g ~ e . S........... ......................... ; j ~ & 1 $ 3 j f i p e y ~ ! i f ................................... iifbw~&i{&g:i:i:i;iii:i - . . . . . . . . . . . . . r y:::..:.::. . . . . . . . . . . . . . . : . : *eh-Mbg ; ;; ; ;: :: . . . . . r . . - . - . ... .:. . .+:.:.::: . . a . . . ; .:.... . . . . . . . . :: $+*@..g i;; * . . . . . . . . . . . . . ......................................

Might include documentation of involvement in competitions, contests, or ;&&$++&;i;e:g~~:~ . . . . . . . . . . . . , -

structured pro- ::ii;hk16ag:i:cii;:ii:i;iii;: . . . . t... . . . . . . . . . ............ . . ::::;:::::::::::::::::::::::::::::::: grams. . . :,:.:.:.I. ;*:.:.:-:.:.:.;-:.:.: ................................... - . . ................................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .................... . . . . . . .

- -

Publishers of Creativity Assessment Instruments

IMPORTANT NOTE! This list is provided for professional use ody. Creativity assessment instruments should be employed only by individuals with appropriate training and experience, who can assess their reliability, validity, and usefulness in a particular setling, and who can properly super- vise all test admnistration, scoring, and interpretation. Creativity assessment instruments sl~ould not be used as practjce exercises or demonstration items. Inclusion of instruments on this list does not imply any recommendation or endorsement as to their validity or appropriateness for any specific age group or assessment purpose.

BIOGRAPHICAL INVENTORY, FORM U (C. Taylor & R. Ellison)

Institute tor Behavioral Research on Creativity

1570 South 11th East Sai t Lake City, UT 84105

CREAnViTY TESTS FOR CHILDREN 0. P. Guilford)

Sheridan Psychological Services Inc. Beverly Mills, CA 90213

WTENA-TORRANCE C R E A M PERCEPTION INVENTORY Cf. Khatena & E. Torrance)

Scholastic Testing Service 480 Meyer Rd. Bensenviile, IL fXl106

SCALES FOR RATING BEHAVIORAL CHARACTERISTICS OF SUPERIOR SlWDENTS 0. R e m l l i & Others)

.. Creative Learning Ress P.0. Box 320 Mansfield Center, CT 06250

ASSESSING CPS PERFORMANCE (D. Treffinger)

Center for Creative Lcming, Inc. P. 0. Sox 3736 Sarasota, FL 34230-3736

GIFT / GIWI / PRIDE ( S . Rimm & G. Davis) Educational Assessments Service, Inc. Route l , Box 139A Watertown. W1 53094

TORRANCE TESTS OF CREATIVE TWINKING (E. F. Torrance) Scholastic Testing Service 480 Meyer Rd. Bensenville, IL M1106

SO1 ASSESSMENT RESOURCES (Based on Guilford's model; Dr. Mary Meeker} S01 institute 45755 Good Pasturr Rd. Wda, OR 974%

THINKING CREATIVELY WilT-3 SOUNDS AND WORDS (E. P. Torrance, B, Cunnington, J. Khatena) Scholastic Testing Service 4$U Meyer Rd. Bensenville., IL 60106

THLNKZNG CREATIVELY IN ACTTON A N D MOVEMENT (E. P. Torrance)

Scholastic Testing Service 480 Meyer Rd. Bensenvilie, IL 601%

Productive Thinking Skills Check List

Name of Student Date

In what settings or situations do you observe this student's critical thinking and problem solving efforts?

What are some specific strengths (Mark S) or limitations (Mark L) that you have seen in this student's creative thinking?

V e r b a l Fluency (thinking of many ideas using words or language) Figural Fluency (thinking of many ideas using pictures or images) - Verbal Fiexibility (thinking of different or varied ideas with words) F i g u r a l Flexibility (thinking of different or varied pictures or images) V e r b a l Originality (using words to think of new, unusual, or unique ideas) - figurai Originality (using pictures or images to think of new, unusual, or unique ideas) V e r b a l Elaboration (refines ideas and adds details using words)

Figural Elaboration (refines pictures and images with details) Recognizes many, varied, or unusuai implications of options

Uses ideachecklisting strategies (e.g., SCAMPER) to search for options M a k e s transformations of data or possibilities

Makes connections effectively using random objects or using analogy or metaphor M o n i t o r s own use of diverging processes and strategies effectively

Knows and uses deferred judgment principle O t h e r : (Give examples):

What are some specific strengths (Mark S) cr limitations (Mark L) that you have seen in this student's critical thinking?

