Title: "Inventatorium: A Journey of "Satori" and Creativity in African American and
Latino Adolescents"
Ed.D. Candidate: LaNelle Y. Harvey, California State University, Los Angeles
Research Question(s):
How do African American and Latino students in a large urban setting respond to the
Inventatorium, a weekly program designed to promote creativity in science, math, and
technology?
Sub questions:
1. Do fifth and six grade Latino and African American students who participated in
the Inventatorium demonstrate gains in creativity as measured by the Figural
TTCT?
2. How do Latino and African American students who participate in the
Inventatorium demonstrate creative and problem solving processes and
emotional connections to geometry and measurement concepts?
3. How do fifth and sixth graders who participate in the Inventatorium see
themselves as scientists and mathematicians?
4. How do Latino and African American fifth and sixth graders view their own
creativity as they participate in the Inventatorium?
Conceptual Framework and/or Guiding Purpose of the Study:
The conceptual framework that supports this study is the intersection of four practices in
the Inventatorium (see Figure 3.1). Creativity is linked with critical thinking and has
potential for use as a culturally relevant pedagogy (CRP), creative characteristics of
African Americans, and student achievement. Ladson-Billings' (1995) study with a group
of African American teachers led to the formation of a grounded theory of culturally
relevant pedagogy. The theory is situated in three or propositions: "(1) students must
experience academic success, (2) students must develop and/or maintain cultural
competence, and(3) students must develop a critical consciousness thought through
which they challenge the status quo of the current social order " (Ladson-Billings, 1995,
p.158).
The recognition of creativity in students (a process that can be empirically documented)
and the basic construct of creativity are the basis for much discussion. Clark (1988)
outlined an integrated concept of creativity that includes: “thinking (can be developed by
deliberate conscious practice and measured); sensing (a state of talent in creation of
new products or talent in a particular area); feeling (releases emotional energy from the
creator); and intuition (high consciousness or high awareness of elements in the
environment). Baldwin (1986) has added to the discussion through what she has
identifies as Latino and African Americans’ special approach to creativity or method of
exhibiting creativity, raises the level of discourse (Baldwin). Therefore, the Inventatorium
is designed to tap into Latino and African American students’ creative characteristics: a
special kind of perception; openness to experience and new ideas; gets excited and
involved (able to express feelings); ability to improvise with commonplace materials and
originality of ideas; problem solving and problem-centeredness. The nurturing of
creativity as a form of culturally relevant pedagogy hopefully will engage students in
meaningful learning and strengthen Latino and African American students’ achievement
in STEMS.
Relevant Theoretical and Empirical Literature:
Creativity
Creativity in students and adults is the potential to produce novel ideas that are high in
quality. Cropley (1999, 2008) places an emphasis on production of novelty as the
crucial aspect of creativity. Products can be tangible such as works of art, a machine or
a design, a written document, or intangible such as solutions, plans, and strategies.
Novelty should be task-appropriate and can be produced in the form of mere selfexpression or also satisfy technical, professional, aesthetic, or scholarly criteria. Finke,
Ward, and Smith (1992) distinguished between two kinds of processes leading to
novelty. To be effective, novelty must generate both novel cognitive structures: basic
mental processes people use to make sense of information (retrieving, associating,
synthesizing, transforming). They must also explore the creative implications of new
structures (e.g., attribute finding, interpreting, inferring, shifting context, hypothesis
testing, and searching for limitations (Cropley, 1999, 2006). Tang and Gero (2006)
discuss the Geneplore model developed by Finke, Ward & Smith (1992) in identifying
the cognitive processes involved in creative thinking. Essentially, in the generative
process, the student creates mental representations or mental images (ideas) of a
product in the preinventive stage. This is followed by the explorative processes through
which the final product evolves or is completed.
Baker & Digiovanni (2005) infer that the “one-size-fits all” of scripted programs and
pacing plans are not conducive to promoting creativity and actually counters culturally
relevant pedagogy. While not promoting a complete abandonment of long range
planning, Baker & Digiovanni criticize that a strict adherence to a timeline leaves for
minimal opportunity for individuality or creativity in lesson design or student participation
within the lesson. Delpit (2003) would agree in describing the “ practice of treating
students as products on an assembly line” as detrimental. She further describes the use
of lesson planning based on scripted programs such as Open Court has designed “with
no thought as to the emotional and intellectual growth…”(p.1) of diverse students.
These researchers describe one feature of culturally relevant pedagogy that teachers
introduce including complex materials that would promote creativity and the use of
analysis.
