Torrance Journal for Applied Creativity

Home , Creative synthesis, Grand Mosque of Paris, Maurice Fisher

Over Look by Noor Abd. Al Hussain Darkulaib, Bahrain

design Volume 2 (2019) originate Communicating creativity as delineated by E. Paul Torrance and others, and advocating for its application to classroom and educational experiences.

Published by the Midwest Torrance Center for Creativity/The Center for Gifted, Glenview, IL, in partnership with the Torrance Center for Creativity and Talent Development at the University of Georgia. www.centerforgifted.org Table of Contents

2 The Value of STEAM in Our Gifted Classrooms: Subject Integration Supercharged by Susan Bermeo and Harry Roman

7 Torrance’s Model for Teaching that Encourages Incubation by Bonnie L. Cramond

15 Creativity in the Business World by Patrick Forman

18 Suprarational Stars: Torrance’s Beyonders by Sarah E. Sumners

21 Science Fiction in the Gifted and Talented Classroom: Connecting Science, Technology and Literature by Harry T. Roman

25 These are the Ones Who Will Save Us: How to Identify Deep Souls in Your Classroom Before It’s Too Late by Kathryn P. Haydon

30 Stop Blaming “The Student from Hell”: Dispelling the Myth Through Creative Teaching and Enhanced Student Engagement by Iman Rasti

34 The Power of Visualization to Stimulate Creativity: Seeing with the Mind’s Eye by Dorothy Sisk

38 Recommendations for Improving the Education of Young Gifted Children by Maurice D. Fisher and Michael E. Walters

47 Cultivating Creative Environments in the Era of High-Stakes Standardized Testing by Robin Greene and Ellen Honeck

52 Developing Creative and Critical Thinking Skills in Diverse Young Learners: Synthesizing Knowledge to Create Optimal Learning Environments by Stephen T. Schroth and Ocie Watson-Thompson

59 Incubating Mathematical Creativity Through a Molecular Gastronomy 101 Saturday Enrichment Camp by Connie Phelps

65 Digital Creative Problem Solving: The Beyonders Program by Kathy Goff, Erik Guzik, and Rex Jung

75 Gifted Learners Enhance Their Creativity Through a Paris Excursion by Jerry D. Flack

87 Book Review: (2017) Jacob’s Ladder: Reading Comprehension Program by Joyce Van Tassel-Baska and Tamra Stambaugh Reviewer: Elaine S. Wiener Preface

By Joan Franklin Smutny, Editor

On behalf of the authors, graphic designer, editorial staff, and the Jour- nal Advisory Board, I am pleased to introduce the second issue of the Torrance Journal for Applied Creativity.

The purpose of this journal is to foster greater communication among creatives of all kinds—teachers, researchers, industry innovators, artists, designers, engineers, business professionals, and more. Through diverse experiences and expertise, these authors have illuminated a fundamental challenge of our time. The world has a great need for creative ideas and innovations across a broad spectrum of fields. Yet our school system—held captive to standardized testing and a narrowing curriculum—are hindering the growth of these qualities in our students. The most creative learners often feel adrift and disengaged, and the loss of talent to these forces is real.

E. Paul Torrance, the great creativity pioneer who inspires this journal, keenly felt the struggles of students trapped in schools that alienate them from their own talents. His extraordinary writings and teaching models were a response to the stifling of creative talent he witnessed around him, and they continue to be relevant and adaptable today. The authors in this journal have used, adjusted, and expanded the work of Torrance in ways that would certainly have pleased him. They have pioneered practical responses to a restrictive education system and presented ideas to inspire alienated and detached youth.

In a variety of ways, the articles presented here address key questions about creativity in contemporary society. How can we open the door to the creative gifts within our students, mentees, and children during a time of rapid technological change when innovation and invention are sorely needed? What practices will enable us to cultivate these abilities and prepare them for the world they will step into as adults?

While society in general may still define creativity in terms of products invented or designed, these articles examine creative processes more broadly and how they can lead to new solutions and transformations. Certainly, products often result from creative and imaginative thinking, intuiting, and impro- vising. But on a larger level, young people need an education system that offers more depth and breadth, more choices in what and how they learn. As the authors show, designing structures that support creative expression is key. Posing questions that challenge them, encouraging them to use all their senses to take in and respond to the world, integrating subjects to help spark new connections, and allowing time and space for reflection sustain creative growth.

We hope you enjoy this second issue, and find within its pages new ideas, resources, and strategies that you can use or adapt to inspire creative achievement in your students, mentees, and children.

Outstanding creative achievement involves being different, testing known limits, attempting difficult jobs, making honest mistakes and responding to challenge. –E. Paul Torrance

1 The Value of STEAM in Our Gifted Classrooms: Subject Integration Supercharged by Susan Bermeo and Harry Roman

The principle goal of education in the schools should be creating men and women who are capable of doing new things, not simply repeating what other generations have done. --- Jean Piaget

Framing the Situation

We have entered a post-GPA world, where grades are interesting, but not necessarily the reason why one gets hired. It takes much more than academic knowledge now to be successful on the job. It is never too early to teach our young gifted students about the skills needed, and the relevance of what they are learning.

Listen to what Google said (paraphrased) when asked several years ago what they look for in new hires:

We don’t care what school you went to, what grades you received, or whether you went to a big 10 school or a small one. If you did not go to college, that is OK. We are looking for people who are life-long learners, team players, problem solvers, articulate and know how to get along with others. Grace Lee Companies the world over value employees who understand both content and process. In the dynamic workplace today, corporate leaders know that process ultimately guides the corporation through the shoals of global competition, Ultimately, it is not how much resulting in strategic value to the company. Ask seasoned employees in leadership you know (content) that is important roles what their jobs entail and you are likely to see how hard technical skills soon but rather what you can do (process) become less important than the so-called soft, interpersonal ones. Corporate leaders with what you know, and how fast spend a great deal of time and cheaply you can do it before your competition does. Leaders leverage -teaching about and connecting staff to missions and goals-explaining why their talents through project teams and they are important working groups, and to do so requires mastery of interpersonal skills. If we -helping staff develop plans of action for success want today’s gifted children to become tomorrow’s leaders, we must equip -identifying key technologies to be implemented and leveraged them to understand what is needed, with ample opportunities to develop the -guiding staff around and mediating constraints to success necessary skills in classroom activities. It is essential that our gifted students, to- -developing plans of action that weave together tactical and strategic morrow’s leaders, also effectively be able actions to articulate this to the next generation of workers in their charge. -providing key guidance about the metrics of decision-making At first, gifted teachers may -coaching and counseling employees to improve their performance. throw up their hands in frustration exclaiming how all this talk about job

2 skills somehow sullies and cheapens the grand beauty of academic achievement, The Virtues of a STEAM Based subverting it to the money-making side of life. How could there be a logical con- Education nection to our beloved eight periods a day of learning? Aren’t we about champion- ing individual excellence? Don’t we have strong academic standards to enable this? As you read through this section, keep in mind the itemization of skills the Let us not forget that industry and business with its ability to create na- business world will demand of the gifted tional wealth, reduce back-breaking farm labor, and provide the means for leisure students now in your class: time made schools possible in the first place about 140 years ago. What has changed is a shift in priorities in the workplace and the world. This will impact all students. 1. Logical and analytical abilities Here is a quick look at the chronological waves in the development of business: 2. Converting data and information into knowledge and new products -Interchangeability of parts (yesterday) 3. Presenting ideas and concepts 4. Good communication skills -Labor saving equipment and appliances 5. Planning and implementation skills -Assembly line automation—with discrete job functions and rapid/repetitive assembly 6. Team player 7. Integrated problem solving -System integration with emphasis on total product quality— 8. Learning efficiently. an Internet based rewiring of the factory These are clearly higher order -The rise of knowledge over data and information in the work- thinking skills, emphasizing knowl- place edge creation and manipulation over data analysis, all aimed at innovation -Strategic processes (know-how) for global competitiveness in the marketplace. Information and (today). knowledge enable innovation, but are not all that is needed to make it so. The human element—creativity, invention, teamwork, leadership and project man- Over the last 30 years, it became necessary for workers to integrate their agement---is the transformative combi- skills, to think about the whole product being built, and to work and communicate nation. Let us “dive into the weeds” to with other workers. Foreign competition and computerization made this absolutely discuss how the STEAM paradigm gets necessary. It is no coincidence that our school standards have become more intense, our gifted students into the sweet spot with suggestions about subject integration. It is very clear that subject integration of on-the-job leadership. will soon be the norm in schools, eventually forcing a complete re-design of the old and terribly stale 8-subject-a-day pizza-pie-slice academic day. STEAM provides a step-wise, STEM is not just a part of the curriculum for the gifted. reproducible, standards based, pro- It is the curriculum! cess-driven approach to team-based problem solving. A typical 8-step process hierarchy that can guide gifted --Dr. Maurice Fisher, Publisher, Gifted Education Press students might include: We write this paper to discuss how STEAM educational paradigms in the gifted classroom can not only enable subject integration, but “supercharge” it. -Identify the problem -Perform research about the problem -Develop potential creative solutions -Select best solution -Test solution against constraints -Revise solution if necessary -Finalize solution -Present oral and written reports.

Jasmine Kim 3 This process is not performed Throughout the conduct of in isolation. Students must, in order team-based STEAM activities, there are to achieve a successful solution, work -Technology powerful components that bear heavily collaboratively. As we like to say in the -Economy on the “A” component of STEAM, such classroom, “Four heads are better than -Engineering as, but not limited to one.” In the world of business, all this -Society work would lead to launching the new -Environment -Team member interactions and products and sales for the company; and -Sustainability the tolerance of different member ideas if the team did its job well, that new -Legal and opinions product would be an innovation in the -Safety marketplace and not just an invention. -Regulatory -Critique of ideas and proposed -Cultural solutions, and not the person STEAM educational paradigms naturally solve problems from -Oral and written presentation an across-the-curriculum approach. In This is clearly a case of depen- of ideas and points of discussion this regard, STEAM is quite unique in dent variables interacting in complex the academic day. Educational experts and nonlinear ways. It thus highlights -The keeping of team note- have a tough time determining where the necessity and importance of iterat- books, and documentation of solution it should be placed—in the mainline of ing to a solution, with failure as a natu- maturation subjects, an encore program, or perhaps ral course of investigations and analysis, an elective. Perhaps a studio design and lots of feedback loops during team -Creativity techniques course where recitation and practice activities. Embracing failure in the are combined in an extended class- classroom and in the psyches of gifted -Deductive reasoning room setting (what architects do)? Is it and talented students and their teachers possible to evaluate student competence is absolutely necessary. Everyone fails, -Lateral thinking. here in a statistically relevant manner as, necessitating the inclusion of erasers say, testing content in a math or English on the ends of pencils. It’s what you do course; or maybe we should have a new with failure that defines your ability to Initially, this may present a metric that replaces/augments tradition- succeed. challenge to your students. Traditionally, al testing? Since STEAM is a power- students have been expected to listen to ful school-to-work path, perhaps the This emindsr the authors of the the instructor to receive information. educational community might benefit old maxim that in the environmental Each and every child in your classroom from how companies evaluate employee world, everything is connected to every- brings a lifetime of experience to the performance in this regard—see the thing else. Perhaps this is why the global table. The diversity and richness of eight skills itemized on page 3. warming debate is so hotly discussed. THEIR lives is a powerful learning There likely is a plethora of dependent mechanism. It has taken some time in Revisit the process hierarchy variables that are not as well understood our classroom to groom the children to above, especially the “test solution as we would all like. This underscores share their experiences and listen to that against constraints” step. Often, con- that good product design is difficult and of their peers. We have also witnessed straints are very much more than simply takes time. Just look at the problems we a shift in our language arts instruction, what kinds of technology will be used, have today, probably a reflection of less which encourages this dialogue amongst what it will cost, and design details. The than rigorous design techniques used in peers and connections to real life experi- “A” in STEAM should identify and deal the past. ences. with the impact of the solution on the fabric of our culture, or in the case of world-wide product innovations, the fabric of civilization in general. STEAM demands that the solution matrix of an innovation become more complex and interrelated. Here is a listing of the envisioned constraints in a STEAM type educational approach, or impact analysis, all leading to a finalized new product:

4 As we acquire new knowledge, Forget Not the Bedrock of Learning— Student question-asking can be we naturally try to incorporate this Question Asking stimulated through a variety of avenues. information, reconciling it with our Teachers can use these typical sources existing knowledge. Consider the words Asking questions is the basis of of information and others as motivators below by the late Alvin Toffler, Ameri- self-actualization and problem-solving for young minds to wrap themselves ca’s master futurist, who way back in the in the gifted classroom. Are we spending around: 1970s warned of the waves of change enough time teaching our gifted charges now crashing on our shores: how to ask high-quality questions—inquiries that help them and their team members to create real solutions to chal- - Internet based searches The illiterate of the 21st century will lenges that confront them? In a way, - Discussions with experts not be those who cannot read and young folks can become very effective - Newspaper articles write, but those who cannot learn, iconoclasts, challenging the status quo, - Television/media sources unlearn, and relearn. and we must as teachers be brave to sit - Review of topically relevant within “a classroom academic boiling papers --Alvin Toffler water.” - Conference proceedings and journals Is effective question-asking - Webinars The world of business will be- something we can track and evaluate to - Professional continuing come more like a university, necessitat- show the involvement and commitment education courses/seminars ing workers to be flexible, in a constant of student learning? Do we understand - Business community state of “learning” and able to transform how valuable the process of ques- commentary with the rapid change that will certainly tion-asking is for the future of gifted - Entrepreneurs and new surround them; and to comprehend in- kids and their eventual transition to the business launches terrelated and interdisciplinary complex world of business? Do we appreciate - Inventors business variables. Furthermore, these how this life-long skill is probably more - Collegiate researchers variables will be both “hard and soft,” important than the specific information - Futurist oriented books and technical and non-technical. This and skills we teach them? Question-ask- and publications is the cusp of why experts today look to ing is what motivates us to fulfill our - Education texts. AI—the ability to use software to help potential, to self-actualize. humans ferret out what changes in data, information, and knowledge portend. What people think of as the moment of discovery is really the discovery Suggested Classroom Activities After attending a workshop, of the question. Linking Science and Literacy, given by STEAM is a natural integrator Bill Badders at the NST Conference ---Jonas Salk of the curriculum, something of great in Philadelphia in 2015, we learned value to gifted students who yearn to that scientists spend about 70% of Our responsibility in the gifted discover how their subjects interact and their work time, reading, writing, and classroom is to help students appreci- have relevancy. Here are some possible communicating. We envision students ate and practice good question-asking. integrated curriculum activities to con- as future scientists and give them ample It should form the basis of the initial sider. opportunity to communicate with each research phase of student/team investi- other before, during, and after investigations into project designs, team chal- - What are the key industries gating activities. lenges, and classroom discussions; and that changed our world from the Civil most certainly later, when the student War to now and how did these indus- No doubt the interactions and teams confront failures and uncertain- tries affect the lives of people? points discussed in this section are all ties about handling design constraints, life-long skills that can be universally identifying contingencies and general - Thomas disonE had four applied—process skills that transcend project dynamics. Questions should really big inventions: recorded sound, the life cycle of learned content-based permeate the STEAM classroom like motion pictures, light bulb and electric knowledge. oxygen in the air. Posing “What if” utility system, and R&D labs. How did situations is a powerful way to get these technological achievements change young minds percolating. Stimulating the world? What does Thomas Edi- follow-up questions should be the aim son teach us about STEM and project of all gifted classroom discussions. teams?

