Torrance Journal for Applied Creativity

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Book Review by Elaine S. Wiener Creativity for Everybody Kathryn P. Haydon and Jane Harvey This is a playful book—a little book—a joyful book! And since this is the 100th year of the birth of the monumental E. Paul Torrance, it seems appropriate to call this book Creativity for Everybody. Each page pops with original ways to express what it says. The authors want the readers to be comfortable with their own creativity. “Do you realize that creativity is one of your prime superpowers?” the writers ask (p. 7). I expected a Shazam to follow. “The simple awareness of what creativity actually means can be transformative. It can help you navigate obstacles, enhance your relationships, and connect you to your purpose, whether at home, work, or school” (p. 7). And that sets the tone for the rest of the book because, obviously, we stop ourselves from being creative. Kathryn P. Haydon and Jane Harvey teach us how to be free! While talking about creativity, each page communicates its message in innovative ways. Pictures and drawings, important sentences in red, secret messages along the edge of the page in small print and written up the side all want us to be kids on a scavenger hunt. • Openness “Maintaining an open mind leads to creative insights” (p. 33). • Inquiry “To do this, we have to be aware of how we ask questions” (p. 35). • People “People are part of our ecosystem, and oftentimes they can be biased against creativity” (p. 49). A section called Dig Deeper (pp. 70-81) has a list of the finest books about creativity. I’m sure that looking up Creativity on Google would provide a huge list, but I would be content with what Haydon and Harvey call “endnotes.” In this year of celebrating Dr. E. Paul Torrance’s birth, this little book, Creativity for Everyone would be a sparkling gift! Many subtitles tempt us into further reading: • Creativity is Shifting Perspective “Creativity is the ability to think differently” (p. 13). • Creativity is Freedom “The more choices we have, the freer we are” (p. 19). • Creativity is Personal “In order to survive and thrive, we need to start with what we have” (p. 23). • Characteristics “Individual creativity is unique. Many of the qualities are part of all of us, but some shine brighter or flicker at different pulses” (p. 27). • Practicing Creativity “Curiosity involves a sense of wonder, exploration, searching, and inquiry” (p. 31). Creativity for Everybody Kathryn P. Haydon and Jane Harvey (2015) Sparkitivity, LLC and Jane Harvey paperback, $13.95, 81 pp ISBN: 978-0-9963856-9-5 Elaine S. Wiener has taught gifted children in Garden Grove unified School district most of her career. She has served on the Board of Directors of the California Association for the Gifted (CAG) and as Associate Editor for the Gifted Education Communicator. Elaine has contributed numerous articles for this widely respected publication and continues to write book reviews, sidebars and her column (Carpe Diem). She received CAG’s Award of Recognition in 2004. 17elaine@att.net 181
Midwest Torrance Center for Creativity a Northern Illinois University partner Creative Writing Visual Arts Music Composition Inventions 2016 International Torrance Legacy Creativity Awards Students are invited to submit their finest creative work to help celebrate the great legacy of educator and creativity pioneer, Dr. E. Paul Torrance, author of more than 1,800 articles, books, and tests. Submissions Accepted: January 1-August 20, 2016 | Students ages 8-18 Themes: Students are encouraged to interpret freely these themes. The Honor and The Glory A Grateful Heart What A Mystery! Couldn’t Help Laughing Journey to Forever A Reluctant Adventure Who Would’ve Thought Exploring a New Universe Creative Writing Music Composition Poetry and the Short Story Creative writers may submit one poem and/or one story, responding to any one of our six themes. There is no prescribed word limit for poems; there is, however, a 1,250 word limit for stories. Students may find “Tips for Writers” supportive of their original ideas and expression (see website). Contact: Joan Franklin Smutny - (847) 256-1220 www.centerforgifted.org torrancewriting@centerforgifted.org Visual Arts Students may submit photographs of any 2D or 3D visual art, including without limitation painting, collage, printmaking, photography, sculpture, ceramics, or other related work. Please note that you must submit a photographic representation of your work of art. Each student may submit only one submission for the category of 2D or 3D art or both. Contact: Stephen Schroth ~ (410) 704-4292 or (240) 467-7160 www.centerforgifted.org torrancevisualarts@centerforgifted.org Students may submit original musical compositions for any solo instrument or any combination of instruments or voice (e.g., solo piano, multiple instruments, voice and accompaniment, vocal duet). All submissions must include a recording of the composition and a score. All materials must be submitted on a CD/DVD to: Edwin C. Selby, Center for Creative Learning P.O. Box 258 Branchville, NJ 07826 Contact: Edwin C. Selby - (973) 948-9201 www.centerforgifted.org ecselby@me.com Inventions Categories: Arts and Leisure; Science and Engineering; Toys and Games. Write a 300-500 word description and include 3D drawings or photos of all aspects of the invention. One invention accepted per category. Contact: Connie Phelps ~ (620) 341-5817 www.emporia.edu/gpc-gifted/ cphelps@emporia.edu Sponsors: National Association for Gifted Children (NAGC); Creativity Network, NAGC; Torrance Center for Creativity and Talent Development, The University of Georgia; Great Plains Center for Gifted Studies, Emporia State University; Future Problem Solving Program International; Center for Creative Learning; and Midwest Torrance Center for Creativity/The Center for Gifted
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Torrance Journal for Applied Creati
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Table of Contents Preface Joan Fran
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Torrance Journal Advisory Board Cyn
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Bonnie Cramond E. Paul Torrance, th
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The TTCT also gave educators a way
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this emphasis may be seen in what K
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Students participating in the year-
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The Man So much of Torrance the man
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References Cramond, B., Matthews-Mo