Torrance’s (1974) endorses nurturing creativity within the context of cultural diversity so
that African American students could excel in STEM. Since at least the seventies,
educators and theorists have examined the relationship between creativity and critical
thinking. Whereas critical thinking is generally thought of as involving logical thinking
and reasoning, creativity is accepted by theorists as the creation of something new or
novel (Cropley, 1999; James,Lederman Gerard, & Vagt-Traore, 2004; Sternberg, 1999).
Creative thinking and critical thinking are interrelated; however there are some
differences as shown in Appendix B. Both creative and critical thinking involve higher
level thinking skills (HOTS) the upper levels of Bloom’s Taxonomy; analysis, synthesis,
and evaluation. Some of the skills associated with creativity are flexibility, originality,
fluency, elaboration, brainstorming, modification, imagery, associative thinking, attribute
listing, metaphorical thinking, and forced relationships. The aim of creative thinking is to
activate curiosity and promote divergence such as in invention building.
Torrance (1974) would consider an effective environment for nurturing creativity to be
one that brings about satori. Torrance describes satori as a burst of enlightenment.
Baldwin (1985) describes satori as an a-ha experience. In Mihaly Csikszentmihalyi’s
(1996) book on creativity, he interviews astronomer Vera Rubin. She describes the fun
of discovery, “I just discovered something this spring that¹s enchanting and I remember
how fun it was. I have enjoyed very much learning the details of each galaxy…So that¹s
the story. And it¹s fun, great fun, to come upon something new” (Csikszentmihalyi,
1996, p.3-4). Wolfgang Pauli, a mathematical physicist, articulated the role of emotion
and imagery, within in the unconscious region of the mind. He described concepts as
being taken by images of powerful emotional content, which are not thought, but are
seen pictorially, as it were, before the mind’s eye. Nobel Prize winning physicist Richard
Feynman described the role of imagery as primary and often preceding formalist proofs.
The mathematicians David Henderson and Daina Tamina believe that mathematics is a
natural and deep part of human experience and that experiences of meaning in
mathematics are accessible to everyone.
Theorists have determined a relationship between creativity and academic achievement
in math (Haylock, 1987; Mann, 2006). Creativity and critical thinking are inseparable
aspects of rigorous thinking (Paul & Elder, 2006). As critical thinking is directly linked to
math, creativity is an essential component of learning math. Since at least the seventies,
educators and theorists have examined the relationship between creativity and critical
thinking. Whereas critical thinking is generally thought of as involving logical thinking
and reasoning, creativity is accepted by theorists as the creation of something new or
novel (Sternberg, 1999; Cropley, 1999; Lederman Gerard, & Vagt-Traore, 2005).
Unfortunately, Latino and African American students are disproportionately denied
access to an environment that fosters creativity and critical thinking skills (Baldwin,
1982,). As a result, opportunity to participate in advanced classes in science,
technology, engineering, and math (STEMS) is limited.
Torrance’s (1974) endorses nurturing creativity within the context of cultural diversity so
that urban area African American and Latino students could excel in STEM. Since at
least the seventies, educators and theorists have examined the relationship between
creativity and critical thinking. Whereas critical thinking is generally thought of as
involving logical thinking and reasoning, creativity is accepted by theorists as the
creation of something new or novel (Cropley, 1999; Lederman Gerard, & Vagt-Traore,
2005; Sternberg, 1999). Creative thinking and critical thinking are interrelated; however
there are some differences as shown in Appendix B. Both creative and critical thinking
involve higher level thinking skills (HOTS) the upper levels of Bloom’s Taxonomy;
analysis, synthesis, and evaluation. Some of the skills associated with creativity are
flexibility, originality, fluency, elaboration, brainstorming, modification, imagery,
associative thinking, attribute listing, metaphorical thinking, and forced relationships.
The aim of creative thinking is to activate curiosity and promote divergence such as in
invention building.
Researchers who have taken a creative-personality approach look for creative traits that
can be measured or observed in an individual. Many researchers relate creativity to the
trait, “openness to experience”, one of the five traits composing The Big Five model
(Appendix ). This model was developed by a conglomerate of studies though empirical,
data-driven research identifying the traits of human personality (Digman, 1990).
Steinbert & Lubert, (1999) identified personality traits such as independence of
judgement, self-confidence, attraction to complexity, aesthetics, and risk-taking. Clark’s
(1988) concept of creativity looks at thinking, sensing, feeling, and intuition (Appendix
C). Others such as Torrance, (1974) and Baldwin (1982) have identified several traits
for the thinking creative individual often found among urban area, low socio economic,
Latino and African American. Torrance (1971) discusses the failure of educational
institutions to acknowledge these skills that are valued by a particular subculture.