5 - If our country decides to go completely renewable in its energy use (no Susan Bermeo currently teaches science more fossil fuels), what are the economic, technical, social, environmental, and to curious third, fourth and fifth graders cultural issues entailed in accomplishing this? Enhance answers with figures from in Montclair, New Jersey. She has been diverse sources read and quoted by students. a formal educator for 15 years and a non-formal educator for 7 years. She - Develop a children's book about a topic of importance to current cultural also expanded her classroom by creating discussions. How about a storyline for electric vehicles and their importance in sav- a Makerspace for the school. In addi- ing oil use, reducing air pollution, clean and quiet operation, reduction in gasoline tion, Susan is a Wipro Science Educa- stations/petrochemical spills there and so forth? tion Fellow. She is also the mother of two inquisitive children. - What would happen if through digital communications, people could work from home instead of driving daily to the office? Discuss these Harry T. Roman is a retired engineer, impacts (pros/cons/observations/commentary), such as but not teacher, inventor, and author. He has limited to: published over 600 articles, papers and scientific treatises, along with 75 Reduced traffic on highways teacher resource products including People experiencing less face-to-face communications books, math card games, and science Changes in home energy use kits. A recipient of multiple awards for Less wear and tear on family cars his outstanding service as an educator, Impact of power outages or communication outages at home as well as his pioneering technological Other? achievements and inventions, Roman is currently an educational advisor for - Bring the fun and natural excitement of science fiction into the class- the Edison Innovation Foundation, and room, for it has much to offer. Create a science fiction story about technical topics often visits local schools to work with in the news (e.g., robots, life extension, artificial intelligence, and nanotechnology). teachers and students. The story can be humorous, ironic, or in other literary styles. Try it with poetry too. Consider these questions: What technologies do we take for granted today that were once science fiction thoughts or dreams? What great books were based on science fiction and why?

- How are engineers, entrepreneurs, and inventors a force for social good? Identify significant innovations that can be used as examples. For instance, how have Steve Jobs and Bill Gates improved our lives and made great changes in culture, society, and human interactions through their achievements in telecommuni- cations and computers?

- As our homes developed and more infrastructure services were incorporated into them (e.g., potable water, sewerage, telephones, electricity, natural gas and so forth), how did this affect our standard of living and the social good of citizens around the world?

Let us think of education as the means of developing our greatest abilities, because in each of us there is a private hope and dream which, fulfilled, can be translated into benefit for everyone and greater strength for our nation.

- John F. Kennedy

6 Torrance’s Model for Teaching that Encourages Incubation by Bonnie L. Cramond

According to the story, One Thousand and One Nights, Scheherazade told the king a story every night but left it unfinished so that he would let her live another day to complete it. Novelists and screen writers have long used this strategy of storytelling, called a “cliff hanger,” both for television and movies to keep the audience coming back for more. In the meantime, a good cliff hanger makes the audience wonder how the dilemma will unfold and eager for more. Those old enough may remember the infamous shoot- ing of J.R. Ewing in the television series, Dallas, and the intense speculation about who did it until the series started again.

Torrance determined that a similar technique would keep students thinking about a lesson long after it ended. The basic elements of a model were first conceived in 1966 when he was enlisted by Ginn and Company to help devise materials and methods for teachers that would accompany the publisher’s textbooks (Torrance, 1969; 1970). The Incubation Model emphasized activities to encourage creativity before, during, and after a lesson (Hébert, Cramond, Neumeister, Millar, & Silvian, 2002). This differentiated it from other lesson structures that typically follow a sequence of introduction - learning activities - closure (see for example, Madeline Hunter, 1982). In contrast, The Incubation Model (Torrance & Safter, 1990) stresses methods for keeping students thinking after the lesson concludes. In order to ignite the creative process, Torrance believed it was important to get students to go beyond rational thinking by actively engaging their curiosity, intuition, and emotions.

Conceptualized as a cube, The Incubation Model as depicted in Figure 1 (Torrance & Safter, 1990), includes three sequential stages: 1) Heightening Anticipation; 2) Deepening Expectations; and 3) Keeping it Going. It is important to observe that the last stage has arrows to indicate that the thinking continues past the lesson.

Each stage incorporates several strategies for teachers to choose from in designing lessons. Because Torrance gave figurative descriptions rather than prescriptions for the strategies, it is up to teachers to create or adopt specific strategies that fit their own style of teaching, subject, and level. The Incubation Model book, written by Torrance and Safter (1990), includes exemplary lessons in different content areas and at different grade levels to show how some teachers have applied the different strategies. Some descriptions and ideas for employing them are provided below. See Figure 1, an image of the three-dimensional model as conceived by Torrance (Torrance & Safter, 1990, p.8).

7 Stage 1: Heightening Anticipation

The purpose of this stage is to get students interested, motivated, and intrigued. There are six strategies that may be used at this stage, and each strategy may be used in different ways. The six basic strategies are: 1) Create the desire to know; 2) Heighten anticipation and expectation; 3) Get attention; 4) Arouse curiosity; 5) Tickle the imagination; and 6) Give purpose and motivation. There are many ways to do any of these. For example, in order to create the desire to know, a teacher could introduce a discrepant event to pique students’ interest and curiosity. Suchman (1962) first wrote about using discrepant events in science education whereby students are presented with a puzzling phenomenon and encouraged to investigate it, hypothesize, and test their hypotheses to help explain the event.

A simple example might be to show young students how a strip of PH test paper can turn pink or blue depending on what substance it is dipped into. Why? What do the substances that turn the paper pink have in common? The substances that turn the paper blue? Can you hypothesize about other substances that would turn the paper pink or blue? Test your hypotheses. What can you generalize?

There are many such discrepant events in teaching materials and on the internet. For example, Cini (2018) explained several discrepant events for different science phenomena that can be demonstrated in the classroom with easily attainable materials. There are also videos and slide shows that illustrate such events (e.g., The Mystery Ruler, n.d.).

The same process works when teaching English or Social Studies with current events, as demonstrated by Takeshita (n.d.). In one of two examples, students observe two visuals: a bar graph showing the rate of Cesarean births in 18 countries, with the United States at the top; and an editorial cartoon illustrating the high cost of malpractice insurance in the U.S. Stu- dents then ask questions and gather information about these illustrations with the final result being hypotheses about the causes and effects that relate the two visuals. In the second example, students read an article, “Should a Wife Keep Her Name?”

8 These examples show that the discrepant event can appear in a number of forms: demonstration, experiment, video, slides, table, cartoon, article, and so forth. The content can include different subject areas. There are other ways to get students interested in a lesson:

1. Confronting ambiguities and uncertainties

2. Questioning to heighten expectation and anticipation

3. Creating awareness of a problem to be solved, a possible future need, or a difficulty to be faced

4. Building onto the learners’ existing knowledge

5. Heightening concern about a problem or future need

6. Stimulating curiosity and desire to know

7. Making the strange familiar or the familiar strange

8. Freeing from inhibiting mind sets

9. Looking at the same information from different viewpoints

10. Questioning to make the learner think of information in new ways

11. Predicting from limited information

12. Making the purpose of the lesson clear, showing the connection between expected learning and present problems or future career

13. Providing only enough structure to give clues and direction

14. Taking the next step beyond what is known

15. Offering physical or bodily warm-up to the information to be presented (Torrance & Safter, 1990, p. 9).

The point is to intrigue students, or asTorrance said, heighten their anticipation. There are many ways, using different media, to do that.

Stage 2: Deepening Expectations

The second stage ofthe Incubation Model is Deepening Expectations. This is the stage during which the students’ interest and learning is deepened. Torrance used metaphorical language to describe the processes at this stage. Those stages and their description can guide teachers in developing activities at this stage:

Digging deeper means looking beyond the information on the surface to find what is beneath it all. For example, using the discrepant event described above about Cesarean births in the U.S., why are there so many more in the U.S.? Investi- gation into this fact uncovers the information that in the U.S. the rate is higher, in

9 part, because once a woman has given Cutting holes to see through worse, and opening up new vistas, new birth via Cesarean, the incidence of is the process of focusing on the most worlds” (Torrance & Safter, 1990, p. subsequent births being by Cesarean is important information and discard- 10). This process requires that students higher than in other countries. Why is ing the rest. This involves the ability exceed the ordinary methods of solving that? Further investigation reveals that to synthesize and glean the most vital problems to come up with new and doctors prefer a Cesarean for a mother information from a learning experience. creative ideas. The process of Creative who has had it before due to the threat Again, going back to the example of Problem Solving (Parnes, 1992) or of a lawsuit if there is a problem. The the large number of Cesarean sections its extension by Torrance into solving high incidence of medical suits and the in the U.S., another piece of data is societal problems through research high cost of malpractice insurance im- that the number is also high in Canada. and creative thinking, Future Problem pact the decision to deliver subsequent Some conclusions may be that these are Solving (Torrance, Bruch, & Torrance, babies by Cesarean. both English speaking countries, both 1976; Future Problem Solving Program former colonies of Great Britain, both International, n.d.) can help students Looking twice means deferring on the continent of North America. make this leap from learned solutions judgement until one can consider all But further research indicates that none to known problems to new solutions to information carefully (i.e., not coming of these factors is key to the number of open-ended problems. to a conclusion based upon the first Cesarean births. At this stage, students impression). An example of this is need to disconfirm evidence and hone Stage 3: Keeping it Going having students listen to a poem several in on the important factors. This is also times before interpreting its meaning, or a time for them to confront misconcep- The ealr heart of the Incubation looking at a piece of art again to really tions, and there are many in all of the Model is this stage because this one em- see what is there. subject areas. These might also go up phasizes keeping the learning going after on a board in the class: What I thought, the lesson ends. There are five strategies Listening for smells uses the and what I now know… suggested to accomplish this, but many idea of synesthesia (the experience of a ways to do each one. Again, Torrance sensation by a sensory system other than Cutting corners involves making expressed these as metaphors to empha- the obvious one, such as using the sense mental leaps to develop insights. This is size the creativity and openness of the of hearing to perceive an aroma). The harder to plan, but may be most useful strategies. point of this strategy is to encourage in making a solution to a problem students to use all senses to learn about better or determining the best way to Having a ball emphasizes hu- something. implement a solution. Sometimes in mor, laughter, and fun. Humor is not the creative process there are ways of often highlighted in teaching models, Crossing out mistakes refers to knowing that defy rational processes. but students who enjoy an activity encountering information and being Students should feel encouraged to lis- are likely to stay involved. There are able to recognize our mistaken be- ten to these intuitions and explore their many ways to infuse humor into the liefs and assumptions. When we are feasibility. classroom—through games, jokes, silly learning, we should be free to make costumes, parodies, and funny books. assumptions, then disregard them; make Getting in deep water allows dig- Students can draw comic strips to show hypotheses and disprove them; inves- ging into some issue beyond the avail- a process or create editorial cartoons tigate leads and leave them when they able information, going beyond taboos, to express opinions. There are many prove fruitless; disconfirm long-held and getting so involved to a degree as resources for educational cartoons on misconceptions, and so on. Students to lose awareness of time and surround- the internet. Another way to ensure should feel encouraged and free to ings, as in Flow (Csikszentmihalyi, that students have fun is to form clubs recognize and correct mistakes as an im- 2008). During this process, students around the content areas through which portant way of learning. Mistakes that explore outside the usual parameters of students can interact socially as well as help us learn should be celebrated, not time, place, and extent of their chosen academically. avoided. Helping students see many of inquiry. They may stay after school, the mistakes famous people made and visit external places, or otherwise go Singing in one’s own key address- disappointments they faced may help beyond the boundaries of the classroom es the personalization of learning. This them realize that no one has a smooth to investigate an issue. strategy involves ways to help students path to success. A good idea might be to find and develop their passions. It may put up a display where students can add Finally, getting out of locked include helping them create a science their experiences: A mistake I made, doors requires “solving the unsolvable, lab or art space at home, or showing and what I learned…. The teacher going beyond those ‘more and better of them how to find publishers for their might want to start the display. the same’ solutions that make matters writing. Pressfield (2012) wrote,

10 "We are not born with unlimited choices... Our job in this lifetime is not to shape ourselves into some ideal that we imagine we ought to be, but to find out who we already are and become it” (p. 146). Looking at this from an education perspective, we might say that it is the job of teachers to help students find out who they already are and become it.

Building sandcastles includes strategies to help students imagine, fantasize, and search for the ideal in a situation. Through activities, students learn to imagine the ideal, recognize the real, and work toward closing the gap. For example: What would the ideal classroom look like?How can we work to make our classroom more like that? Immediately? Over the next few weeks? Months?

Plugging in the sun is the strategy that emphasizes hard work and finding and using resources. It is not enough to have fun, find one’s passion, and imagine the possibilities, one must have the energy and resources to realize the ideas and operationalize them.

Shaking hands with tomorrow includes activities to help students develop a future vision. The point of these strategies is to have students recognize issues of the future that they can work on now to become involved citizens of the world. Torrance’s Future Problem Solving Program (Torrance, Bruch, & Torrance, 1976) is an excellent example of the kind of activity that can help students do this. This program has grown into an international program with competitions and resources for students in different categories and for different age groups. Teachers who do not want to form competitive teams, can still apply the process through Action Based Problem Solving (FPSPI, n.d.), or just use the structure to address problems that naturally occur in the curriculum. What should we do about waste in space? In the oceans? What might be some effective ways to address the problems immigrants face? Through the 6-step process, introduced under step 2 above, teachers can guide students to find new solutions to current and future problems in the world, the community, or school:

1. Identify challenges in the situation. 2. Select an underlying problem and word it for attack. 3. Produce solution ideas 4. Generate and select criteria 5. Evaluate the solutions to pick the best one 6. Develop an action plan.