Recogn i zes or makes inferences readily and accurately Analyses arguments fairly, carefully, and thoughth~lly

R e a c h e s sound conclusions and uses deductive reasoning effectively Genera l izes and uses inductive reasoning effectively Recognizes propaganda or persuasion techniques Understands information and uses it independentty G i v e s logical reasons or justifications for decisions U s e s anatogy, comparing and contrasting effectively S e e k s evidence and uses it skillfully Categor izes or clusters options effectively into meaningfui groups R a n k orders or prioritizes options or alternatives effectively F o r m u l a t e s appropriate criteria and uses them constntciively to evaluate options M o n i t o r s own use of converging processes and strategies effectively K n o w s and uses affirmative judgment principle O t h e r : (Give examples)

O 1995, Center for Creative Learning

m

Productive Thin king Skills Check List- Page Two

What are some specific strengths (Mark S) or limitations (Mark L) that you have seen in this student's problem solving?

S e e s many opportunities or challenges S e l e c t s an appropriate broad goal or objective E x a m i n e s tasks carefully to determine appropriate methods to use - Determines appropriateness of individual or group effort to solve problems Clar i f ies ownership or clientship for a task or challenge F o r m u l a t e s general goal as a broad, brief, and beneficial 'Mess" statement C o n s i d e r s and uses many sources of data -identifies most important areas of data F o r m u l a t e s many possible problem statements -Gonstructs problem statements that invite many ideas S e l e c t s problem statement with Idea-Finding potential G e n e r a t e s many ideas for a problem statement -Selects promising ideas S e l e c t s appropriate strategies for analyzing, developing, or refining promising ideas -Applies idea development or selection strategies effectivefy Ant ic ipates possible sources of assistance or resistance -Plans for successful implementation of solutions .

-Develops a specific Plan of Action and ways to carry it out. -Anaiyzes, describes, monitors, and modifies own problem solving efforts effectively -Other (Give examples)

IV. Give at least two specific illustrations or examples of the student's typical performance in critical thinking, creative thinking, and problem solving efforts. Describe as completely as possible situations in which you have observed the student's thinking skills. Include any -relevant information about the student's products or accomptishments.

Metacognitive Skills for Productive Thinking

Productive thinkers are competent, confident, and committed as they think aeatively and critically, solve problems, and make decisions. In each of these "three C's" there are several important metacognitive skilIs. These are skills students need and use (independently and as members of a p u p ) to plan their productive thnking efforts, monitor and manage their strategies and results as they proceed, modify their behavior as necessary and communicate about their thinking.

Competence

Knows content or task domain; Knows productive thinking processes (strategies and underlying concepts and principles; how and when to use strategies, individually or in groups); Knows and appIies the language or vocabulary of productive thinking; Attends and focuses; deliberately reviews and andyzes tasks (task demands and constraints; data; new possibilities; ui teria and actions); Uses efficient memory strategies; Applies strong processing techniques (mental pictures, words, ernoti~r~s; physical sensations); M o ~ t o r s performance and choices; knows how, when to revise or adjust; Engages in strong organizing efforts; Integrates processes and cor.: mt in learning and in many life situations.

Confidence

Believes in effectiveness of processes or methods; Believes in self as a fadlitator; FeeIs empowered by productive thinking skills; Able to change course or redirect with being threatened; Comfortable with strategies and language of process; Recognizes needs and opportunities for producive thinking; Uses power thinking and affirmations ("I can!"); Applies goal-setting and benchmarking; Aware of obstades and ways to avoid or overcome them; Predicts and anticipates successfd outcomes; Views situations as opportunities and chalIenges; Knows own strengths and style and how to make best use of them.