Torrance points out that many inner city children have skills that they have mastered to
insure their social survival within the inner city community, but are not appreciated by
the teachers. According to Torrance, a person who has skills that may make him/her
appear gifted on the street—hustling, rapping, signifying, gang leadership, psyching out
people, fighting, athletics, may appear rather untalented in a school dominated by a
staff and values from a different culture.
Over a period of six years, Torrance (1974) identified seventeen traits, which he calls
“Creative positives” in urban area minority children. These creative positives (Appendix
D) can be observed without the use of tests by engaging children in challenging
activities in science, creative writing, visual arts, music, and performing arts. Ability to
express feeling and emotions and emotional responsiveness, two of Torrance’s creative
positives, are also identified as creative traits of African American students by Boykin
(1983) and Shade (1982). Boykin (1983) calls emotional expressiveness, the affect, and
describes it as integration of feelings with thought or action. In addition, problemsolving, originality of ideas, and high divergent thinking frequently appear as creative
traits observable in African American children (Baldwin, 1982).
Within the literature reviewed in creativity, most studies have focused on American
African and Latino Learning styles. Baldwin (1982) discussed difficulties in
understanding creative traits in Latino and African American children due to negative
teacher perception. Torrance (1974) too, discussed teacher misperceptions of creative
traits in minorities in urban areas, but also identified seventeen traits which he calls
“Creative Positives” in minority children (P.3). These creative positives can be observed
without the use of tests by engaging children in challenging activities in science, math,
creative writing, visual arts, music, and performing arts. Shade (1982) compared
perceptual differentiation in ninety-two African-American students and eighty-six
European-American students and found African- Americans to be more field dependent,
spontaneous, open-minded, and flexible than their European- American counterparts.
Field dependence is associated with creative ability.
Just as important is the environment. Csikszentmihalyi (1988) asserts that creative
products result from a complex interaction between the person and the environment. A
productive environment is one in which individuals are engaged in related creative
activities. Studies focusing on the experiences of African American and Latino
adolescents in an environment specifically designed to nurture creativity in STEM are
limited. An in depth study of how environment, specifically the Inventatorium, can
nurture creative ability is needed. An exploration of creativity as an alternative
educational practice for culturally diverse students is also warranted. Furthermore, it is
important to determine African American and Latino students’ perspectives on their
experiences in that environment as the student voice is missing in the literature on
creativity.
Methods of Data Collection and Analysis:
Methodological Overview
This study will use a mixed methods design that is a more effective procedure for
collecting and analyzing both quantitative and qualitative data at various stages of the
research (Creswell. 2002). Mixed methods lend credence to a social inquiry in many
ways. Some researchers feel that mixed methods is more thorough because neither
quantitative nor qualitative methods independently are adequate for obtaining a more
comprehensive portrait of a complex issue process (Creswell, 2002; Greene, Caracalla,
and Graham 1989) In addition, a mixed methods approach provides triangulation,
complementarily, development, initiation, and expansion (Greene et al, 1989). The
purpose of triangulation is to provide stronger validity and less bias; triangulation is
realized through the structure of a mixed methods design provided there are
complementary strengths and non-overlapping weaknesses. Through complementarily,
the researcher seeks to elaborate or clarify the results from one method with the results
from another method. Development results from one method could shape subsequent
methods or steps in the research process. Student responses and behavior might
suggest that other assessments such as the Figural Torrance Test of Creative Thinking
(TTCT): Thinking Creatively with Pictures is needed to determine the extent to which
creativity is promoted.
Initiation stimulates new research questions and challenges results that are often
obtained through one method. In my case, in-depth interviews, student journals, and
observations of students will provide new insights on how the Inventatorium may be a
factor in nurturing students’ creativity and interest in STEMS. Expansion provides
richness and detail to the study by exploring specific components of each method. In
this study, a combination of the procedures mentioned above will broaden the breadth
of the study and enlighten the debate on effective learning environments for Latino and
African American students.
Similar traits have been recognized in Latino students. Jalili (1988) identified the field
dependent-cognitive style of Latinos similar to that of African American students(Shade,
1982). Additional traits observed in Latino students are conformity, peer-oriented
learning, kinesthetic instructional resources, late morning and afternoon peak energy
levels, and variety as opposed to routines. Griggs and Dunn (1965) recommend that
teachers pair instructional and pedagogy to Latino students’ environmental and
emotional preferences in promoting creativity in these students.