11 Putting it all together Conclusion

Perhaps the best way to exemplify how the Incubation Model works is to Although many people think of use a simple example lesson: E. Paul Torrance in terms of his epony- mous tests of creative thinking, he was Grades: 3-5 proudest of his work to develop the Topic: Literature creativity of students. He had optimis- tic faith in the abilities of teachers to Content Goal: Introduction to elements of a story foment creativity in their students, and Creativity Goal: Producing Many Alternatives in the students to create a better world. Learning about character Learning about setting His Incubation Model is struc- Learning about plot tured, but not prescriptive. Teachers can choose to use one or more strategies from each stage in designing a BEFORE lesson, whether it be a short lesson or one to last over several months. The The teacher shows the YouTube video Can you solve this mystery? Incubation Model enables educators to (https://www.youtube.com/watch?v=spvux3FXPtk) teach students to think creatively while learning content and to infuse creativity Through the YouTube, the class begins the discussion of mysteries, clues, and into their lessons rather than design finding solutions. piecemeal activities (Hines, Catalana, & Anderson, 2019). Individuals who need further guidance in using this model DURING can look at the examples in the Torrance and Safter (1990) book and browse 1. The teacher reads one of the detective adventure books, Encyclopedia Brown, to the resources available online, some of students, leaving out the solution offered at the end of the story. which are listed at the end of this article. 2. Students brainstorm in small groups possible solutions to the mysteries in the As long as one keeps the spirit of ignit- book. ing and nurturing the creative spark, it is hard to go wrong.

KEEPING IT GOING References

1. Have groups of students share their solutions with one another. Cini, S. (2018, April 29). A list of discrepant event science activities. Scienc- 2. Then, read the end of the Encyclopedia Brown story. ing. Retrieved from https://sciencing. com/list-discrepant-event-science-activi- 3. Guide the class in examining how characters, settings, and plot were designed to ties-8018044.html help solve the mystery or lead the reader astray. (Introduce the term “red herring.”) Cramond, B. (2014). E. Paul Torrance, 4. “Can you write your own story with a mystery that the class will have trouble the scholar, the teacher, the man. Tor- solving?” rance Journal for Applied Creativity, 1, 1-9. https://www.centerforgifted.org/ TorranceJournal_V1.pdf

Csikszentmihalyi, M. (2008). Flow: The psychology of optimal experience. New York: Harper Perennial Modern Classics.

Future Problem Solving Program Inter- national (FPSPI, n.d.) . https://www.fpspi.org/

12 Hébert, T. P., Cramond, B., Neu- Torrance, E.P. (1970). Encouraging Readings meister, K.L.S., Millar, G., & Silvian, creativity in the classroom. Dubuque, IA: A.F. (2002). E. Paul Torrance: His life, William C. Brown. Drayton, M., Skara, C. & Keller-Ma- accomplishments, and legacy. Storrs, thers, S. https://buildingcreativeca- CT: National Research Center on the Torrance, E.P. (1979) An instructional pacity.files.wordpress.com/2010/09/ Gifted and Talented. https://eric.ed.gov model for enhancing incubation. The teaching-model-for-integrating-creativi- /?id=ED505439 Journal of Creative Behavior, 13, 23-35. ty-tim.pdf

Hines, M.E., Catalana, S.M., Ander- Torrance, E. P., Bruch, C. B., & Tor- Keller-Mathers, S. & Murdock, son, B. N. (2019). When learning rance, J. P. (1976). Interscholastic M.(2002, Fall). Teaching the content of sinks in: Using the Incubation Model futuristic creative problem-solving. The creativity using the Torrance Incubation of Teaching to guide students through Journal of Creative Behavior, 10, 117- Model: Eyes wide open to the possibil- the creative thinking process. Gifted 125. ities of learning. National Association Child Today, 42, 36-45. https://doi. of Gifted Children Celebrate Creativity org/10.1177/1076217518804858 Torrance, E. P., & Safter, H. T. (1990). Newsletter, 13 (2), 7-9. The incubation model of teaching: Getting Hunter, M. (1982). Mastery teaching. El beyond the aha! Buffalo, NY: Creative Lesswing, M.L. (n.d.) Using the Tor- Segundo, CA: TIP Publications. Education Foundation Press. rance Incubation Model to assist parents with developing creativity in their Parnes, S. J. (1992). Source book for cre- children https://digitalcommons.buf- ative problem-solving: A fifty year digest of Some Additional Resources: falostate.edu/cgi/viewcontent.cgi?refer- proven innovation processes. Buffalo, NY: er=&httpsredir=1&article=1210&con- Creative Education Foundation Press. Videos text=creativeprojects

PhenomenaScience. (n.d.). Keller-Mathers, S. (April 1, 2013). Millar, G. (2010). The power of creativ- The Mystery Ruler. [video file] Torrance incubation model (TIM). ity: Results of the 50 year follow up to the Retrieved from https://www. https://www.youtube.com/watch?v=gR- Torrance Longitudinal Study of Creative youtube.com/watch?v=uV880_ jov1pAiNQ Behavior. Bensenville, IL: Scholastic CoE7M&list=PL7F82281E7CF467AB Testing. Worwood, M. (n.d.) Pressfield, S. (2012). The war of art: https://vimeo.com/88604533 Murdock, M. & Keller-Mathers, S. Break through the blocks and win your in- (2002, Fall). The foundation of the ner creative battles. New York, NY: Black Lessons Torrance Incubation Model: Identifying Irish Entertainment, LLC. and using a creativity skill set. National Sannicandro, D. (March 22,2018). Tor- Association of Gifted Children Celebrate Suchman, J. R. (1962). The elementary rance Incubation Model Helps Teachers Creativity Newsletter, 13 (2), 5-6,13. school training program in scientific in- Quickly Plan Engaging Lessons https:// quiry. Urbana: University of Illinois. sparkitivity.com/2018/03/22/torrance_ Murdock, M. & Keller-Mathers, S. incubation_model_quick_planning/ (2002, Fall). Teaching for creativity: Suchman, J.R. (1965) Learn- Where there’s a will, there’s a way. ing through inquiry. Childhood Worwood, M. (2011). Applying the National Association of Gifted Children Education, 41, 289-291, DOI: Torrance Incubation Model of Cre- Celebrate Creativity Newsletter, 13 (2), 10.1080/00094056.1965.10728968 ative Teaching and Learning (TIM) to 3,4, 10-12. the Digital Media and Movie Making Takeshita, Y. (n.d.) The Suchman Inquiry Project. http://www.teachdigital.org/ Model and the teaching of current English. wp-content/uploads/2011/05/TIM_ https://www.jstage.jst.go.jp/article/jac- PROJECT_Model_DM3_01.pdf es1962/1988/27/1988_77/_pdf/-char/ja

Torrance, E.P. (1969) Motivating and guiding creative reading. In teachers’ editions of Clymer, T. et al. (Eds.) Reading 360. Lexington, MA: Ginn.

13 Murdock, M. & Keller-Mathers, S. (2008). Teaching and learning creatively with the Torrance Incubation Model: A research and practice update. Interna- tional Journal of Creativity and Problem Solving, 18(2), 11-33.

Murdock, M. & Keller-Mathers, S. (2008). Designing and delivering training for creative thinking using Torrance Incubation Model of Teaching and Learning. In G. Puccio, C. Burnett, J. Cabra, J.M. Fox, S. Keller-Mathers, M. Murdock, & J. Yudess, J. (Eds.), Integrating inquiry and action: Interna- tional conference on creativity and innovation management second community meeting conference proceedings: Book Two (pp. 70-96). Buffalo, NY: International Center for Studies in Creativity, Buffalo State.

Torrance Journal for Applied Creativity (2014, March), Vol. 1. https://www.centerforgifted.org/Tor- ranceJournal_V1.pdf

Bonnie Cramond, Ph.D., is a professor at the Department of Educational Psychology at the University of Georgia and former student of E. Paul Torrance. She has been a member of the Board of Direcors of the National Association for Gifted Children, editor of the Journal of Secondary Gifted Education, and Director of the Torrance Center at the Ivana del Pielago University of Georgia.

14 Creativity in the Business World by Patrick Forman

Business leaders at all levels of the economy are looking to innovation as a key driver of their growth. Innovation can come at various levels of impact, from creating brand new products to making incremental improvements to better serve customers. Most business leaders believe that without innovation, their potential to grow and even survive will diminish. So how can people entering the workforce prepare themselves for this demand for innovation?

Innovation does not happen in a vacuum. While a business enterprise can provide critical supports for it, the ultimate engine of innovation comes from the creative potential of human beings. People typically enter the workforce after 12 to 20 years of formal schooling, and the education process will have a tremendous impact on their ability to harness and improve their natural creativity.

Many educators are highly interested in fostering creativity in their students. My observation is that knowing how business leaders define and enable creativity helps teachers prepare students, as well as enhance their enjoyment in the process. The methods that educators use to support the creative process closely align with those that businesses use. There is a higher level of innovation that I will discuss in this article. I will also help define how business leaders think about creativity and explicitly try to encourage it within their own enterprises.

Three-Pronged Structure

When business leaders discuss creativity, they mean something different than unstructured brainstorming. The creativity a person brings to an enterprise has to be directed to the benefits that the enterprise offers along three dimensions. These offer- ings represent the investments that a business enterprise makes to take advantage of creative insights and innovation of the people they employ.

First, there is the dimension of physical support. This means that the enterprise has made investments in tools, equipment, and technical infrastructure to enable creative work to positively impact the business.

Second, there is the dimension of research support. It is extremely inefficient to expect people to learn, analyze, and keep up-to-date on every development in every field, so enterprises generally invest in some level of research that their people can take advantage of when they need it.

Finally, there is the dimension of organizational support. When a business enterprise hires someone and expects creative effort, there has to be some formalized plan for utilizing this effort. This means an organization that expects and can use the output of people’s creativity.

15 While this three-pronged structure is common in business, it should not come as a surprise to educators who are trying to support creative endeavors. Educa- tors enable their students’ creativity with tools and equipment. They provide a base of knowledge and research to get the creative process started. And as the students create, their teachers provide an outlet for their creativity to be enjoyed and used by others.

For example, imagine a teacher of creative writing at the junior high school level. The physical supports necessary are pretty simple – perhaps a laptop with a word processing application, or access to Google Docs, or even just pen and paper. Cer- tainly, every teacher of creative writing will expose their students to other examples of creative writing as a form of preparation. In other words, students of creative writing will have a baseline of reading as a catalyst to the creative process – this represents the dimension of research support. Finally, there is some organizational structure in place to deliver the value of the work produced, such as a school literary journal. After all, what good is a work of creative writing without a reader?

This same pattern applies to other creative endeavors. Creativity tends to be a process that blossoms as the baseline understanding of the subject matter grows. Think about artists, for example, who start mixing their own paints, or musicians who modify and tune their own instruments. Being able to challenge the status quo from an educated perspective can be very powerful.

Once people understand how creativity is supported, they start to question what supports they actually need and how to improve the process. The questions people can then ask themselves include: Do we have the right tools here? Do we know about the subject and have we seen the prior art? And do we understand how the fruits of our creativity are going to be used? I sometimes think of the innovative process as a machine waiting for its fuel, human creativity. Rethinking and redesigning that machine can power creativity to incredible heights.

It can be a useful exercise to pose these questions to students as they work through any creative process. High school ceramics students, for example, could learn new tools and methods for throwing and glazing pottery, and could explore the evolu- tion of pottery and what led artists to the choices they made. The key is getting to the point where students can challenge the tools they have and the current understanding of the state of the art, not from a position of ignorance but a position of wanting to create something new.

A Bicycle for the Mind

The highest form of creativity people can bring to an enterprise is introducing a new way of using resources to bring new value to those around them. The business enterprise can and should provide the supports I have detailed above, and within that framework true innovation can blossom. Business leaders highly value people who can express that challenge, not as a rejection of how they currently work, since that would require negating the investments they have already made, but rather as a new way of doing things that is fundamentally better.

16 The classic example is the metaphor that teveS Jobs brought to computer technology. Most people in that industry thought of computers as highly specialized tools that were endlessly configurable and required significant training to use. Steve Jobs famously said instead that he wanted a computer that was like a bicycle for your mind – intuitive, easy to use, and unforgettable once mastered. Of course, he built an enterprise to drive that innovation, built on the vast knowledge of computer technology that he and his collaborators already had. Apple is still innovating, providing the tools, research, and organizational structure required to harness the creative power that it continuously recruits new talent to bring to its organization.

As a business leader myself, I am always interested in the creativity of people who can challenge my current understanding of how best to serve our customers. The ideal kind of creativity is one which—like that of Steve Jobs—depends on a thorough understanding of the subject matter and proves its usefulness in significant ways. Innovators who know their field and are ready to express what they need to be creative as well as how an enterprise can apply their ideas will be successful. I believe that these criteria can help educators prepare people to be creative and actually see the fruits of that creativity serve others.

Patrick Forman is Director of Government Sales for Vlocity, Inc. Mr. Forman began his career at Motorola, Inc. where, as a staff engineer, he was awarded a US patent for innovation in wireless communication security. He later held various positions in technology companies, including Director of Product Consulting for Curam Software and Enterprise Account Executive for the IBM Corporation.

This article represents only the opinions of Patrick Forman and is not endorsed by Vlocity, Inc.

Campbell Kedaton

17 Suprarational Stars: Torrance’s Beyonders by Sarah E. Sumners

“...test scores are insufficient to predict those who have gone beyond the accomplishments of their peers, beyond what the quantified measures could predict, beyond anyone’s wildest dreams, but theirs.”