Competence

Immerses self in important concerns; passion; Takes ownership (responsibility for. and intent to take, action); Shows initiative; actively seeks opportunities to apply productive thinking;

'

Demonstrates belief in, and regular use of, productive thnlung processes; Shives for completeness of understanding and continues to work toward that goal; Judges r e d ts accurately and honestly; Engages in "debriefing" and continues to study, learn, and improve; Seeks others with whom to Iearn and share (as colleagues and in mentoring relationships).

Note. This materid is excerpted from: Treffinger, D. J. & Cross, Jr., J. A. (1994). Professional dmelop- men t module: Authentic assessment of productive thinking. !Field T'f Edition 1. Contact the Cer~ter for more information about this module or other titles in our Professional Development ,Modules series.

Types of Performance Tasks

Short Tasks. Open-ended tasks that assess the student's performance on procedures or thinking skills in a specific context.

-Engage or capture attention -Provide initial stimulus --May indude additional data (or

"scaffoIding") such as key concepts or explicit performance criteria.

Expanded Objective Questions. These are multiple choice tasks that build on a given set of data and ask students to engage in higher level thinlung to choose the best response. They may also ask students to explain or justify their responses.

Free Response Tasks, Provide an engaging, open-ended situation, and ask student to plan, construct, and communicate an original response.

Event Tasks, Similar to Free Response, but often presented for a group or team to work on collaboratively. May require extended working time, under realistic circumstances.

Extended Performance Tasks. Long-term projects, whch may involve multiple goals and skills, for individuals, groups, or teams. There may be several intermediate checkpoints or milestones en route to the final products or results, with opportunities for developmental feedback, discussion, and revision. They may vary in scope and magnitude, and may be contrived or realistic (as in simulation experiences) or real (as in internshps or field-based projects).

Source: Treffinger & Cross (1994).

The Thinking Tools Record

Name Group

' Diverging Tools 1 Presented

Brainstorming

Brainwriting

Attribute List.

Practice

Forced Re1

Direct Analogy

Personal Analogy

SCAMPER

Morphology

Visual Force Fit

Slip Writing I I

Individual Record-Uses Level One Tools

Name Susan

DIVERGING TOOLS

Brain- Brain- Attribute Forced SCAMPER Morphology storming Writing Listing Relationship

9/3 9/10

CONVERGING TOOLS

Compare & Inferences & Judging Hits & ALU . criterion Contrast Deductions Relev. Data Hot Spots Matri X

9/3

Diverging Tools- Group Record Sheet

A&ia

Pat

Chris

Jose

Defers judgment

8/29

8/29

8/29

8/29

Uses Brain-

storming

8/30

8/3 0

Brain- storms

Post-i ts@

9 / 1

9/1

Uses Brain- writing

Uses SCAMPER

New Approaches To Scoring Tasks

Rubric. An established set of criteria to score or rate a performance, project, or portfolio. It describes the kinds or levels of performance that will be expected in relation to a standard of achievement. The descriptors in the rubric tell the evaluator what to look for in a response or product. They help the rater place the student's work along a predetermined scale.

Example: "Drawing Conclusions"

Points Descri ptors- Characteristics 3 Draws a conclusion supported by data, and

gives supporting evidence 2 Draws a conclusion supported by data, but

does not give supporting evidence 1 Draws a conclusion that is not (or is only

partially) supported by evidence 0 Fails to draw any conclusion

May also include Benchmarks- concrete examples or samples at each level.

* . -

Sample Rubric: Brainstorming

3 Searches open for many, varied, and unusual possibilities; defers judgment.

2 Separates idea generation from evaluation (defers judgment), but generates only a limited number of possibilities.

1 Generates one option at a time, stopping to judge or evaluate each possibility, and generates only a limited number of possibilities.

0 Thinks immediately of an option, with no divergence, and accepts it; criticizes other ideas and rejects need for more options.

Sample Rubric: Using Criteria To Analyze Options

3 Formulates appropriate criteria, applies them systematicaIly to options, and considers ways to overcome possible limitations, to combine appealing possibilities, or produce new options.

2 States appropriate criteria for analyzing options and applies them in a 'mechanicar way to rank or rate the options, focusing only on finding "the best idea."