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How Can Teachers Foster Creativity
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1. What kind of paper money are you
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Little Leaps: Weaving Creativity in
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18 Skill: Enjoy and Use Fantasy •
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References Content: Emancipation Pr
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Creativity Although almost universa
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The Levels of Service approach focu
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Beghetto, R. A., Kaufman, J. C., &
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Over the years, a body of literatur
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keep a climate of openness to stude
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II. Creative Intelligence: Fosterin
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Inspiring Creativity in Teachers to
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These tools provide guidelines to f
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• Journals There are many types o
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The Importance of IQ, MIQ, EQ, HQ &
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the Multiple Intelligences can lead
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Happiness is also a somewhat surpri
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To help parents and educators under
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Question: What if these Q “subjec
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childhood state‐of‐mind—being
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Walt Whitman (1819-92), Master of P
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Krall and Diana Ross. “Lady Day
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Stuart Little by E.B. White: A Tale
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Red Skelton. Great satirist, pantom
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Movie Actors and Actresses Lauren B
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Concept of Synergy as a Major Facto
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Fisher, Maurice D. (2000). Multiple
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The Learner-Directed Studio-Classro
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Borrowing Torrance’s words to pro
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Curious about the degree to which s
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the next few years of the rigor it
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Cerulean Hero by Karen Morse I know
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Purpose of the Study We thought the
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Benefits of Creativity Many student
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III. Models of Creativity: Torrance
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Lessons with No Conclusions: Using
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Table 1: Stage II Information Proce
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Allowing the lesson to trickle over
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Breaking Boundaries When my family
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Stage One: Heightening Anticipation
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TIM (Torrance Incubation Model) in
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nity elders in learning basic horti
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TIM and the Creative Coach: Using t
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Yet, the directive style is so perv
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Table 9:Deepening Expectations Stra
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Table 9: (Continued) Deepening Expe
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Table 10: (Continued) Extending Lea
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The KJ-Ho and The W-shaped Problem
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sentences. This is called the nega-
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References Kawakita J. (1966). Hass
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Connie Phelps Cornerstones in Appli
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dren and adults through games, stor
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References Boyd, N. (n. d.). The th
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precise use of words. Moreover, muc
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Creative Student Catalogs Expect fi
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The following vocabulary represents
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Predicting Adult Innovation Adult c
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creative young men and women who ca
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How can the Maker movement help dev
Page 137 and 138: Drawing While Talking and Thinking:
Page 139 and 140: one’s thinking about school chang
Page 141 and 142: aspects of Thomas and Brown’s (20
Page 143 and 144: Significance In these two studies,
Page 145 and 146: Relevance in the Gifted Classroom-
Page 147 and 148: ideas and conducting a mock public
Page 149 and 150: It’s called the car; and we certa
Page 151 and 152: five creative strengths] are valuab
Page 153 and 154: Creativity and Innovation in an Int
Page 155 and 156: spices, textures, flavors, and sund
Page 157 and 158: Schmid, T. (2005a). Promoting healt
Page 159 and 160: Sylvia B. Rimm The Fashion of Passi
Page 161 and 162: pressures. Now adults have added a
Page 163 and 164: Too High Expectations Lead to Under
Page 165 and 166: Graduation Message I have heard man
Page 167 and 168: Foundation of Psychology The theori
Page 169 and 170: students makes moral dilemmas a use
Page 171 and 172: Seven Ways to Develop or Raise Spir
Page 173 and 174: Studies in Psychology: Promoting Aw
Page 175 and 176: Purpose of the Study This study sou
Page 177 and 178: Excessive Worry. Numerous students
Page 179 and 180: One boy described how both his fath
Page 181 and 182: A Glimpse Into My Clinic: The “As
Page 183 and 184: TV characters just like other child
Page 185 and 186: Thus, Guy was willing not just to c
Page 187: References Bailey, C.L. (2011). An
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Torrance Journal for Applied Creativity

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