-E. Paul Torrance (1993, p. 9)

The anifesto:M A Guide to production throughout life. He came to The Beyonders Developing a Creative Career (Torrance, this realization after analyzing data from 2002) serves as E. Paul Torrance’s the 22-year follow-up study, and formed Identified as the top 10 individ- reflection on creativity based on his in- a set of guiding principles for children uals with the largest number of creative fluential longitudinal studies of creative to maximize their creative gifts through- achievements between the 12-year talent. Upon becoming the Director of out their lives. The resulting publication and 30-year follow-up timepoints, the the Bureau of Educational Research at of the Manifesto for Children (Torrance, “Beyonders” and their skills stand in the University of Minnesota in 1958, Presbury, & Henderson, 1983) sum- stark contrast to the “Sociometric Stars,” Torrance was charged with undertaking marizes the guidance offered by the those rated most creative by their peers longitudinal research into the education children in the study. in 1958. After analyzing the data from of gifted children. From 1958-1964 the 30-year follow-up study of high Torrance focused on studying creative school students, Torrance identified the talent through the administration of 1. Don’t be afraid to fall in love with ability to free oneself from the expecta- various creativity measures, achievement something and pursue it with tions of others and to walk away from and IQ tests, and sociometric surveys intensity. the games they impose as an essential for all elementary grade (1st -6th) chil- skill to becoming a Beyonder. Amassing dren at two local Minneapolis schools 2. Know, understand, take pride in, a large number of creative achievements as well as all 7th -12th graders at the practice, develop, exploit, and enjoy including hundreds of books, articles, University of Minnesota High School. your greatest strengths. inventions, patents, films, and artistic Successive follow-up data garnered from masterpieces, the Beyonders radically surveys of demographics and creative 3. Learn to free yourself from the exceeded that of the Sociometric Stars achievements, aspirations, and accom- expectations of others and to walk in terms of their creative achievements. plishments were collected from the high away from the games they impose on In essence, the Beyonders differed from school participants at 7-year (Torrance, you. Free yourself to play your own the Sociometric Stars because they were 1969), 12-year (Torrance, 1972a, game. able to escape the expectations of others 1972b), and 30-year intervals (Torrance, and write their own rules for the game 2004). 4. Find a great teacher or mentor who of life. The 22-year (Torrance, 1981), will help you. However, Torrance realized that 40-year (Cramond, Matthews-Morgan, the dominant factors (outside the realm Bandalos, & Zuo, 2005), and 50-year 5. Don’t waste energy trying to be of achievement, intelligence, or creative (Runco, Millar, Acar, & Cramond, well-rounded. ability) at work in the lives of the Be- 2011) follow-up studies conducted with yonders were motivational, emotional, elementary school children validated 6. Do what you love and can do well. and suprarational in nature. Such factors the use of creativity measures and IQ transcend rational thought and are crit- for predicting fruitful creative produc- 7. Learn the skills of interdependence ical to the generation and production of tion in adulthood. However, Torrance and give freely of the infinity of your original ideas (Torrance & Safter, 1999). was more interested in the personal, creativity. To further explore and define factors environmental, and experiential fac- that made the Beyonders suprarational tors transcending rational boundaries stars, Torrance (1991) developed the and impacting the individual’s creative 35 item Beyonder Checklist, which he

18 based on the biographies of those with a high degree of creative achievements from the 30-year follow-up study and throughout history. But before continuing our discussion, we must first venture to better understand our own creative behavior. Now is the time to stop reading and boldly endeavor to complete the Beyonder Checklist below. Place a check mark next to any statement that describes your usual behavior, making sure to be as objective and honest as possible.

BEYONDER CHECKLIST (Torrance, 2002, pp. 127-129)

Please check the statements that usually describe your feelings.

1. I have experienced many ups and downs. ______2. My behavior is difficult to predict. ______3. My horoscope hardly ever predicts my behavior ______4. Even as a baby I knew I was no ordinary child. ______5. I feel that I have an important mission in life. ______6. I usually go Beyond the usual scope in trying to understand things. ______7. I sometimes wonder why I have so much good luck. ______8. I usually consider myself a giver rather than a taker. ______9. I am not a well-round person; there are many rather ordinary things I cannot do. ______10. I will repay a debt even when I do not have to. ______11. When I have failed, I have picked myself up and tried again. ______12. I am honest even when it hurts. ______13. I love all living creatures. ______14. I try to use my energy constructively. ______15. I may fail a hundred times but I will not give up if I love it and believe in it. ______16. I learn much from the experiences of others. ______17. I like a challenge even though I have to work hard. ______18. I enjoy being with young children or working with them. ______19. At times I have felt very alone. ______20. I look forward to retirement as my “golden years.” ______21. There are few people who have loved their work as I have. ______22. Few people in my field have had the courage that I have. ______23. I believe that the most important mission in life is give without end. ______24. I have always had a high energy level. ______25. My job is better than working for a living. ______26. I have outbursts of levity occasionally. ______27. When I am in doubt, I will often go ahead and try it. ______28. My behavior is guided by a clear purpose. ______29. I feel comfortable in being a minority of one. ______30. Even as a child I knew I was different. ______31. I am usually a chance taker. ______32. It is fun to discover the reason behind things. ______33. Problems or new ideas won’t go away for me. They creep into my mind at odd times. ______34. I find that I usually make a lot of mistakes in order to accomplish much. ______35.Deep Thinking is real fun—more fun than much of the social conversation I get involved in. ______

19 Now, let us turn our attention comfortable in their own uniqueness. As Torrance, E. P. (1981). Predicting the back to the task at hand. What does adults, the Beyonders were comfortable creativity of elementary school children it mean to go beyond? How do we as a minority of one, celebrating their (1958–80)—and the teacher who “made a encourage the children and adults in our differentness, their unusualness, their difference.” Gifted Child Quarterly, 25(2), lives to think beyond the typical? How originality. 55–62. do we embolden children and adults to If our goal is to encourage exceed that of their peers and to push the children and adults in our lives to Torrance, E. P. (1991). The beyonders and the boundaries of rational thought? Evi- think beyond the typical, the rational, their characteristics. Creative Child and dence from Torrance’s follow-up studies and to consistently produce original Adult Quarterly, 16(2), 69-79. point us toward dominant forces at play ideas, we must respect such divergency, in the lives of Beyonders well outside show appreciation for its usefulness, Torrance, E. P. (1993). the realm of achievement, intelligence, and provide time to practice without The beyonders in a thirty-year lon- or creative ability. The Beyonders are evaluation (Torrance & Safter, 1999). It gitudinal study of creative achieve- creative outliers in that they exemplify is only then that we teach others to push ment. Roeper Review, 15(3), 131-135 characteristics such as persistence, cour- Beyond, to experience the awesome doi:10.1080/02783199309553486 age, tolerance of mistakes, comfortabil- quality that comes with being different, ity as a minority of one, not being and to stand out and feel confident and Torrance, E.P. (1995). Why fly? well rounded, diversity of experience, comfortable as a minority of one. “In Norwood, NJ: Ablex Publishing Co. and others that push them beyond the fact, life’s most energizing and exciting boundaries of their peers. In an effort moments occur in the split seconds Torrance, E. P. (2002). The manifesto: to further refine the Beyonder variables, when our strugglings and searchings are A guide to developing a creative career. Torrance (1991) validated the Beyonder suddenly transformed into the dazzling Westport, CT: Ablex Publishing. Checklist by submitting it to a group of aura of the profoundly new” (Torrance, Beyonders and a general population of 1995, p. 131). Torrance, E. P. (2004). Great expectations: superior adults. The following top ten Creative achievements of the sociometric items from the Beyonder Checklist form stars in a 30-year study. Journal of the basis for the development of the References Secondary Gifted Education, 16(1), 5-13. Manifesto for Adults (Torrance & Millar, 2001), intended to encourage adults to Cramond, B., Matthews-Morgan, J., Torrance, E. P., & Millar, G. (2001). make the creative leap and go beyond Bandalos, D., & Zuo, L. (2005). A report Manifesto for children. Athens, GA: where others have gone before: on the 40-year follow-up of the Torrance Torrance Center for Creative Studies. Tests of Creative Thinking: Alive and 1. Delight in deep thinking, well in the new millennium. Gifted Child Torrance, E. P., & Safter, H. T. (1999). 2. Tolerance of mistakes, Quarterly, 49(4), 283–291. Making the creative leap beyond. 3. Love of one's work, Buffalo, NY: Creative Education Runco, M. A., Millar, G., Acar, S., & 4. Clear purpose, Foundation Press. Cramond, B. (2011) Torrance Tests of 5. Enjoying one's work, Creative Thinking as predictors of per- 6. Feeling comfortable as a minority Torrance, E. P., Presbury, J., & Hender- sonal and public achievement: A fifty year Manifesto for children. of one, son, M. (1983). follow- up. Creativity Research Journal, Athens, GA: Torrance Center for 7. Being different, 22(4), 361-368. Creative Studies. 8. Not being well-rounded, 9. Sense of mission, and Torrance, E. P. (1969). Prediction of adult Sarah E. Sumners is an assistant re- 10. Courage to be creative. creative achievement among high school search scientist and interim director of seniors. Gifted Child Quarterly, 13(4), the Torrance Center for Creativity and A common theme born out 223–229. Talent Development at the University of of Torrance’s longitudinal research and Georgia. She has led creativity trainings both nationally and internationally, reflected in the Manifesto for Children, Torrance, E. P. (1972a). Career patterns co-authored several book chapters and the Beyonder Checklist, and the Mani- and peak creative achievements of creative entries on teaching creativity, has taught festo for Adults is that of dissatisfaction high school students twelve years later. graduate courses on teacher education with the banal, the usual, the unorigi- Gifted Child Quarterly, 16(2), 75–88. nal. As children, the Beyonders success- and creativity, and has written several grants to fund research. Dr. Sumners fully withstood the pressure to conform Torrance, E. P. (1972b). Predictive validity holds an M.Ed in gifted studies from to the expectations of their parents, of the Torrance Tests of Creative Think- Mississippi University for Women and teachers, and peers. Their ideas were ing. Journal of Creative Behavior, 6(4), a Ph.D. in Curriculum and Instruction different, suprarational, yet they were 236–252. from Mississippi State University.

20 Science Fiction in the Gifted and Talented Classroom: Connecting Science, Technology and Literature by Harry T. Roman

Any sufficiently advanced technology is indistinguishable from magic. --Arthur C. Clarke

Introduction The Benefits/Characteristics of 5) Science fiction is absolutely loaded Science Fiction [SF] with imaginative aspects created by the Joseph Engelberger, the father writer and re-created in the minds of the of modern robotics, clearly admits that Let’s take a quick look at the reader. Isaac Asimov’s science fiction (SF) nov- benefits/chief characteristics of science els about intelligent robots inspired his fiction—food for thought about using 6) It can build the long sought for interest in robotics technology. Look at this literary genre with your gifted and academic links between science and the how robots have influenced our auto- talented students. This list is not pre- arts. mated factories, been used to explore sented in a ranked or prioritized format, planets, and performed hazardous but a recitation of how I see this poten- 7) SF stories and such can warn us of duty here on earth. One of the greatest tially creative and exciting educational the extremes of using technologies with- national design competitions for our tool. out fully understanding their ramifica- youth involves the application of robots. tions. Science fiction certainly has the power 1) SF is the only literary genre that to influence hearts, minds, careers, and systematically examines the inter-rela- 8) The SF theme in movies and novels imagination. This is beyond doubt. tionship of science, technology, society, is ever-present, not just a flash in the history, exploring future possible scenar- pan. Many SF shows of the past are in Truth be told, many scientists ios and cultural impacts. continuous re-runs so the library of SF and engineers remain devotees of the is large and growing. There seems to be science fiction genre. Some write it as 2) This inter-disciplinary look at the no end for SF movies or novels. well. Many incredible ideas, inventions, world is exactly what is now being and disruptive changes were born in the encouraged in school curricula and stan- pages of science fiction stories. dards, like those encountered in STEM, Change is the principal feature of technology education, and engineering our age and literature should explore how Science fiction does something design. people deal with it. The best science fiction else we intellectually applaud, but does that, head-on. seldom really implement as much as we 3) The science fiction theme is a natu- --David Brin should: it integrates the curriculum. Sci- rally popular one, likely to draw interest ence fiction takes technological advanc- from young students who generally One only has to look at the es, real or imagined, and explores how it warm up to the topic of futurism. Youth incredible special effects incorporated affects the social, economic, technolog- wants to think broadly; and this is a into modern movies to realize how ical, environmental, legal and cultural nice match for STEM-related studies. powerfully imaginative this genre has aspects of a civilization. Why wouldn’t become. Think of the social impact that we want our gifted and talented youth 4) SF can be used to help participants popular TV and motion picture science to drink freely of this literary elixir? It recognize and bridge the connection fiction classics like Star Trek have had seems like a no-brainer in teaching our between science, technology, art, and on all of us. Think of their mission: youth about the grownup world of literature. “To boldly go where no one has gone multi-dimensional problem solving and before.” Think of the images created multi-disciplinary thinking. in your mind when you hear the terms

21 “Warp Speed,” “Klingons,” “Phasers,” “Tricorders,” “Photon Torpedoes,” “Shuttle Crafts.” These terms have become indelible parts of our colloquial lexicon. “Beam me up Scotty!”

Science fictional creativity and imagination have impacted our language, stimulated our art and movies, generated many new science fiction writers, and given raw meat to another generation of inventors and futurists. That old TV show handled some very serious social issues as well; and all this combines with futuristic science and technology in a wonderful stew we call progress where everything is connected to something else. The concept of android robots like Commander Data of Star Trek portrayed the powerful merging of robotics and artificial intelligence [AI]. Now we are getting pretty interested in this technological pairing today. AI certainly can be a harbinger of what is to come.

Joseph Engelberger, the father of modern robotics, and an icon I was priv- ileged to work with, once told me his reading of Isaac Asimov’s early novels was the motivating force for his interest in pioneering robotics technology. Science fiction has the power to influence hearts, minds, careers, and imagination. Consider these technologies and how SF promoted earlier versions of them:

• Those popular 3D printers ew see appearing in school maker labs—aren’t they the “replicators” on board the Enterprise in Star Trek?

• Our modern submarine traces its roots to Jules Verne’s classic 20,000 Leagues Under the Sea (1870).

• Laser cutting tools derive from futuristic space soap opera adventures dealing with ray guns.

• Even the idea of space travel comes from futuristic flights of fancy in early SF novels.

• Modern rocketry was inspired from H.G. Wells’s War of the Worlds.

• In 1914, H.G. Wells published The World Set Free, imagining the emergence of “artificial” atomic energy. The arrival of atomic energy in the novel was set as 1933. About ten+ years later, the A-bomb was fabricated and tested.

• The modern cell phone was inspired by portable communications like that used in Star Trek and other movies.

• Human organ transplants come to us from Mary Shelley’s 1818 iconic book, Frankenstein, where organs are put together to create a new human life form. These are just a sampling of some of the technologies that began as SF. Consider this last example. A famous literary character of the early 20th century was Tom Swift, a genius inventor who was the protagonist in a series of juvenile science fiction books. I confess to reading these still! NASA physicist Jack Cover who invented the Taser was a fan. “Taser” is an acronym for one of Swift’s fictional inventions, the “Thomas A. Swift Electric Rifle.”

I also would like to add the movie Aliens, which, besides being scary, has a scene where the heroine fights an alien with a powered suit used for moving heavy objects and garbage bins around. That suit is a forerunner of the exoskeletons we see being developed today for helping handicapped humans, and for soldiers as well.

