Fourteenth International Conference on the Arts in Society

Abstract

To what extent do we need to develop new creative tools, [theory], and research approaches to redefine classical disciplinary classifications? Theorists such as Torrance (1961), Csikszentmihalyi (1990), and Sternberg (2010) have provided helpful insights into the creative process and self-discovery in the fields of education and psychology. In the arts, Wood, Hulks, and Potts (2012), and Chicago (1997) have defined the changing status and role of sculpture and painting since the end of the 19th century. Integrating the insights from the disciplines of art, psychology, and education has the potential to inspire. When discussing the role of educators in developing creativity, Amabile (1989) argues that Western styles of teaching emphasize talent, skill and hard work, with less emphasis on intrinsic motivation. Amabile proposes that the creativity intersection is where students’ domain skills and creative-thinking skills overlap with their intrinsic interests. Chant, Moes and Ross (2009) support the need for developing creativity in education and point out that the U.S. has been slower to develop such programs despite the fact that greater attention to the arts has emerged in other countries (e.g., Regio Emilia; Maria Montessori in Italy; Global Schoolhouse Project in Singapore; MacQuarie University in Sidney, Australia). This proposed paper explores elements of the Torrance Incubation Model that arouse student expectations, extending their learning experiences (Bing & Hui, 2009) as a means to access the intersectionality among intrinsic motivation, creativity, and the cognitive and affective domains. Syntheses of the various theories will be explored.