Rationale for Using a Mixed Methods Approach:
The rationale for using a mixed methods study is based on the notion that quantitative
data yields closed-ended information, such as that found on performance instruments,
while qualitative data consists of open-ended information that the researcher gathers
through interviews with participants (Creswell, 2006) situating the study within the social
and cultural context of the researcher and the participants (Creswell, 2009). Brown
(2004), a social scientist, used the Cultural Diversity Awareness Instrument (CDAI)
along with reflective journal reaction papers, field experiences and research projects to
investigate the relationship between pedagogy for developing cultural sensitivity in
teachers education for white perspective teachers and changes in resistance to cultural
diversity which the education students may exhibit. Klieger and Yakobovitch (2011)
used mixed methods to examine science teachers' perceptions of the effectiveness of
the standards for teaching and learning, and the extent and level of difficulty in
implementing science standards in different grades. The research combined qualitative
and quantitative research methods in the form of questionnaires and observations to
determine the extent of teacher implementation of the different standard.
For this study, the quantitative data and results from administration of the Torrance test
for Creativity (Torrance, 1962) will provide a general picture of the research problem,
i.e., relationships among creative mental imagery processes and invention building as a
result of creative mental imagery. Mental imagery is an experience of perceiving some
object, event, or scene when they are not actually present to the senses. Also known
as mental models or representations, a formal definition of mental imagery is an internal
recreation or representation of a sensory perception or image (Polland, 1996). Mental
imagery, more prominent in visual mode or visualization, plays a central role in creative
thought.
Qualitative methods will be used in this exploratory study to understand factors that
contribute to academic achievement in STEM. This study is exploratory because little is
known about the reactions of African American adolescents to an environment designed
to nurture creativity or its relationship to the development of emotional connections to
math and science and concepts. In conjunction with quantitative methods, qualitative
methods are the best choice for this research because qualitative methods allow the
participant-researcher to listen to the views of the research participants, while focusing
on the natural setting or context, as in the Inventatorium in which participants engage in
discussion. Qualitative research methods are unsurpassed for exploration of research
problems that need a detailed understanding of the issue” (Creswell, 2007). The
participant -researcher uses qualitative methods to empower participants” to share their
stories and hear their voices” (Creswell, p.40). Qualitative methods are used because
quantitative methods and statistical analysis do not always completely match the
problem. The qualitative data and its analysis will refine and explain those statistical
results from the Figural TTCT by exploring participants’ views in more depth. Qualitative
research offers the opportunity to explore the directions that the participants and their
experiences may take as well as to gain deeper understanding through natural
interaction.
This mixed methods study will use descriptive research methods that utilize elements of
quantitative or qualitative research methodologies; however, descriptive studies cannot
be used to show causal relationships. Descriptive statistics “tell what is,” and might be
applied to questions such as: How successful is the Inventatorium in terms of
developing creative abilities? It can involve collections of quantitative information that
can be tabulated along a continuum in numerical form, such as scores on a Figural
TTCT test. When in-depth, narrative descriptions of small numbers of cases are
involved, the research uses description as a tool to organize data into patterns that
emerge during analysis. Those patterns are useful in comprehending a study, more
qualitative than quantitative, and its implications.
The descriptive function of research is directly dependent on instrumentation for
measurement and observation. Researchers may work for many years to perfect such
instrumentation so that the resulting measurement will be accurate, reliable, and
generalizable. Instruments such as the TTCT (Torrance, 1974) standardized tests for
various purposes, and scores of thoroughly validated questionnaires are examples of
some instruments that yield valuable descriptive data. Once the instruments are
developed, they can be used to describe phenomena of interest to the researchers
(AECT, 2001). In this design, qualitative data derived from African American students’
experiences with creativity while participating in the Inventatorium will follow-up the
results of the Figural TTCT pre-test and help explain predictive relationships to the
Figural TTCT post-test.
Context for the Study: The Inventatorium
The Inventatorium concept was established in 2010 by Dr. Gary Scott, a clinical
professor University of Southern California, to identify and clarify a unique approach to
the development of Science Technology Engineering and Math (STEM) learning
processes. The concept and name of the Inventatorium were created to identify what
Scott (2011) believes is a unique approach to the development of STEM learning
processes. The Inventatorium was initially piloted as an after school program during the
2010-2011 school year in one urban elementary school. Only sixth graders were invited
to attend during that time period. Only sixth graders were allowed to participate in the
Inventatorium during the 2010-2011 school year. The principal and school supported
the Inventatorium by providing a vacant room to house the project.
The Inventatorium builds on students’ inherent curiosity and enjoyment in creating
things that appeal to them by providing the materials and other resources for them to
implement their ideas. The things students create encompass mathematical and
scientific concepts that will emerge and be explored as part of their creative processes.