22 Twister, the movie about storm because technology got out of hand. The world fairs. Here the theme of science chasers, is a low impact SF movie with inhabitants of this advanced civilization fiction is center stage as companies and a very practical aspect—to be able to developed unlimited power to create organizations try to envision what the disperse small sensors into the storm to things in real form from their imagina- world will look like 50-100 years from model its behavior. Such sensors have tions—until their sub-conscious minds now. Artists, scientists, and engineers become practical already and gener- began creating “monsters from the id.” combine their ideas and imaginations ally fall under the category of smart This is one of my all-time favorite SF to create a possible future scenario for sensors. These can be distributed in movies. Dig deep into this one, and humanity. The World’s Fair of 1939 rivers to model pollutant dispersal and maybe watch it in class. An early movie is a classic example of this legitimized with the advent of nano-sensors, such robot is also featured here, Robby the dreaming. Why not study past world devices may one day be injected in a Robot. fairs and the visions and imagination bloodstream to monitor for disease they offered? and perhaps even dispense life-saving Have GT students examine The Connection to Art medications [sounds like 1960s movie how war has produced huge advances in Fantastic Voyage!]. It is amazing how technology that ultimately resulted in these technologies and themes interre- wartime technologies used for peaceful Chesley Bonestell, America’s late. purposes. WWII is a great example of premier space artist and illustrator this. Students should identify what be- influenced many of today’s rocket Are you convinced of the power came of the atomic bomb and how we engineers and scientists to pursue their of this genre of literature? How can you used its terrible power for more peaceful dreams. His bold and visionary graphic focus this power to spur creativity and purposes. Study this in detail and enu- portrayals of planetary worlds fired the imagination in your gifted and talented merate all the beneficial spin-offs from imaginations of a whole generation of (GT) classroom? this. How did the use of rockets during science fiction writers, further fanning WWII morph into the 1960s space race the flames. He took them to the solar system’s most exotic places, long before Individual science fiction stories to the Moon? By the way, what were some of the spin-offs of our race to the Von Braun made it possible to dare to may seem as trivial as ever to the blinder dream of space-flight. critics and philosophers of today, but the moon? core of science fiction -- its essence -- has Take a look at past magazine become crucial to our salvation, if we are Have a class visit the Library to read old newspapers and magazines, advertisements and artwork that illus- to be saved at all. trated new technologies and how they --Isaac Asimov uncovering the excitement of those time periods—the pseudo-science fiction might be used in the future. Everything from home appliances to cars to build- Science Fiction in the Classroom speculations of then popular writers and reporters—and compare what effects the ings is impacted by how and where we technology actually turned out to have believe technology is going to take us. Have gifted and talented (GT) Consider how rapid advances in jet student teams examine the literature to on our society 50-75 years later? This is a fine lesson on how change rumbles aviation in the 1950s and 60s inspired identify SF works that influenced the the sleek, fin-shaped refinements of world. Do it in three parts: through our culture, getting filtered and modified along the way. automobiles of that period. • Stories before 1930 Have students speculate on Architects design buildings that what the multi-dimensional impacts of have as much theme as they have func- • Stories in the Golden Age of SF: tionality. Their structures make social 1930-1960 some of today’s technology might bring 50 years from now. Examples: and cultural statements. Technology and their speculations about how it might • Stories from 1960 to the present. • Genetic engineering affect us, influence how they design and build structures. What major themes, if any, • Nano technology are evident in these time frames? What • Artificial intelligence • Artificial organs Thomas disonE invented the are authors trying to tell us or warn us very utilitarian concrete house. Examine about? • Solar energy • Energy from plant life what that technology produced in terms (biofuels). of “art” and compare it to classical home One of the great SF movies of building designs of the 1920s and 30s; the 1950s was Forbidden Planet, an and against some of the more modern unusual story about a long past civiliza- An especially interesting subject is the portrayal of technology in past designs. What do these designs say tion, rediscovered, that wiped itself out about how technology “feels” to your 23 students? Which type of home best fits student creativity and imagination! • Survey your class to determine which their preferences? How might they feel science fiction movies are the favorites in a world where the buildings do not fit Alvin Toffler, author of the of students. What appealed most to their preferences? incredible books Future Shock and The them in those movies and why? If the Third Wave once opined about science movie had a musical sound track, how Discuss with your students fiction: did they feel the music matched the how technological advances in paints, Science fiction is held in low regard as movie’s “feel” and why? materials, and tools have allowed artists, a branch of literature, and perhaps it painters, sculptors, and designers to deserves this critical contempt. But if we • Read some of the old science fiction boldly try new art forms. Look at how view it as a kind of sociology of the future, and compare it to modern literature. computer art and animation have rather than as literature, science fiction has How are they similar or different? Look completely changed our visual forms immense value as a mind-stretching force at classic literature and see how many of entertainment. Compare this to the for the creation of the habit of anticipa- exciting books were actually science then revolutionary work of Walt Disney tion. Our children should be studying fiction based. in the 1930s and 40s. Arthur C. Clarke, William Tenn, Robert Heinlein, Ray Bradbury and Robert • Challenge students to write a short The ollywoodH movie tech- Sheckley, not because these writers can tell science fiction story—for example, 250 nique of “morphing” has allowed studio them about rocket ships and time ma- words. Allow them to make it funny, artists to create whole new families of chines but, more important, because they serious or ironic, whatever they choose. imaginary characters and alien beings can lead young minds through an imagi- for movies. The eerie shape chang- native exploration of the jungle of politi- • Introduce students to the incredible ing transformations produced by this cal, social, psychological, and ethical issues stories of Rod Serling and his land- cinematic technology has completely that will confront these children as adults. mark Twilight Zone TV show of the changed our ability to create almost 1950s/60s. unbelievable movie scenes at reasonable Classroom Challenges costs. • How are science fiction and fantasy Here are some classroom projects you both similar and different? Get this Science fiction is the most import- can try with your GT students. discussion going in your classroom ant literature in the history of the world, because it's the history of ideas, the history • If friendly aliens landed in your Harry T. Roman is a retired engineer, of our civilization birthing itself. ...Science backyard, what would you tell them and teacher, inventor, and author. He has fiction is central to everything we’ve ever show them that you think would make published over 600 articles, papers done, and people who make fun of science a favorable impression about our planet and scientific treatises, along with 75 fiction writers don't know what they're and the capabilities of its inhabitants? teacher resource products including talking about. books, math card games, and science --Ray Bradbury • Your name has been selected as a kits. A recipient of multiple awards for member of a special national team to his outstanding service as an educator, Epilogue send a message into space that may as well as his pioneering technological someday be intercepted by an alien cul- achievements and inventions, Roman I believe it was Albert Einstein ture. In the hopes of telling them about is currently an educational advisor for who once commented, “imagination is your world, what media would you use the Edison Innovation Foundation, and more important than knowledge”—a to transfer information about it? often visits local schools to work with most perceptive and unexpected quote teachers and students. from one of planet Earth’s most tower- • The field of special effects is a coming intellects. bination of imaginative technology, science, and art. How did this field Science fiction is constructive develop? What was the lineage of the imagination, focused on how technol- special effects from early science fiction ogy and science affect the future. Its films of the 1950s to today’s mega-hits premise is the impact that both have with their sophisticated techniques? on society. What better way to explore what we envision technology education to be—the study of the human designed world. Integrate science fiction into your gifted classroom. Supercharge your

24 These are the Ones Who Will Save Us: How to Identify Deep Souls in Your Classroom Before It’s Too Late by Kathryn P. Haydon Early in his career, E. Paul Torrance worked at a boarding school for boys who had misbehaved. Torrance noticed that many of these boys had a special spark. He read the book Square Pegs in Square Holes by Marga- ret Broadley. In it,“she described creative individuals as those possessing an ability which, ‘unless it is used and directed into the right channels . . . is like a wild colt roaming the prairies’” (Cramond, 2013, p. 27).

After this, Torrance began to see wild colts everywhere. He knew these kids were special, but most people didn’t. Torrance was determined to help understand and support them.

Many years of teaching also led me to notice this special “wild colt” quality in many students and adults. For years, I tried to describe them as members of the categories we know, like gifted and highly creative. I could understand them with my broad conceptions of those terms, but usually society’s definitions were and are too narrow to include these kids. They confound most people because, like Torrance’s students, they share a key commonality: traditional school does not fit them.

Since school does not fit, they can often become branded as behavior problems, misidentified as learning disabled, or written off as lazy. These negative mis-labels come with a lot of emotional baggage that is hard to shake off even as an adult. The “wild colts” who do survive school without major emotional trauma often do so when two conditions are met:

1.They have a high degree of creative self-efficacy (Tierny & Farmer, 2002; Beghetto, 2006), knowledge that they have creative strengths and can use them to produce novel and useful outcomes.

2. They had one or more mentors who reinforced their creative self-efficacy, often by giving them the opportunity to productively employ their creative strengths. Often this is a teacher or a mother.

They Need a New Name or They’ll Be Called the Wrong Names

After years of researching, working with thousands of students and adults, and applying the science of creativity to my work, I have identified seven characteristics that these “wild colt” individuals tend to share. To build this designation, I’ve conducted in-depth research on eminent creators, 25 rebels, daydreamers, class clowns, highly and profoundly gifted people, outlier learners, people with diagnoses like dyslexia and ADHD, and creative strengths.

The words gifted, highly creative, highly divergent, and innovative only capture a sliver of their essence. So, I’ve also given these individuals a name: deep souls.

Life does not fit deep souls, but they are so important to life. I believe they are the ones who will save us. They are the ones who have the ability and tenacity to think differently enough to get us out of the problems that we face. We must understand deep soul kids before it’s too late—and it’s almost too late.

In order to understand themselves, deep soul kids need adults, especially teachers, who understand them. Because many of their traits relate to creativity, creative self-efficacy is essential. The following seven characteristics are common among deep souls, and relate to their creativity. I detail each with how it might look in a classroom or at home.

But first I’d like to share a story. Last year, I wrote an initial article describing the seven characteristics of deep souls. The response was incredible, and I received many emails and calls telling me just how helpful this article was to them. It was reprinted in several publications.

Adrianne’s Story

Adrianne Roberts’ response was particularly impactful. Adrianne is an original, expressive thinker. She is a high-quality educator and has incredible dedication to her students. She survived school because she didn’t go to traditional school. Her mother supported her individual strengths and growth through homeschooling, and to this day Adrianne is a voracious learner. Yet even so, she didn’t always understand herself.

Kindly, Adrianne has given me permission to share her words with you, hoping that it might help more deep souls and deep soul kids be understood:

After your first email that was so helpful to me, you directed me to read your article on deep souls (Haydon, 2018). I realized that never had I felt so understood before. It turned my life upside down (in a good way!) and gave me the courage to begin to change my life journey and start to write a new chapter that was free of past expectations that others had placed on me.

I had always tried to fit in and be normal as far back as I can remember. Once I headed back into the workplace full time two-and-a-half years ago, I started to realize again just how different I am. At first, I was an asset. An invaluable employee. Irreplaceable. Once I was overloaded with deadlines and new corporate mindset employees were brought on board, I then was shot down constantly for my out-of-the-box thinking. I was exhausted trying to suppress the unique essence of who I am so that I could keep everyone else happy. Everyone was mad at me for something it seemed all of the time!

Then your email came and once I discovered that there were others that were in the same odd pod as me, it was freeing. Like me, they couldn’t find a label for themselves but unlike me, they embraced it and ran with this realization. And that was when I realized that being free to approach life the way that I saw it was not only okay but beautiful, spectacular even. It isn’t the same as the

26 majority of humans and that’s okay too. I slowly allowed myself to accept that I am different (I Seven Strengths of Deep Soul Kids use the word “quirky”) and that I literally see the world around me differently than most people. (besides a past or present disconnect with school) I started to feel creative again and left the people that held me back. I stopped comparing myself to others. I realized that I have a lot to offer people and I need to stop apologizing (to both myself 1. Bravely Independent and others!) and feel proud of my work, not ashamed that it doesn’t look or feel like everything else everyone does. Sometimes the road is lonely (this summer was one of the most difficult times in my life) and I wish that I could fit in with the cool girls but then realize, I am really the cool Deep souls are independent all girl! I am the one that gets to be, do, and create cool things. My brain is always active with new the way around. They don’t just take ideas that have the potential to change our world, to help others, to bring happiness, and beauty your word for it—they’ve got to figure and that is amazing! it out themselves. They don’t like to be told what to do. They won’t mechani- Deep souls deserve a name because if they don’t have one, they get called cally follow rules to play the game; they many other names—and too often, they are weakness-based or suggest incompe- need to know the reasons behind the tence or poor behavior. It is my hope that sharing these seven characteristics of deep rules and for playing in the first place. If souls will help teachers and parents identify deep souls early in childhood. Adrianne it makes sense or seems purposeful, they is the mother of a college student. I’m so grateful that she has now gained more might play. They cringe at the idea of self-understanding, but it would have saved much angst to identify as a deep soul blindly following the crowd. They might earlier in life. do what others are doing, but only if they’ve come to the conclusion that it’s Not all deep souls have all seven characteristics fully developed, especially worthy. as kids. You may have to look hard to see them differently than other people do—in Their independence might a new and different light. But if you can see them and connect these strengths with seem like stubbornness. The pressure to them, you have the chance to change a life, by helping them gain creative self-effica- conform is so intense that it can take cy and, perhaps, a mentor. stubbornness to protect one’s unique identity from being absorbed. The flip Most human beings have deep soul characteristics to some degree. But side of stubbornness is courage. It takes deep souls have them intensely. If you feel a student is a deep soul, he or she prob- courage to think independently. There ably is. Here are seven commonalities that deep souls tend to express when they are is constant pressure to toe the line, being purely themselves. follow the norms. Independent thinking offends the crowd; it causes those who are content to follow to feel threatened. Deep souls tend to hold freedom as a top value. They need opportunities to exercise their independent thinking. Risk-taking is essential for true innovation and deep souls take the greatest risk in being themselves. Deep soul students may seem like troublemakers—rebels, perhaps. But they are crying out for opportunities to exercise their independence, a valuable strength, within the classroom. They benefit from choice, including the classes they take, and from assignments that allow them to exercise their original thinking.