1 Lists several options then judges them, stating reasons for accepting or rejecting them, without formulating criteria explicitly or applying criteria systematically.

0 Declares any option "good" or "badm (accepts or rejects) with no evidence of criteria, justification, or systematic analysis.

-

Bookish Way-

1. How much would it cost you to purchase the items on your shopping list at Store A?

2. How much would it cost you to purchase the items on your shopping list at Store 8?

3. At which store would you spend less money?

4. How much money would you save there?

Adding a little "pizzaz.. . 71

Price at Store B l te m

Give the students ads from two different grocery stores, and a "shopping list." (Make sure all the items on the lists are in both ads!) Then proceed as above. +

-

Price at Store A

Variations: Longer list of products; varied shopping lists for individuals or groups; vary the quantities; "Get everything on your list without spending more than [xx] dollars."

p- - --

Increase the Challenge-

* Vary quantities of items, so students must use both multiplication and addition. Bring the use of coupons into the task, at one or both stores, to influence calculation and planning required and to influence comparison of stores.

For more productive thinking-

Monitor prices on several items at two different stores, for a period of 6-8 weeks. Does one store offer consistently lower prices? Compare prices on advertised specials versus regular prices of other items. When one store shows its prices to be lower by showing a list and comparing it to another, does that mean a l l their prices are lower?

For even more "stretch," consider a project such as-

" Work as a pair [or in teams of 3 or 41 to determine which of two stores is a better place to shop. Prepare and present to the class a r e ~ o r t on your findings."

Reports must include:

What criteria were used by the team? What data were obtained, and how? Include some data presentation in graphic format Make recommendations, and show how they are (or are not!) based on your results List the members of your team, and what each person's role was.

Group Task: Design a New Park There has been considerable interest in your town in converting an empty lot into a new neighborhood park. You have been appointed to a committee to study the concept. Your task is to consider the possible design and development plan for such a park, and to make recommendations to the Town Council regarding the proposed park.

1. Some people have already expressed interest in things that might be included in the park. Their suggestions include:

a. Playground equipment for children b. A pond, with a small bridge and fish c. A small zoo d. Picnic tables with barbeque grills e. A community floral garden f. Tennis and basketball courts g. A swimming poo! h. Hiking or walking trails i. Marked nature trail j. Bicycle paths k. A small concert or performance area or stage I. Concession stands m. A sports field with bleachers

- 2:Develop a drawing of your committee's proposal, and be prepared to support it with a detailed rationale, a statement of the-criteria you considered in developing your rationale, a drawing of the proposed park, and a proposed budget.

Cost Unit Quantity Total Cost

Rope $1 per 10'

Bricks $1 each

Sand $I cubic ft.

Plants and Shrubs

Trash Barrels

Benches (6' long)

Old telephone poles (l 0' long)

\n/ire Asphalt pavement (4' wide)

Picnic Tables with two benches

Community garden plot and seedlings

Animals Fish

Small Animals

Large Animals

Drinking Fountains

Pond I

$1 U

$1 5

$1 5

$25

$30

$50

$50

$50

$1 0

$20

$1 00

$75

$100

each

each

each

each

' 6 run. f t .

3 run. ft.

each

10' X 10'

each

each

each

each

each

1 $1 00 per item

Bike racks $1 50 each

Barbeques $1 50 each

Public Telescope $400 each

Bleachers (Grandstand)

Bridge 1 Booths or FoodtRefreshment Stands

$750

$1200

$700

each

each

each --p

Waterfalls or Decorative Fountains

h Swimming Pooi

Other (list)

Other (list)

S 0 0

$8500

each

each

Section Three: Profiling

Creative Talents

We should not ask, "How gifted [creative] is

9 T 9 this person.

A profile is NOT an aggregation of several

independent data sources to yield an

overall index or categorization of a

person!

1 Instead ... h A profile should be a vehicle to help identify the person's strengths or talents

For a particular task or goal; . .

In a certain setting;

Under particular circumstances.

Profiling refers to the development of a multi-dimensional framework to help understand, predict, and facilitate performance in a meaningful or valued domain (worthwhle outcome).

Source: Isaksen, ficcio, & Treffinger (1993).