The Inventatorium provides students an opportunity to invent, design, and build
structures, mechanisms, and intriguing devices based on their interests and creativity.
For the present study, the Inventatorium will take place each Wednesday for three
hours after school. Participation in the Inventatorium will be based on a first come first
serve basis until the goal of thirty participants is achieved.
The Setting
This study will take place in the Inventatorium, an after school program that is housed in
a vacant classroom in a large urban school in central Los Angeles. Boykin Elementary
School (a pseudonym) has approximately 1080 students enrolled in pre-k through sixth
grade enrolled in the school. The ethnic makeup of the school is: 77.6% Hispanic,
22.2% African, and 0.2% Asian. The school is, overall, almost evenly split between
females and males. At the school, there are no African American fifth or sixth grade
students identified gifted. The school has three sixth grade classrooms and five fifth
grade classrooms which students will be solicited for participation in the program. Each
classroom will consist of approximately 32 students heterogeneously assigned.
Sample
A purposive convenience sample will be used for this study. Purposive sampling allows
the researcher to select individuals for study because the sampling can purposefully
inform an understanding of the research problem and central phenomenon to the study
(Creswell, 2009). The sample for this study will consist of 10 fifth and sixth grade Latino
and African American students selected from among those students who choose to
participate in the Inventatorium beginning in fall 2011. Every fifth and sixth grade
student will have an equal opportunity to participate in the Inventatorium but only those
Latino and African American students who participate in the Inventatorium will be
eligible to participate in the study. All Latino and African American students participating
in the Inventatorium will receive a flyer inviting them to participate in the study. The first
ten Latino and African American male and female students whose parents consent will
participate in the study. None of the students who will participate in the Inventatorium or
the study were previously involved in the Inventatorium.
Instruments:
Quantitative Data Collection
The Figural TCTT: Thinking Creatively with Pictures. The quantitative phase of this
study will employ a pretest-posttest design that focused on determining if participation
results in improvement or development of creative abilities. All participants in the
Inventatorium were assessed using the Figural TTCT: Thinking Creatively with Pictures
(TTCT) during fall 2012 in order to establish baseline data related to each student’s
measured level of creativity. Borg and Gall (1989) classify the outcomes of educational
research into the four categories of description, prediction, improvement, and
explanation. Improvement is whether a certain technique does something to help
students learn better and whether certain interventions such as the activities designed
for the Inventatorium can improve student learning. The TTCT was also administered in
June 2013 at the end of the study in order to determine any growth in creativity levels.
Science/Math Motivation Questionnaire (SMMQ), a teacher adaptation of the
Motivations for Reading Questionaire (MRQ), was used to assess for motivation.
Students who are highly motivated will be more likely to be successful. The results on
the SMMQ were adapted to evaluate students’ motivation to learn and achieve in STEM
education. In Addition, an Assessment of Geometry Concepts was given as both a preand post-test. This is a teacher generated test which is a compilation of geometry
concepts. This assessment was administered during fall 2012 in order to establish
baseline data related to each student’s knowledge and comprehension of geometry
concepts. The Assessment of Geometry Concepts was also administered in May 2012
in order to determine any growth in creativity levels. The assessment will be
administered to the whole group.
Qualitative Data Collection
Qualitative data collection began in October 2012 and consist of focus Group
interviews, observations, and examination of student work samples collected from all
the participants. During observations, I will function as a participant observer while I
facilitated the learning activities as a volunteer instructor in the Inventatorium,
questioning the students regarding their projects/activities and responding to their
questions.
Interviews
A semi-structured interview format was used during each focus group interview to look
for shifts in responses over time. A limited set of questions was planned in advance, but
the researcher wanted the flexibility to bring up probing questions during the interview
as a result of students’ responses. Every attempt was made to keep unplanned
questions within the framework of themes to be explored.
The interview began with one of the structured questions (Appendix A). Depending on
the students’ responses, the researcher utilized probing questions to delve deeper into
the students’ responses. Questions will also be asked to clarify responses: (a) I not sure
I understand, or (b) Help me understand this. Field notes were gathered during all
interviews, which were also audio or videotaped. Field notes and tapes from interviews
were transcribed as soon as possible following the interview sessions in order to assure
fidelity of the process.
Observations
Observations during Inventatorium activities begin in October2012 and continued
throughout the study. Observations were performed one time per week for 60 minutes
each week. A total of sixteen weeks of observations were completed. During
observations, I functioned as a participant observer while I facilitated the Inventatorium
learning activities as a volunteer instructor, questioning the students regarding their
projects/activities and responding to their questions. Field notes, and anecdotal records
were gathered during each observation, which were also videotaped, so that the tapes
could be reviewed to check for accuracy of field notes. I used shorthand to record some
observations. Observations were recorded under the guise of “doing my work.” All field
notes and tapes were transcribed as soon as possible after the observation in order to
insure accuracy.