2. Meaning Seekers

Meaning is at the heart of everything deep souls do. In fact, without meaning, they probably won’t do it. Deep souls think in 4D and the ever-present fourth dimension is meaning. Meaning usually connects

Minji Kim 27 back to deeply-held values, interests, Deep souls may appear to be Again, deep souls may seem or strengths. If they can tie into one of slow workers. They are not dumb or slow. It is hard for them to simply go those, then motivation runs high. learning disabled, but are mining for from A to B. They need to make broad- Deep souls aren’t divas. They depth. Think about the updated Bloom’s er connections. Connection-making is aren’t trying to be smug when they Taxonomy (Krathwohl, 2002). It is essential to problem solving and one require meaning in their lives. This need typically depicted as a pyramid, with of the most valuable skills a person can is baked into their being. Meaning is creative thinking at the top as the most have! It is tempting to train deep souls fuel—high octane. When a deep soul complex cognitive function. Memori- to fall into line so that they just “do the finds her spark, it’s like turning on the zation is the base of the pyramid, the work,” but it is much better for all to ignition and the fuel burns red-hot. lowest level of thinking. design work that leverages their thirst Meaning goes along with independence. I believe Bloom’s is more for knowledge and connecting across Deep souls are unlikely to feel satisfied accurately expressed as a circle. This disciplines. following the crowd or implementing visual shows that when you are doing without purpose. But once motivation is real creative thinking, you are using the 5. Learn By Making kindled from within, there is no stop- other thinking skills as well. But when ping them. you are doing tasks like memorization, Deep souls like to keep it real. At school, deep souls may you are skipping out on higher levels They learn actively, applying new ideas simply refuse to do rote work. Tasks of thinking. This is the disconnect for to what they already know. They learn like memorizing math facts lack mean- many deep souls. When work focuses by making—connections, ideas, sce- ing. To learn these facts, they need to on lower-level functions, they become narios, things, systems . . . They think connect up with something they love. disengaged because they are not using in spirals, connecting new information At a young age, it might be skip-count- enough of their minds. It is essential to with old to find patterns, themes, solu- ing to music or creating a number story. use creative learning principles to struc- tions. This might take longer. It might At an older age, they may need to know ture learning opportunities that engage look messy. New input is like flint to the why what they are learning matters, in a all levels of thinking in order to engage stone of their minds, constantly making more authentic way than is described by deep soul students. sparks. This active, original thinking is the problems in many math books. meaningful. Deep souls want to solve 4. Knowledge Questers problems and they do it through writ- 3. Deep Divers ing, experimenting, building, sharing, At the core, deep souls are testing, tweaking, tasting, or imagining. Speaking of meaning, when curious. They want to know and learn, Thinking is constant and original. They ideas or projects have captured deep and they seek truth. Usually they are resist unthinking implementation. “Just souls’ interests, they will likely become self-directed; they get intrigued about memorize it” or “just get it done” are engrossed. You might not see them something and pursue it with intensity. commands that won’t get very far with again until they’ve explored all aspects of They might ask a million questions or deep souls. Again, making leads to the topic. But if you tell them some- dive into books and articles or make meaning. thing they must do and they can’t con- quiet, astute observations. They proba- If deep souls attend rote-learn- nect it with meaning, they might stall, bly learn by experimenting, exploring, ing schools, where content is generally forget, or do “just enough.” If their lives and doing. Their thoughts don’t go prescriptive with little choice, they may are filled with meaningles (to them) efficiently from A to B because on the not perform nor pay attention. Mak- tasks, they may disengage or rebel. The way they are connecting A to everything ing can include writing a creative story key is to find meaning in daily tasks else they know. Connections fuse and or poem or answering a question that or at least pursue interests on the side. pop in their minds, creating new in- requires original thinking; the key is Otherwise they will become disconnect- sights. They probably don’t have a linear tangible application of original thought. ed from their sparks. learning process and most likely don’t love sitting through a lecture without 6. Intuitively Sensitive the opportunity to take the information and run with it. They tend to learn most Though some may hide it on when given independence and autono- the outside, deep souls are universally my, collaborating with other deep souls, sensitive. Their sensitivities manifest or consulting with experts who ignite in many forms. They may be deeply their imaginations. They tend to inhale empathic or sensitive to their envi- knowledge or absorb it in non-tradi- ronments. They often “know” what tional ways. others are thinking. They can sense

28 discomfort or criticism even when it’s that understanding, apologize for the References: not voiced. They highly value respect past if you need to wipe the slate clean. and can quickly sense when someone is Show them this article. You will help Beghetto, R. (2006). Creative self-effica- pandering to them. They are sensitive with creative self-efficacy and probably cy: Correlates in middle and secondary to criticism, especially from those who become a mentor. students. Creativity Research Journal, 11, don’t understand them. They have an 333-346. acute sense of fairness and feel deeply. Is Everyone a Deep Soul? Their intuition is strong. They sense Broadley, M. (1943). Square pegs in gaps between what someone says and The underlying traits that fuel square holes. New York, NY: Doubleday, what they actually do. This sensitivity deep soul strengths are universal char- Doran. ties into their pursuit of authentic un- acteristics of creative thinking. Research derstanding. shows that nearly all of us have an Cramond, B. (2013). The life and If you have a deep soul in intense combination of these strengths contributions of E. Paul Torrance. In E. your classroom whom you don’t like in early childhood, but they lose their Romey, (Ed.), Finding John Galt: People, that much, the deep soul knows it. luster over time–especially during our politics, and practice in gifted education, They can feel your disdain or irritation. school years. Deep souls, however, (pp. 25-31). Even if you can find one thing that have resisted this dulling. They can’t Retrieved from http://books.google. you genuinely like about that student, help it. The intensity of their ability to com/books?id=Sw23AgAAQBAJ&d- communicate it to him, and give him think differently cannot and will not be q=e.+paul+torrance+wild+colts&lr=&- an opportunity to express the strength stopped. source=gbs_navlinks_s you identified. In this way, you will do Because of this, they are at risk wonders for his self-efficacy and, likely, of being misunderstood. They need Haydon, K. P. (2018). 7 strengths of engagement in your classroom. people around them who, from an deep souls: The thinkers we need but early age, recognize their differences as rarely understand. Sparkitivity Blog. 7. Crave Authentic Understanding strengths and help them channel these https://sparkitivity.com/2018/04/07/7- productively so they can grow and blos- strengths-of-deep-souls/ Above all, deep souls want to be som. I’ve created the free Sparkitivity understood for who they are authenti- Strengths Spotter tool to help us iden- Krathwohl, D. (2002). A revision of cally. They want to understand them- tify and cultivate deep soul strengths. Bloom’s Taxonomy: An overview. selves, too. Since they are outliers, they (You can find it here: www.sparkitivity. Theory into Practice, 41(4), 212-218. experience this less often than most. com/strengthsspotter ) When we recog- They are fortunate if they have someone nize these as ours too, we are more open Tierney, P., & Farmer, S.M. (2002). in their lives who truly gets them, or at to seeing them in others. Creative self-efficacy: Its potential least who lets them be themselves. All So, yes, we can all cultivate our antecedents and relationship to creative of their characteristics together make own underlying deep soul strengths. performance. Academy of Management for powerful fresh thinking, but others But I have coined this term to help us Journal, 45, 1137-1148. might view deep souls as complicat- find those who by nature seem to defy labels of any kind and thereby become ed and thus they are less likely to be Kathryn P. Haydon, founder of understood by the world. This can lead susceptible to incorrect ones. We now have an accurate lens through which Sparkitivity (https://sparkitivity.com/), to self-doubt or a feeling that something writes, speaks, and consults to support is wrong with them. In fact, deep souls’ deep souls can be understood and grow, for the benefit of us all. an educational paradigm based on abilities to be individuals and think as student strengths and creative thinking. individuals are vital. Though they are of- She is a keynote speaker and consultant ten criticized for their unique approach for schools and families nationwide. to life, their ability to think differently Kathryn co-authored Discovering and helps devise new solutions, inventions, Developing Talents in Spanish Speaking and ideas for the benefit of all of us. Students (Corwin, 2012), as well as Even nonconformists want Creativity for Everybody (Sparkitivity, more than almost anything else to be LLC, 2015). genuinely understood by another human being. An adult who understands a deep soul kid is invaluable, because the adult has clout. If you can take this list, identify the deep souls in your midst, you have understood. Communicate

29 Stop Blaming “The Student from Hell”: Dispelling the Myth Through Creative Teaching and Enhanced Student Engagement by Iman Rasti Introduction desperately and obsessively to either subject matter, improves student waken the silent ones or silence the loud engagement. When students engage, Describing what some teach- ones. However, I knew that I would be teachers can better address their needs. ers name the biggest obstacle to good doomed to self-defeat in my attempt Acknowledging the many variables at teaching, Parker Palmer, in his 1998 to tame the Students from Hell the work in a lack of student engagement seminal book, The Courage to Teach: moment I let myself fall into the trap of and the limited capacity of schools and Exploring the Inner Landscape of a Teach- labeling and blaming. Instead, I had to classroom teachers to address all of er’s Life, speaks of “The Student from clearly see their needs and become more them, this article proposes the use of Hell”—a universal archetype that can aware of my own role in the generation creativity in introducing new lessons, take male or female form. This student of their questionable behavior. Put sim- tasks, activities, or projects as one way may be silent, sullen, withdrawn, and ply, I knew I had to fight the stereotype. to motivate and inspire unresponsive or indifferent; the one with little capacity I refused to call them the Students from reluctant learners. for conversation and no desire to engage Hell. Engagement is Key well with ideas; the one with a short attention span. What encouraged me to keep It goes without saying that for moving forward optimistically was the optimal learning to take place, we need As educators, we all have echo of Palmer’s observation (p. 45) to ensure our students are deeply in- encountered the so-called Student from that “The Student from Hell is not born volved in the learning process. Engage- Hell. Last year, for the first time in my that way but is created by conditions be- ment with the topic can alleviate most long teaching career, I was handed over yond his or her control.” As a classroom of the “behavioral” problems that often a seventh-grade American history class teacher, there are certain things that are identify the so-called Student from Hell. where at least two out of three students beyond my control, too. For example, I In addition, continual engagement helps easily met the criteria for Students from have no direct control over my students’ students thrive academically. If academ- Hell: impulsive, disorganized, disen- nutrition, sleeping habits, or how much ic lessons align with personal interests, gaged, even diabolical at times. As a they exercise, watch TV, or play video students are more likely to remain deep- banner announcing a national confer- games. Nor do I have direct control ly immersed with the topics. Kaufman ence on teaching and learning (cited in over their family dynamics, potential (2013), for example, points out that Palmer 1998, p. 41) once put it, they substance abuse, or absentee parents. continual engagement correlates with were students “with no direction or But there is one thing that I can almost increased ability in the domain of per- motivation; with little knowledge of the always be in full control of, and that is sonal interest: social skills necessary for teamwork and how I teach. negotiation; bored and passive in situa- Engagement and ability are inseparable tions calling for action, and belligerent One thing the so-called Stu- throughout human development, dynam- and destructive in contexts requiring dents from Hell desperately need is ically feeding off each other as we engage reflection.” good teaching—the kind of teaching in the world. Our interests and passions that creatively engages them with the direct our attention to key aspects of a I must admit, the first cou- lessons, provides them with the right stimulus, and cause us to ignore oth- ple of weeks challenged me in a way level of challenge, and helps them be- er aspects. Importantly, our continual I had never been before in my career. come active participants in the learning engagement builds up the expertise base Day in, day out, my only goal was to process. Creative teaching facilitates that allows us to reach higher and higher simply maintain my sanity and that of a good teaching. Teaching creatively, no heights of performance (p. 303). handful of “normal” students by trying matter the age group, grade level, or

30 There are different types of points out, “Sometimes even the Controlling Attention through classroom engagement. Exploring the superstar teachers—the inspirational, Novelty correlation between openness to motivational ‘life-changers’—are limited experience and creative achievements, in their abilities to create self-determi- We are surrounded by thou- Kaufman (2013, p. 276) introduces nation.” Instilling self-determination in sands of bits of stimuli at any given three types: intellectual (desire to engage disengaged students is by no means an second, but our brains cannot process in complex problem solving and abstract easy task; however, we can plant the all of them at the same time. The Re- reasoning); affective (desire to engage in seeds by sparking engagement before the ticular Activating System (RAS), a filter the full range of emotions, including a actual content lesson starts. residing in the lower part of the posteri- preference for making decisions based or brain, filters almost all the incoming on affect-laden intuitions); and aesthetic It can be argued that creatively stimuli and selects only the necessary (desire to engage in holistic patterns, hooking the disengaged students with information to which we consciously perceptual experience, and fantasy). a lesson before it starts is the first step attend (Willis, 2017). RAS responds The common thread in Kaufman’s toward transforming seemingly unmo- to and gives priority to novelty, which definition of these different types is tivated learners. Doing so barely gives means new stimuli have a higher chance “desire” to engage in an activity, whether them a chance to enter an emotionally of entering the brain. that activity is intellectual, artistic, or negative state where they would be aesthetic. completely reluctant to participate in Here is how this simple, yet ex- the process. How many times have we tremely important neuroscience concept Fostering the desire to engage heard colleagues lament about disen- applies to teaching. To immediately in any classroom activity is therefore gaged students, hopelessly wishing, “If engage students in the lesson you are paramount. However, creating a class- they would only give me five minutes of about to teach, you have to introduce it room atmosphere where disengaged their attention so I could introduce my to them in a novel way. The novelty of students remain internally driven and lesson!” the lesson’s presentation unleashes this find it desirable to be active agents in filter and allows incoming stimuli to get the learning process can be a daunting It all starts by capturing and into the brain (Rasti, 2018). In other task requiring patience, persistence, and controlling the students’ attention in the words, because of this novel exposure to of course, expertise. And certainly, it first few seconds they step foot into the the lesson, students’ RAS filters select involves so many other variables classroom. E. Paul Torrance, a pioneer the new information and let it, and not (e.g. building relationships, developing figure in creativity research and educa- any other external stimuli surrounding empathy, presenting the right level of tion, reminds us that before the actual the students, enter their brains. challenge, and offering personally rele- lesson starts “something has to be done vant topics, among others) to work in to heighten anticipation” (Torrance The entry of novel stimuli into harmony for any long-term change and Sisk, 1997, p. 91). But why is that the brain has another important advan- to happen. The disengaged students so important to capture the students’ tage. Novel stimuli will release dopa- often walk into the classroom with a attention the moment they enter the mine, an important neurotransmitter preconceived notion that they are not classroom? And equally important, how in the brain. The release of dopamine smart enough, that their voices do not can we do that? not only increases the students’ sense matter, or that they would be safer to remain silent (or extremely loud to mask their fears). The more the so-called Students from Hell remain disengaged, the more difficult it is for them to make connections between old and new information, to activate memory, to make sense of and conceptualize learning, or to improve soft skills (e.g. teamwork, problem solving, or communication).