The profile should help us plan how best to ... Create meaningful and effective instructional experiences;

Help people understand, recognize, or identify their talents, and "spot" emerging or developing strengths;

Know and teach through the student's strengths, interests, and talents; .

Guide people in learning how to use their talents autonomously;

Build bridges between past and future learning experiences;

Involve students actively in learning;

Recognize and respond to "gaps" between student needs and present instructior~al program or services.

63 1994 Center for Creative Learning. Reproduced by permission from ~re f f in~er and Cross (1994)

The profiling framework takes into account a constellation of:

Characteristics -Cognitive -Metacognitive -Personality and Sty Ies -Interest Data or Inventories

Dimensions of the Situation -Culture -Climate

History and Experiences -Test data (especially criterion-referenced) -Biographical data -Transferable process skills -Ratings, Observations, References -Prior evaluations or grades

Elements of * e Task

Product or Outcome Qualities

Data from one's current Portfolio

O 1994 Center for Creative Learning. Reproduced by permission from Treffinger and Cross (1994)

[ Context Places Settings Situations

Culture Climate

Time R'esources Expectations Support

r

Outcomes Goals, aspirations Expectations and

constraints regarding the task requirements

Perceptions of the outcome (desired or expected)

\

Giftedness

Creative Productivity

( Operations / Characteristics I Process strategies

available Metacognitive

skills Other transferable

skills (e.g, writing, computer)

Domain-specific knowledge "Expertisev- Level of creative and critical

thinking ability Experiences and achievements Personality Style Intrinsic Motivation or Task

Commitment Interests, Talents Personal blocks or baniers L d


INDMDUALIZED PROGRAMMING PROFILE

Student Age Grade Date

School Catalyst Teacher Classroom Teacher(s)

Important Student Characteristics Task and Environment Dimensions

Data Sources ~ t , i ~ ~ t ~ 1 I S w a l Talents b

Creativity Lesnlw 1 and In te rm Expalam &S I

Test Data l I I I l I I I I I I I

Ratings I I I

1 I I I l l 1 ask Motlvatlon

w Comrnltmsnt

Self- or Peer- I I I

Reports I I I I 1 I l I I

Speclflc Climate or Context Considerations

Obsenrations I l I and Products I I I

t I I

How do these data influence your plannlng for specfic tasks or lnstructlonal goals?

Student Creative Strengths Profile

Name D*

The purpose of th is profile is to assist you in taking stock d a student's creative strengths. It is NOT designed to label, stereotype, or make judgments about the student (e.g., you are not trying to determine whether the student is "high, average, or l o g in creativity). Use it to help guide instructional plaTming, and to seek ways to bring out the best in your students!

Directions. For each section, record any relevant test scores, ratings, or other data that have given you information about some relevant aspects of the student's creative talents, strengths and needs. Feel free to include any information that is drawn from your own experiences and accomplishments, or from your interactions with mentors or others who have worked with the student. Do& worry a b u t whether everything is in the LL~rrecPplace , Use the data to help gain a better undershdirtg of the student! .

I. CREATIVE TBWEUNG ABILITIES, In th is section. you should record information about verbal or figural creative thinking dimensions: fluency, flexibility, originality, and elaboration.

Data

Summarize briefly the student's strength in this area, and h w you can build upon them:

O 1992, Center for Creative Learning, Reproduced By Permission

-El

D. PERSONAL CIURA-RTSTICS. h this section, record information about the student's personal characteristics and learning style preferences.

Data

I

Strmmnrize briefly .?h student's strength in this area, azld how you can build upon them-

UI. PROCESS STRENGTHS. In this section, record infamation about the student's strengths related to strategies or techniques for mauve and critical thinking. What speci15c strategies does the student know and can the student apply?

Data

l I

&.murmrke bnPfZy the student's strengths in this area, and hour you can buzZd upon them:

PRODUCT EXPERIENCES. In t h i s section, record information about the student's accomplishments and creative products. hdude idormation from inventories or checklists as well as specific reports or documentation of actual products you know the student has created.

Data

Summarize briefly the students strengths in this m a , and how you can build upon them:

V. SPECXFIC AREAS OF INTEREST. In t h s section, record information about the general areas or specific topics in which you know the student would Like to pursue creative projects. Use data h m interest assessments as wall as any new or additional anecdotal or obsenrational data you can provide.