Student artifacts/work samples
In order to explore the actual creative outcomes of the Inventatorium, photographs of
the student-created inventions from the Inventatorium were collected from the student
participants in the study. These documents photographs of students’ original work
reflected their growth in creativity, that is whether or not the students embed and identify
some of their complete figures from the Figural TTCT into their designs. Growth was
determined through students’ explanations of revisions and their ideas for completing
their inventions.
Student journals
As part of their work in the Inventatorium, all students were required to maintain
ajournal. These journals were used to record ideas, doodles, revisions, pictures of
inventions, feelings (frustrations, challenges, successes), and descriptions of
experiences in the Inventatorium. The students often received a prompt such as one of
the questions listed above or free to choose their own focus. Journals were viewed
periodically, but collected at the end of the study for evaluation.
Student drawings
Collucci (2011) recommends allowing those participating in a focus group to have fun.
For example, in this study, students were asked to draw pre- and post- of how they
viewed scientists or mathematicians. They were then asked to describe their drawings
to other participants or to add words or narrative to the picture. During the post drawing
sessions, participants were invited to explore what is similar and different in the pre- and
post-drawings. Drawing paper and crayons including multicultural crayons that come in
an assortment of skin tones were made available to allow participants’ choice in
creating images. As a means of assessing change, if any, in student self-perceptions,
participants were interviewed individually after completing the first drawing, but prior to
the post drawing. To minimize bias on the part of the researcher, students were asked
to describe their drawings and to explain their drawings as well as the background or
motivation for their representations.
Qualitative data analysis
Qualitative data sources (transcriptions of interview and observation field notes, audio
and/or videotapes, photographs of student-created inventions, and student journals) will
be viewed individually and holistically as a group. Both open and axial coding will be
used to analyze qualitative data. The open coding for each source of qualitative data
collection will be completed separately. Several copies of the transcriptions of the
interviews, journals and observations will be read and re-read several times to identify
emerging themes. At the axial coding phase, I will then use a data display table similar
to Dome et al, (2003) to format to organize the categories. I will color-code the
categories to identify overlap and broad themes. The same color-coded process will be
used to link categories from each of the data sources. Non-verbal language will also be
coded.
Data Source
1. Do fifth and six grade Latino and
African American students who
participated in the Inventatorium
demonstrate gains in creativity
as measured by the Figural
TTCT?
2. How do Latino and American
Proposed Analysis
Artifacts:
Self-Image Photos of
Journals;
Pictures;
Inventions
T-Tests
Observations; Photographed
Focus groups Inventions
√
√
√
√
students who participate in the
Inventatorium demonstrate
creative and problem solving
processes and emotional
connections to geometry and
measurement concepts?
3. How do fifth and sixth graders
who participate in the
Inventatorium see themselves as
scientists and mathematicians?
4. How do Latino and African
American fifth and sixth graders
view their own creativity as they
participate in the Inventatorium?
√
√
Initial Analysis and Emerging Recommendations:
Quantitative Data
Both the Assessment of Geometry Concepts and The Figural Torrance Test of Creative
Thinking (TTCT) pre-test was administered to all students involved in the Inventatorium
regardless of involvement in this study. Analysis has not been completed as yet as my
timeline for analysis of both tests (supervised by Dr. Scott, creator of the Inventatorium)
must coincide with that of Dr. Scott’s. Anticipated period for analysis is July 2013. At
that time the post-test would also have been administered and both the pre-and posttest analysis will be completed. Initial and informal observations of the Assessment of
Geometry Concepts reveal limited knowledge or understanding of basic geometric
concepts. Several responses of “I don’t know,” were noted on several of the students’
tests. Although concrete analysis will be needed before final conclusions can be made,
students involved in both the Inventatorium and the study are developing skills in
geometry. To what extent has yet to be determined.
Qualitative Data Collection Procedures and Instruments
Observations, including videotaping, were completed on a weekly basis. It became
necessary to provide questions to assist the students in uncoving their creative talents.
For example, students were provided directions for building a car using K’nex kits, then
asked “to improve the performance of the car.” These directions were found to be
ambiguous (by the researcher) and led to an abundance of variables and confusion in
the students’ ability to determine “whose car was better.” First, the concept of
performance had to be developed with the students, and then students needed
guidance in developing criteria for measuring or analyzing the improvement. Two
possible themes that are becoming more revealing are commitment and taskorientation; that is whether or not students are committed or task-oriented.