We who teach, therefore, have an obligation to mitigate the degree of disengagement as much as we can to help facilitate the process of deep and joyful learning. But as Homes (2017) Dariana Yu

31 of pleasure, but also enhances alertness, room, I did not need to say anything, the Smartboard before teaching a lesson memory, and motivation (Willis, 2009). but let them observe and then follow on it, placed bowls of popcorn on each This surge of focus and motivation, in their curiosity by asking me questions desk before watching an episode of turn, facilitates optimal arousal, en- about the new arrangement or making an HBO documentary when learning abling brains “to be alert, receptive, and predictions, both of which were great about the Declaration of Independence, ready to attend and learn” (Littman, ways to capture their attention. The and hung the flags of the United States 2017). Therefore, heightening students’ different classroom setting also sparked and Japan on opposite sides of our class- anticipation through creative and novel the students’ engagement by allowing room before teaching Island Hopping activities prior to the lesson may lead to them to visualize a historical event, strategy employed by the United States higher student engagement. making it desirable for them to be active in the Pacific War against Japan during participants in the lesson that was about World War II. These are only a few Heightening Anticipation to ensue. examples of how I succeeded in engaging the most disengaged students before Heightening anticipation When studying the American even starting my lessons, activities, or before introducing a new lesson is a Revolution, I designed a project where projects. principle that can be employed when my students had to reconstruct a typical teaching any subject matter to any age non-combat, camp day of a Continental Closing Remarks group. The key is finding the courage to Army soldier during the American break from our regular teaching routines Revolutionary War, with emphasis A disengaged student often so that we can creatively engage our placed on setting up a tent, making unfairly gets reduced to labels—spoiled, students at the very beginning of class. a fire, and cooking colonial cuisine. stubborn, disrupter, or simply, the Stu- To better understand the importance of Although the project in and of itself dent from Hell. This is partly because, disrupting routines to increase student offered a lot of engaging activities, as Palmer (1998, p 41) points out, anticipation, we can use a physical I still needed to further arouse my “criticizing the client is the conventional fitness analogy. When building muscles, students’ curiosity, get their attention, defense in any embattled profession.” athletes learn to confuse their muscles. and ignite in them the desire to contin- Shifting the lens through which we Changing their exercise routine regular- uously immerse themselves in the lesson see these students, however, can offer ly is considered a good way to increase throughout. So, when the time came to promising changes to the landscape of strength and muscle definition. Similar- announce the project, I decided instead teaching and learning. We can start, in ly, as classroom teachers, we also need to to reveal it differently—in a piecemeal a nonjudgmental way, by seeing these vary our routines to momentarily con- fashion, instead of simply saying, “This students as ones who are just wired fuse the students’ brains before we start week, we are going to …” differently. This will allow us to explore teaching. This brain confusion can help more productive ways to address their increase focus, attention, and ultimately, When I received the package unique needs and thus get one step clos- engagement. I had ordered with the tripod campfire er to creating a pathway toward deeper stand as well as iron-cast crock pots and and more joyful learning for them and a Informed and inspired by the other cooking utensils, I simply un- more satisfying teaching experience for educational neuroscience principle packed the box and laid everything on us. related to the RAS filter and by cre- my desk for a few days without telling ative teaching tools and frameworks anyone what they were going to be used Last year, I continued to (see, for example, Torrance & Safter’s for. I did the same when the canvas tarp, remind myself of the overwhelmingly Creativity Skill Sets, 1999), I tried to cords, and poles for pitching the tents positive impact I had on my students’ be more deliberate in how I introduced arrived. Putting all these items on dis- lives and future, a reminder that further my American history lessons, activities, play without offering any explanations encouraged me to look for creative ways and projects last year. When teaching about their use inspired intellectual to transform the seemingly disengaged the trial of John Brown in our Civil War curiosity, enabling them to explore their students into more focused, engaged, Unit, for example, I decided to set up imaginations and make predictions, all motivated, and purposeful individuals. my classroom differently by rearranging of which resulted in the desire to engage By the end of the year, these students the furniture, transforming it into a typ- in the subsequent activity. exhibited progress both academically ical 19th-century American courthouse and socially. More importantly, by being with designated seats for the judge, I have placed colorful print- continually and creatively engaged, we victim and his lawyer, defendants and outs of Colonial stamps on students’ built meaningful relationships with each prosecutor, witnesses, and jury. I did all desks before teaching the 1765 Stamp other and the subjects we studied. These of this before the students came to the Act Riots, put up a giant image of the profound relationships were the key class. Once they walked into the class- 1770 Boston Massacre engraving on in helping me dispel the myth of the

32 Student from Hell. Once again, I Palmer, P. (1998). The courage to teach: Iman Rasti, Ph.D., has served as a found peaceful refuge in creativity as the Exploring the inner landscape of a teach- classroom teacher, department chair, answer to some of my most painful and er's life. San Francisco, CA: Jossey-Bass. curriculum designer, adjunct professor, intense struggles as a classroom teacher. Rasti, I. (2018, January 11). How Director of Wellness, and educational creative teaching improves students’ consultant for nearly two decades. Dr. References executive function skills. The Creativ- Rasti also writes, speaks, and consults ity Post. Retrieved from: http://www. on creative teaching and learning for Homes, C. (2018, November 27). I creativitypost.com/education/how_cre- schools and families nationwide. In his traveled across 14 states and every stu- ative_teaching_improves_students_ex- most recent article, published in The dent told me the same story about why ecutive_function_skills Creativity Post, he explores how creative they’re not motivated in the classroom. teaching enhances executive functions. Education Post. Retrieved from https:// Torrance, E. P., & Sisk, D. A. (1997). Dr. Rasti is currently an English teacher educationpost.org/i-traveled-across-14- Gifted and talented in the regular class- and the Director of The Writing Center states-and-every-student-told-me-the- room. Buffalo, NY: Creative Education at Greens Farms Academy in Westport, same-story-about-why-theyre-not-moti- Foundation Press. CT. vated-in-the-classroom/ Torrance, E. P. & Safter, H. T. (1999). Kaufman, S. B. (2013). Ungifted: Intel- Making the creative leap beyond. Buffalo, ligence redefined. Philadelphia, PA: Basic NY: Creative Education Foundation Books. Press.

Littman, E. (2017, September 12). Willis, J. (2009). How to teach students Never enough? Why your brain craves about the brain. Educational Leadership, stimulation. Additude: Inside the 67(4). ADHD mind . Retrieved from: https:// www.additudemag.com/brain-stim- Willis, J. (2017). Neuroscience and ulation-and-adhd-cravings-addic- executive skills: Strategies for executive tion-and-regulation/ functions, memory and learning. Learn- ing and the Brain Summer Institute, July 17-21, Santa Barbara, CA.

Noor Abd. Al Hussain

33 The Power of Visualization to Stimulate Creativity: Seeing with the Mind’s Eye by Dorothy Sisk

Visualization coupled with self- today's world is in the culture of Native brought nervous chuckles and com- talk can get the creative juices of gifted Americans and in some Eastern cultures. ments. He would ask participants to students flowing as they learn to see With the development of language and place their thumb in their navel and with the mind’s eye. Many gifted artists, written systems for capturing words, ra- then extend their hand or fingers. The scientists, and mathematicians use tional thought became more important. point directly below that point is your imagery to creatively produce ideas and In many ways, the use and development center. He said then you can focus on products. Notably, Einstein's method of visualization occurred in inverse pro- that area and clear your head of random of thinking was visual and kinesthetic, portion to the development of language thoughts. You can help students become and he described himself as seeing in and ways of recording words. centered with these directions: pictures (Ghiselin, 1952). Visualization was particularly evident in the work of The use of language establish- Concentrate on locating your center. Place Nikola Tesla who would carry out ex- es distance between ourselves and our your thumb in your navel and extend your periments in visual images, and then go experiences, and this externalization hand or fingers. This is your center. Now to his lab and create the product (Tor- causes words to lose the immediacy of that you have contacted your center, you rance & Sisk, 2001). Another advocate the happening. In today's busy world, can use this center to relax, to focus and to of using visualization to stimulate cre- externalization through labels and become more together and more centered. ativity was Margaret Mead. She served abstracts shelters us not only from the (Pause: ten seconds) Concentrate on your as a keynote speaker at a Creativity immediacy of daily life, but from our breathing and begin sending your breath conference at the University of South inner strengths, such as creativity. This to your center. (Pause: ten seconds) Florida in Tampa in 1979, and stressed realization has stimulated interest in that through thinking in images, ideas education to help rediscover the impor- Once students are centered, emerged that would not otherwise. tance of visualization, because by using they can then be introduced to visual- She shared the use of daydreams and it we can inspire creative thoughts and ization activities such as guided visual- imagistic thinking to explore alternative images. ization. scenarios to problems. Using a problem-solving statement such as "what Philosophers and priests in would happen if” she was consciously ancient cultures used visualization as able to manipulate variables, allowing a tool for growth and rebirth. Since images to flow and unfold in her head the time of the caveman, their paint- to stimulate creativity. ings expressed spiritual visualizations (Sisk, 2019). The Old Testament is a History of Visualization rich source of visions and dreams, and one can recall the stories or parables of Throughout the history of seven fat cows eaten by seven lean and mankind, two thought processes have gaunt cows, or the multicolored coat been used, verbal and visual. Primitive of Joseph. Religious leaders used these mankind's consciousness was visual visualizations to help people reach their with little distinction made between spiritual goals (Torrance & Sisk, 2001). sleeping and waking, or visions and perceptions. Dreams and fantasies were Preparation for Visualization valued as much as cognitive thought. Mankind lived in union with nature Psychologist Bob Samples used (Torrance & Sisk, 2001). The closest a method to center himself and fully that we come to this relationship in experience visualization that always

34 Guided Visualization Recently I demonstrated this guided visualization with a group of My favorite type of visualization is guided visualization, and there is usually gifted high school juniors and seniors a classic entry point, such as an image of a balloon rising, or an elevator to engage and several of their responses are includ- the students in the guided visualization, but my favorite entry is asking the students ed to demonstrate the power of visual- to take a walk up a hill. An example is below: ization.

My question was, "What is my purpose?" Close your eyes and see yourself walking along a path, and he said, "Be the best you can be" and he gave me a small plastic ruler." I see this Feel the sun on your face, lift your face up and feel the warm sun, as me being responsible for measuring my There is a slight breeze and you can feel it gently touch your face, own growth and I am going to find my own plastic ruler. This was awesome. Hear the sounds of birds calling to one another, Female, age 16 Listen, there is a rustling sound of leaves as small animals scurry to get out of our way, Notice how relaxed you feel being outside and slowly walking up the path. My question was, "How can I make a decision about what school to apply to for See the path leading up to a hill, and on top of the hill, an old man is higher education?" and he said, "Make sitting cross legged in front of a small fire, and he beckons you to come your decision with your heart and gave me and sit. a small glass heart." I have been trying to See yourself smiling at him and asking a question. See him nodding and make a decision on facts about the colleges answering your question, and he reaches into a small pouch to give you an and universities, now I will concentrate on object. how I feel when I visit their campus, how my heart resonates to their community and Hold the object tightly in your hand and thank him. atmosphere. See yourself beginning to walk down the path. Male, age 17 Be aware of the sound of the birds,

Hear the rustle of leaves as small animals note your passage, My question was "How can I forgive my Feel the gentle breeze, and the warm sun. boyfriend for wanting his ring back?" He said to forgive and bloom like a flower. He Then very slowly open your eyes, and look at your object, gave me a daisy. The daisy is my favorite flower and I will think upon that and see Reflect on it and on your question. myself as a flower blooming without him and letting my hurt go. Share your experience with one other student. Female age 17

35 Imagery Poems caring is one of the most important tions were, and then I asked them to factors contributing to positive teach- imagine a painting that Picasso might After the guided visualization, er-student relations, and I would add to create. The students were given time and the students were given the following creativity. materials to create their own paintings a framework to use as guide or model to la Picasso. create an imagery poem. Most students love poetry and See the ------poems invoke mental pictures. Alisha Our last visualization asked Hear the ------was amazed at the beauty of her mental them to imagine white light around pictures and the affirmation she received their entire body to help them be Touch the ------from the other students. She said, “It creative and to “see” what their next Smell the ------was like a shot of B12." Another stu- painting might be, to reflect on it, and See the ------dent responded as many typical gifted then share with one other student. Years Hear the ------students would who want to do their later, one of my gifted students told me Touch the ------“own thing,” and resist using a model. she could still see Picasso’s Garden in Smell the ------She shared her poem—written after the her mind’s eye, and she visualizes that visualization—using her own visions I feel ------white light around herself when she of what she called an “Autumn Experi- wants/needs to be creative in her job at ence." This poem was written yb a Disneyland. 16-year-old female student who said, "I The crisp weather creeps into my bones, can't write poetry, I never have written Being creative is not always easy for Green leaves are beginning to turn, poetry," Then she ruefully smiled and all gifted students and they may resist Yellow, red, orange and brown, said, "But I will try." trying something new that they feel is Hear the crunch of the leaves as I walk. out of their comfort zone. Orloff (2014) See the path winding up the hill, Birds call out to one another, suggested a mantra or request that Some fly in a V formation, students can use when they experience Hear the birds calling out to They fly high to where the sun intellectual resistance to being creative. one another, is the ruler, Touch my face with the warmth I anticipate the visit with the elder, Let me be willing to experiment. of the sun, He hands me a tattered book and Let me be willing to open my mind. says, "Education" is your answer. I want to release my closed-mindedness. Smell the woody smell of the fire I want to be a teacher! I want to release my rigidity, on the hill, I want to be receptive to what I haven’t See the old man bent over the fire Emily, age 17 yet discovered (p. 97). and sitting cross legged, Visualization is like any skill: Hear him saying, "Sit down and welcome." The teachers of the gifted stu- it gets better with practice. As gifted dents were observing them during the students practice it in the classroom Touch his hand as he hands me a rose, visualization, and several asked, “When and in their daily lives, they will receive do we use visualization?” My response new images and enter the constantly Smell the lovely scent of the rose he hands me, was in the beginning of a lesson, during changing world of imagined subjects a lesson, and after a lesson. I shared and objects. This inner imagery is truly I feel blessed that he answered an experience I had teaching the gifted like “movies of the mind,” and gift- my question "How can I contribute?" in Garden Grove, California. My ed students respond positively to its sixth-grade students were studying the spontaneity. They can use visualization I must bloom like a flower! life of Picasso in one of our Creative when they face a problem they want to Arts units, and I asked them to close solve. The illumination of images is an She was so proud of herself their eyes and go with me to France. I “Aha” experience similar to what artists, and especially pleased when her class described the garden of Picasso, an old authors, and scientists feel when they mates asked her to read her poem. creaking metal gate, a statue of a small envision a work, imagine their charac- While she was reading, another student goat standing on the walkway, and Pi- ters, or visualize a solution to a problem sketched her holding the rose. Not only casso in spotted short trousers working (Sisk & Shallcross, 1986). were these students creative, but the on a painting. Then I introduced a book atmosphere was genuinely positive and about Picasso with the very pictures I Kingsley Dennis (2017) talks caring. The students became a commu- had asked them to visualize. They were about the realm of enchantment. As nity as they reflected on their experience amazed at how accurate their visualiza- they experience the power of visual- with visualization. Cantu (2008) said 36 ization, gifted students can re-expe- References Sisk, D. (2019). Spiritual intelligence: rience and re-enchant their desire to Developing higher consciousness. In B. be creative, and find a deeper sense of Cantu, M. (2008). Culturally responsive Wallace, D. Sisk & J. Senior (Eds.), The purpose and meaning in their lives. One classroom management and motivation. SAGE handbook of gifted and talented powerful visualization I developed from San Antonio: University of Texas. education (pp. 19-32). London, UK: Dennis’ chapter in Ervin Laszlo’s The SAGE publications. Intelligence of the Cosmos is to ask stu- Dennis, K. (2017). The new answers dents to visualize in their mind’s eye, re-enchant our world view. In E. Laszlo Torrance, E. P. & Sisk, D. A. (2001). to look up into the night sky and see (Ed.) The Intelligence of the cosmos Spiritual intelligence: Developing higher the sparkle of stars. See yourself feeling (pp.50-64). Rochester, VT: Inner Tradi- consciousness. Buffalo, NY: Bearly awed and enchanted. Feel the grace, feel tions. Limited Press. the wonder and the excitement of the unknown. With high school students Ghiselin, B. (1952). The creative process. Dorothy Sisk is the C.W. Conn you can then ask them to ask the ques- New York, NY: New American Library. professor of gifted and education at tion: Why are we here? Lamar University in Beaumont, Tex- Why do I belong? Mead, M. (1979). Personal conver- as. She has been a teacher, guidance sation. University of South Florida, counselor, supervisor of gifted educa- High school students who Tampa, Florida. tion, and teacher trainer. In addition to have experienced this visualization are publishing books and articles on gifted fascinated with the power of imagery, Orloff, J. (2014). The ecstasy of surrender. education, Dorothy Sisk served as one and they immediately asked for copies New York, NY: Random House. of the founders and the first president of Laszlo’s book to ponder the ques- of the American Creativity Association tions “I have been asking for years.” Sisk, D. & Shallcross, D. (1986). Lead- and president of The Association for the Visualization has the power to stimulate ership: Making things happen. Buffalo, Gifted (TAG), the Florida Association creative products and equally import- NY: Bearly Limited Press. for the Gifted, and the World Council ant, to stimulate creative thinking. for Gifted and Talented Children. Margaret Mead’s famous quote about a small group of like-minded people being able to change the world comes to mind. This may well become the quest of our gifted and talented students as they stimulate their creative thinking through visualization.