Data

Summarize briefly the student's strengths i~ this area, and how you can build upon them:

W. ENVIRONMENT AND CIJMA!TE CONSIDERATIONS. In this s d o n , record information about the environment or working conditions in which t h i s student works best (whether individually or as part of a group).

Data

Summarize briefly the student's strengths in this area, and how you can bui2d upon them:

VII. -R FACTORS. This section alIows yoa to enter any other infarmation that you believe will help you to get a better, more complete. or more accurate understanding of the student's personal creative skius, strengths, talents, or needs.

Data

SummTue briefly the studenfs strengths in this area, and how you can build upon then:

NEXT STEPS: Use these data to develop a specific instructional plan. How will you build on this student's creative strengths in order to enhance, extend, and expand learning opportunities for herfim?

section pour: Portfolios for

Documenting Creative Accomplishments

Authentically

What is a Portfolio?

A portfolio is a student's unique, personal, and meaningful way of documenting h s or her work and accomplishments

witlun a domain or task area

for a particular purpose

at a certain time

for a particular audience.


Goals and Purposes of Portfolios. .. Show authentic achievements Help students see their own progress (achievements, productivity, growth) over time Enable teachers to assess complex outcomes and applications Show parents how their children are developing Confirm (or contradict) other evidence, such as achievement test scores Emphasize and support the need forf and value of, assessing growth. and achievement over longer periods Helping students learn to "chart their own course" for future learning activities Verifying one's own progress, efforts, and outcomes Communicating to others about one's own creative productivity Providing an opportunity to share and celebrate one's efforts and work

O 1994 Center for Creative Learning. Reproduced by permission horn Treffinger and Cross (1994)

Portfolios Are.. . Important ways to document and assess authentic (real-world and higher-level) learning outcomes- for which traditional tests are usually inadequate.

Not substitutes for other kinds of evidence or assessments.

Complex and messy for the teacher, the student, and the reviewers- but they ought to be! No one should be tricked into believing that authentic tasks should be "quick and easy" to assess.

Learning and empowering experiences for students, helping students to assess their own work, progress, and accomplishments and to set their own future goals.

Targeted or focused, not "all purpose" characterizations of the student. They are urdque and personal ways for students to communicate a specific message to a certain audience, at a certain time.


What Might Portfolios Include?

Products or work samples (completed or in progress; dated!) Testimonials Evaluations, by oneself or others, of one's work or products Biographical res&rces, journal or diary entries or excerpts

I

("M;, in progress") Documentation of par ticbation activities or specifik eve&s ~ecognitions,'~onors, Prizes, or Awards for one's work External reviews or evaluations of one's work, growth, or accomplishments Visual documentation of work completed or in progress (models, prototypes, photographs, videotapes) Audio cassettes Scrapbooks- media reports or clippings Other items, selected by the student, for a svecihc DurDose or need


Assembling a Portfolio 1. Know why you're creating it. Identify

your purpose(s) and audience(s).

2. Determine what will be best to include- -"Best" work? -"Tv~ical" work?

J I

-Work showing change or growth?

3. Consider various ways to assemble the data, to display or present it, and to convey your intended purpose(s) to your audience(s).

4. Provide "help" for the viewer -or reviewer as appropriate for the context. -Table of contents -Labels or Legends

-Self- or Assessor Forms or Ratings

0 1994 Center for Creative Learning. Reproduced by permission from Treffinger and Cross (1994)

Portfolios.. . Some Key Questions

Who makes decisions about the development and uses of vortfolios?

1

Are the intended purposes appropriate for portfolio assessment? what will be included? How much should be included? What constraints or requirements will be stipulated? How will the ~ortfolios be used? If the portfoliAs are to be assessed- -What components will be assessed? -By whom? -Using what criteria? -How will reliability be assured? Who will hear about the results? Why? How will the results be communicated? What provisions are made for revision or reassessment? How will portfolio assessments be related to other assessment criteria or procedures?

G3 1994 Center for Creative Learning. Reproduced by permission from Treffinger and Cross (1994)

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