Student journals
As part of their work in the Inventatorium, all students were required to maintain a
journal. Students Journals were viewed periodically, but collected at the end of the
study for evaluation. Students are not showing a willingness to complete journals, so as
mentioned above, using questions to set task-orientation became necessary. As
participants worked on their inventions, students were provided choices of avenues they
can take. These include, but are not limited to:
Create ten designs that include three of the shapes from “Creative Invention in Mental
Imagery,” then produce one of those designs as your invention. Record the drawings
and ideas in your journal. Also include materials you need and your next steps.
Improve something that has already been invented. Explain its purpose and how it is an
improvement. Record the drawings and ideas in your journal. Also include materials you
need and your next steps.
Student drawings
Students were asked to draw a pre- and post-view of themselves as scientists or
mathematicians. Both the pre-view, interview, and interview have been completed. They
were asked to describe their drawings to other participants or to add words or narrative
to the picture. Several of the images reflected a Dr. Frankenstein character or a “nerd”
as verbalized by the students. Very few of the images reflected self-images or how the
students see themselves as explained by the students. This included skin tones,
although the students were provided multicultural crayons. Some of the explanations for
the perceptions included images reflected in textbooks and on television. Some
students had difficulty viewing themselves as scientists or mathematicians whom they
described as being “smart and discoveries.”
Most of the post- views reflected a change in perceptions of mathematicians and
scientists. Student drawings reflected their own culture and gender. Many of the
students drew themselves as scientists or mathematicians. Students defined a thinker
as someone who uses strategies and never gives up; these characteristics were also
projected onto scientists and mathematicians. As students began to view themselves as
thinkers and creative (one who comes up with something new or different), they draw
themselves as scientists and mathematicians.
Student artifacts/work samples
In order to explore the actual creative outcomes of the Inventatorium, photographs of
the student-created inventions from the Inventatorium were collected from all
participants. Two themes that are emerging are originality and practicality. The journal
focus questions as well as the closing discussion served as catalyst for students to
revise and produce their inventions.
Coding
Both open and axial coding will be used to analyze the data. The open coding for each
source of data collection will completed separately. Several copies of the transcriptions
of the interviews and the observations will be read and re-read several times to identify
emerging themes. At the axial coding phase, I will then use a data display table similar
to Dome et al, (2003) to format to organize the categories. I color-coded the categories
to identify overlap and broad themes. The same color-coded process will be used to
linked categories from each of the qualitative data sources.
Data Analysis/ Initial Findings
Several broad themes are emerging from both the interviews and the drawings as the
context for the reactions of these Inventatorium participants; Individuality/Independence,
Task-Oriented/Commitment, Perseverance/Persistence, and Awareness linked by
Environment. Environment is multi-faced: time, place, opportunity. As previously
explained, a productive environment is one in which individuals are engaged in related
creative activities Time, place, and opportunity are interrelated as environment is not
just a place, but a place that provides opportunity and time to explore those
opportunities or activities.
Environment
Csikszentmihalyi (1998) asserts that creative products result from a complex interaction
between the person and the environment. Environment appeared as a theme during
student interviews. This was revealed in student responses to “What experiences have
you had with being creative?” and “How does what you do in the Inventatorium compare
to what you do in your classroom?” Carol would like to see the Inventatorium extend to
more days.
R: Okay, what changes would you recommend for the Inventatorium?.
C: More days.
R: More days? What about activities? Anything different that you would like to
bring into the Inventatorium?
Sammy speaks of the opportunities to participate in creative activities that are not
available during the
regular classroom period,
R: Okay, how does the classroom compare to what you do in the Inventatorium,
is it the
same, or how are they different?
S: Well, what we do in the class,,, let me see,,, well basically it connects to what
we do in the class.
R: Not the same types of activities, but like with thinking and creating?
S: No, the stuff we do in the Inventatorium, we didn’t really do in the class. Like
the experiences we had in the Inventatorium.
R: So you feel you had many opportunities in the Inventatorium to be creative?
Linda also speaks of the opportunities for engaging in creative pursuits. Interestingly
she views the regular classroom teacher’s being overwhelmed by the pacing plans and
the number of standards. Apparently this negatively impacts the teacher’s ability to
duplicate offer activities similar to those in the Inventatorium.
R: Can you give an example? What experiences have you had with being
creative before you joined the Inventatorium?
L: Like (Pauses a while) with my sister’s hair. I wanted to curl her hair without
using any heat, so I just wrapped her hair in this really weird way.
R: Did it work?
