The Journal of the World Council for Gifted and Talented Children

Vertical creativity, on the other hand, is more restrained, with small innovative touches making a
difference, for example, within the set limits of a computer program or musical composition.
The relevance of focus is underlined by way of considering what is desirable as an end result
– not in terms of the precise form, for example, a sculpture or new product, but rather the realization
of purpose. Again, Kaufman uses his own experience, this time as a professor teaching psychology
in creative ways. He explains that in one course his focus is to actually initiate creative ideas
(product) while in another teaching the process of creative thinking is more to the point. In either
case, creativity is important but ultimately how he goes about working with his students is
dependent on the needs and expectations of the community.
Given the focus of this journal, Kaufman’s fourth chapter, Where does creativity fit in?
Personality, motivation and intelligence, is so pertinent. Few with any personal or professional
involvement with highly able and creative children can fail to understand the relevance of the
interplay between creativity, personality, motivation and intelligence throughout their lives.
This chapter is thoroughly enjoyable and instructive. Topics covered include the issue of
openness to experience through to testing for creativity, how creativity levels change over a lifetime,
the relationship between intelligence and creativity, the Threshold Theory, Multiple Intelligence, and
intrinsic motivation and productivity.
At risk of revealing story’s end and thus spoiling the story, Kaufman’s final section of this
chapter is headed, “Where creativity fits.” He discusses emotional creativity and how, unlike
emotional intelligence, it relates to creativity itself. He considers the role of thinking styles and how
they might influence an individual’s creativity. Specifically he mentions field independence and how
that may relate more to creativity compared with field dependence. Finally Kaufman gives a
paragraph over to Sternberg’s Theory of Mental Self Government. It proposes that out of the –
inevitable? – three primary functions, i.e. Legislative, Executive and Judicial, those possessed of the
more self-directed legislative mindset are likely more creative.
Chapter Five – “Does creativity have a dark side? A great question! And the answer is?
“Sure,” says Kaufman. But it is hardly surprising that he goes on to say much more. Another
fascinating chapter providing insights into creativity’s links with mental illness, psychiatry and
psychology, alcohol and drug use, the lives of leading figures in the arts and other domains of
human endeavor, research in the field that has explored both positive and negative aspects of
creativity, personality, gender and the likelihood of a poet dying earlier than other writers.
It is hard to avoid mentioning the section in this chapter entitled Malevolent Creativity.
Kaufman considers creativity to be perceived by most as benevolent. However, given the wide array
of humanly-orchestrated events recently experienced and how a tsunami-like effect has been felt
globally, it is essential that we face the fact that creativity can present a very dark and nasty side.
Kaufman takes a serious look at this issue. He does not restrict his comments to the more obvious,
e.g., mass murder of innocent people by terrorists, but perhaps more subtle concerns, for example,
creative but unethical means of marketing.
A final point mentioned in Chapter 5 is the possibility of de-stigmatizing creativity. Kaufman
is persuaded that perceptions of its worth can be modified. For example, he proposes “gatekeepers”
worldwide, in particular those empowered to admit or hire, would contribute positively in
this regard. This issue is sufficiently important to the author that he actually heads his 6 th Chapter
with question: “Should Creativity Be Included in School Admissions?” After an insider review of what
a postsecondary admission officer might look for in a prospective student. There are concerns that
an individual’s creativity is overlooked when the focus is on perfect scores and fear of admitting
someone too unusual. Kaufman begins to present ways that process could allow creativity. As an
example of this notion the “offbeat” inclusion to the admission package required by Boulder Leeds
School of Business is referenced.
So ... should creativity be included? Kaufman thinks so. More than that, he also argues
creativity is an essential element to be considered in any prospective student irrespective of, for
example, gender and disability. In the context of disability it was interesting to read a discussion
Gifted and Talented International – 26(1), August, 2011; and 26(2), December, 2011. 171