L: Yes, it was nice.
R: Have you had any other experiences with creativity before you came to the
Inventatorium; in the classroom, out of the classroom, at home?
L: (Pauses a long while) No.
L: I would recommend it because in the Inventatorium there’s more thinking
involved and more time:
R: Could you give an example? Could you explain that?
L: For example when we were doing cars.. . you…no (struggling)…when we
we’re inventing things, you had to come up with why you were inventing that
thing, and it creates more thinking because you’re not just coming with
something up, but you’re coming with the reasons why you made it.
R: Okay, and so you don’t. feel you can do that in the classroom. You would like
to do more of that in the classroom?
L: Yes
R: You had mentioned something about time, too. um. you felt you had more
time in the Inventatorium, not in the classroom.
L: Yes, in the Inventatorium we have more time, In the classroom, we have to go
over many, many things, and sometimes we don’t have enough time if someone
doesn’t understand something. I feel in the Inventatorium, I have more time to go
through the processes.
R: What processes?
L: Thinking processes. Figuring things out.
APPENDIX A
1. Protocol Questions for Interview
2. Why did you join the Inventatorium?
3. What did you expect from the Inventatorium?
4. Is the Inventatorium what you expected?
5. How would you describe creativity?
6. What experiences have you had with being creative?
7. Do you think of yourself as creative?
8. N you describe a time you were being creative?
9. What is your idea of a thinker?
10. Are you a thinker?
11. Can you give me an example?
12. Where has your ability to think been used? (Describe a time or an activity.)
13. Would you recommend that another student join the Inventatorium? Why or why
not?
14. How does what you do in the Inventatorium compare to what you do in the
classroom?
15. Have you been able to connect what you learned in the classroom to what you are
doing in the Inventatorium?
16. Have you been able to connect anything you learned in the Inventatorium to what
you are doing in the classroom?
17. What challenges if any have you faced in the Inventatorium?
18. How did you handle these challenges?
19. What successes, if any, have you had in the Inventatorium?
20. What helped you to succeed? What did you do?
21. What changes, if any, would you recommend for the Inventatorium?
APPENDIX B: Similarities and Differences of Creative and Critical Thinking
Graphic shows interrelationships as well as differences between creative and critical
thinking. Note novelty and invention building as aspects of creative thinking.
APPENDIX C: “Big Five” Factors or Five Factor Model (FFM)
Openness – (inventive/curious vs. consistent/cautious). Appreciation for art, emotion,
adventure, unusual ideas, curiosity, and variety of experience.
Conscientiousness – (efficient/organized vs. easy-going/careless). A tendency to
show self-discipline, act dutifully, and aim for achievement; planned rather than
spontaneous behavior.
Extraversion – (outgoing/energetic vs. solitary/reserved). Energy, positive emotions,
urgency, and the tendency to seek stimulation in the company of others.
Agreeableness – (friendly/compassionate vs. cold/unkind). A tendency to be
compassionate and cooperative rather than suspicious and antagonistic towards others.
Neuroticism – (sensitive/nervous vs. secure/confident). A tendency to experience
unpleasant emotions easily, such as anger, anxiety, depression, or vulnerability.
The Big Five factors and their constituent traits can be summarized as (OCEAN): The
five broad factors were discovered and defined by several independent sets of
researchers (Digman, 1990). Personality traits were identified through comprehensive,
empirical, data-driven research measures of self-reporting and questionnaire data, peer
ratings, and objective measures from experimental settings. (Wikipedia, the free
encyclopedia)
APPENDIX D: Torrance’s Creative Positives
1. Ability to express feelings and
10. Responsiveness to the concrete
emotions
11. Responsiveness to the kinesthetic
2. Ability to improvise with
commonplace materials
12. Expressiveness of gestures, "body
language," etc.
3. Articulateness in role playing and
storytelling
13. Humor
4. Enjoyment of and ability in the
visual arts—drawing, painting,
sculpture, etc.
5. Enjoyment of and ability in creative
movement, dance, dramatics, etc.
14. Richness in imagery of informal
language
15. Originality of ideas in problemsolving
16. Problem-centeredness
6. Enjoyment of and ability in music,
rhythm, etc.
17. Emotional responsiveness
7. Expressive speech
18. Quickness of warm-up.
8. Fluency and flexibility in nonverbal
media
9. Enjoyment of and ability in small
group activities, problem-solving,
etc.
Building upon Frank Riessman's suggestions concerning the "hidden" talents of minority
children, Torrance spent six years on the identification, recognition, and reinforcement
of what he has labeled the Creative Positives of African American children; especially
those who live in low socioeconomic communities.
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