Jerry Xiao 37 Recommendations for Improving the Education of Young Gifted Children by Maurice D. Fisher and Michael E. Walters

During June-July 2018 something unusual occurred in the news cycle. This positive news event was the performance of human solidarity involving the plight of the Thai soccer team that was stranded in a cave. Besides, the Thai divers they were joined by volunteers from various countries including the United States, Great Britain, China, Australia, Belgium, and Israel. The entire event was inspired by the spiritual composure of the young teenagers trapped inside the cave. These youngsters were originally losers since all of them were rejected by their own school soccer teams. How- ever, they became winners for a world audience.

The technology used yb the rescuers was of the highest standards in areas of diving, sophisticated pumping operations, electronic communication, medical procedures, GPS location, and medical transportation. All of these procedures demonstrated what humanity can accomplish when they work together. Young gifted children need to be exposed to these technologies for them to understand how certain medical, communication and transportation developments can be used in positive ways. By stimulating their technology interests at a young age, they may become major contributors to the advancement of these and other fields.

The story of the Thai cave entrapment and the heroic rescue should be told in every gifted classroom to teach students about how technology can be used to achieve great humanitarian deeds.

Other object lessons that can be learned from this cave story are: caves have served as homes for early-mankind where they were used for protection from the elements, places to build fires for warmth, cooking food, providing protection for pets, making tools, and painting pictures on walls. Watch dogs were used extensively to guard groups and families who lived in caves. Young gifted children could use all of these factors to study how mankind developed from primitive groups to advanced societies.

Plato’s Allegory of the Cave should be taught to all young gifted children. Here they would learn that caves conceal true knowledge, and that exposure to sun- light leads to understanding the real world.

This article demonstrates the importance of expanding young gifted students' awareness and understanding in all areas of human knowledge.

38 For Teachers to Increase their Knowledge of the Young Gifted Child

The following are practices that expose gifted children to broad areas of human knowledge, and lead them to an enriched understanding of their world.

1. Study the lives and works of the great masters of learning such as Leonardo da Vin- ci, Plato, John Dewey and Maria Montessori. Use information about their early years and later writings to determine important influences such as stimulating teachers and apprenticeships, parental encouragement, environmental opportunities, mentors in different fields of study, and educational and social opportunities.

2. Collect data on the early lives of individuals who represent the highest levels of thinking in literature, philosophy, politics, international affairs, science, mathematics, technology and commerce. Include the classics as well as sources from other cultures and ethnicities. Examples of areas to explore:

Philosophy Literature Visual Arts Performing Arts Science Math Technology History

By studying individuals in these areas of learning and achievement, teachers need to answer the following questions:

What particular interests should a gifted child have in order to be identified with each one of these intellectual areas?

What types of skills should they have to show potentially high levels of achievement in each area?

How can teachers promote the development of particular interests and skills?

39 Examples in Teaching Science for example, joined NASA in 1988 and imaginary characters including -- Dance was the first Hispanic woman to go to of the Sugar Plum Fairy, Russian, Arabi- As the result of observing a space. A research engineer from Stan- an, and Chinese dancers, and Waltz of gifted child's interests in learning about ford University, she investigated optical the Flowers. the changes from daylight to nighttime systems for information processing, and related to heating and cooling in the has received NASA’s highest award, the TheYoung People’s Concerts atmosphere, teachers conclude that Distinguished Service Medal. Interested by Leonard Bernstein and the New York lessons in basic astronomy would be students can explore the STS-56 mis- Philharmonic Orchestra were produced appropriate. After observing that the sion where she and the other astronauts by CBS television during the late 1950s child develops a quick understanding performed experiments. and throughout the 1960s. Bernstein of such concepts as the earth's rotation and the orchestra covered a specific top- on its axis in 24 hours and movement Examples in Teaching Music ic in each program such as instruments over 365 days in a planetary ellipse, the and tones, satirical and ironic music, child is presented with more advanced The 1945 musical composi- comical music, modes based on modern problems related to seasonal changes tion by Benjamin Britten, The Young and ancient scales, the music of Gustav caused by the earth's angular relation to Person's Guide to the Orchestra would Mahler, and three-quarter time as char- the sun. be a good starting point for demon- acteristic of Viennese composers. All of strating the different instruments used these and many other programs can be The famous reek,G Archimedes, in symphony orchestras. This musical purchased through Amazon.com. Young designed a practical method for measur- and narrative performance shows young gifted children will learn a considerable ing the area of a circle and explaining gifted children the musical character- amount by viewing them. how levers work. Gifted children can istics (timbre, range, and role) of each learn from Archimedes about how to instrument and how they can play Leonard Bernstein was one of use empirical methods and mathematics together as a melodic force, reinforcing the greatest geniuses in American clas- to make scientific deductions. each theme through different rhythms, sical music. As the host of the classical timbres and chord progressions. Anoth- music section on the 1950s and 1960s Galileo showed that the er way to introduce them to classical television show, Omnibus, funded by velocity of different objects was the music is by presenting music that has the Ford Foundation (Alistair Cooke same regardless of their weight. He also strong programmatic themes. Ralph was the main host), Bernstein presented proved that the Sun was at the center Vaughan Williams’ The Lark Ascending, numerous topics and musical events— of the solar system by using telescopes composed on the eve of World War I, is how Beethoven constructed his Fifth to make systematic observations. Young a clear example of this type of music be- Symphony, performance of his own jazz gifted children can acquire ideas from cause it involves the use of instruments composition, definition of jazz, the art his experiments to show the relation- to imitate a bird's flight. Williams used of conducting (illustrated with Brahms’ ship between velocity and the weight of violins and woodwinds to create the First Symphony), and the develop- objects, and how planets move around swirling flight of a skylark. This piece ment of musicals. He was a talented space. These children can replicate stud- is indeed one of the most beautiful com- and articulate teacher who explained ies in gravity by observing experiments positions in all of classical music. difficult musical concepts with clarity, in space stations and on the moon. enthusiasm, humor, and deep knowl- Another fine programmatic edge. Teachers should use his methods Ben Franklin observed how composition is Peter and the Wolf by as a model for instructing young gifted electricity traveled through the key on Sergei Prokofiev, a musical tour de force children about all musical genres. a kite. Young gifted children can use which also uses several orchestral in- parts of this experiment to visualize the struments and narration to tell the story The composer Aaron Copland transmission of electricity. of how Peter captures a wolf. Different used exciting programmatic music in instruments provide thematic parts for the ballets Appalachian Spring and Billy Euclid, another Greek philoso- each character, e.g., bird -- flute, duck the Kid. Both of these compositions pher, designed the laws of plane geom- -- oboe, cat -- clarinet, grandfather demonstrate the energy and power of etry and scientific logic by using such -- bassoon, wolf --- French horns, and different American cultural and his- figures as triangles and squares. Young Peter -- string instruments. The height torical groups. Copland, a native of gifted children can use geometric rules of programmatic works for young Brooklyn, New York, was interested to study objects in space. gifted children is the ballet music from in expressing American folk music in the Nutcracker Suite by Pyotr Ilyich symphonic form. Both he and Bernstein Include more contemporary sci- Tchaikovsky. This music stirs the gifted were colleagues who wanted to increase entists where applicable. Ellen Ochoa, child's imagination by using numerous understanding of American music at

40 home and around the world. The answers to these and relat- experiences are so important because ed questions can be applied to all young they will lead to higher levels of intelli- Other geniuses of American gifted children in order for teachers to gence. Psychologists and philosophers music that young gifted students should be insightful and effective. have been arguing for decades as to learn about in the history of jazz include whether this is a valid thesis. As with Louis Armstrong, Duke Ellington, Examples in Teaching Philosophy most issues in these academic areas, Count Basie, Benny Goodman, Artie there has been no clear resolution to Shaw, Tommy Dorsey, Ella Fitzgerald, The goal of gifted education is this problem. In fact, the great German Bing Crosby, Frank Sinatra, and Tony to develop Powerhouse Minds. These philosopher, Immanuel Kant, had a Bennett. Many will also love learning minds should have a strong grasp of completely different perspective. He about the rich history of the Blues, questions and issues of world civiliza- said the human mind is endowed with originating in the southern United tions that have occurred over thousands fixed categories of thinking abilities and States and migrating to urban centers of years. Therefore, it is important for ethical values. He did not believe that where they assumed new forms and young gifted children to learn about these abilities and values were solely de- styles. Evolved from African spirituals, basic philosophical questions. Their termined by environmental experiences. work songs, revivalist hymns, rural fife Powerhouse Minds will be stimulated and drum music, and other sources, the and expanded by these types of experi- If teachers use Locke's and Blues offers a wide range of music to ences. Certain basic questions should be Kant's ideas in the young gifted child's explore—from Ma Rainey and Bessie addressed in their philosophical studies: classroom, they will be sensitive to how Smith to John Lee Hooker, “B.B.” King, both environmental and genetic factors “Sonny Boy” Williamson, Muddy Wa- Rigorous Thinking. Both play important roles in their education. ters, Buddy Guy, and Koko Taylor. Socrates and Plato emphasized that the An exceptional philosopher whose work truly educated person should "Know relates to these questions can broaden Teachers should also study Thyself." This imperative from the two students’ understanding and discovery: the lives of Musical Prodigies such as greatest individuals in Western philos- W.E.B. Du Bois. Among his many Mozart, Chopin, and Shostakovich to ophy has stimulated personality studies achievements, he gave to the world a learn the behavioral and motivational in psychology and the examination profound analysis of racism in America characteristics when they were children. of abnormal behavior in psychiatry. and its relationship to education and to What factors in the home affected their By teaching young gifted children to the development and growth of a people development? How did their parents "Know Thyself," they will have a better struggling for liberty and human rights. encourage their development as musi- understanding of their motivations and cians and composers? What incentives learning in the school and home. By did parents provide? Did siblings and having them explain their motivations Examples in Teaching History other relatives help them to expand their and learning interests, they will contin- musical abilities? Who were their early ue to develop as human beings and out- It is important for young gifted teachers, and how did these teachers standing students. This type of emphasis children to study history in order for contribute to their musical growth? in the classroom concentrates upon them to understand how different what is called the affective areas of learn- countries have developed. Compar- All of these questions can be ing. But the main goal is to teach young isons between European and New applied to other fields of knowledge gifted children how to use basic logical World countries can be made to show such as mathematics and science. In reasoning to solve affective problems by their similarities and differences. It is addition, artistic prodigies in painting, means of the Socratic Dialog. This is the also important for them to study what sculptor, and interior design should teaching method designed and applied motivates different countries to seek ex- receive the same types of analysis, by Socrates. pansion and growth, whether they want particularly as related to the role of more land, natural resources, increased mentors in prodigies' lives. What types Fundamentals of Learning. energy sources, or more people to work of opportunities did mentors provide At birth, the mind is a "blank slate" ac- the land and develop new industries. All through apprenticeships and special cording to John Locke and other British of these factors can lead to conflict and learning opportunities? At what ages Empiricists. Knowledge comes from wars. Teachers need to present challeng- did mentors become important in constant interactions with the external ing examples that show how wars can developing prodigies' skills? What were world rather than being born with or originate from government corruption, some fundamental lessons that mentors automatically developing the ability to and basic needs and motivations. taught prodigies such as persistence, reason. The more frequent these interac- accuracy, and learning basic knowledge tions, the more powerful will the mind of the field of study? become. This is why high-quality early

41 Ancient Greek and Modern Historians nality and imagination. It also displays town who defended an innocent Black the hierarchy of knowledge from low man accused of murder. Both of these Herodotus was the father of level action heroes to depictions of films demonstrated how a decent hu- modern history but he also included the the human condition. Each one of the man being can have a great impact on study of different cultures which today actors and actresses listed here represent society. Young gifted children will be is called anthropology. In this regard, examples of these qualities. inspired to emulate these heroes. gifted elementary school students could study Native American tribes. Try to Denzel Washington and TheCinematic Musical was choose sources by Native American Will Smith. Washington appeared in one of the greatest contributions made authors and artists, and explore the the movie entitled Glory (1989) which by the United States to world culture. possibility of local community groups or depicted the plight of Black soldiers in Judy Garland performed in two of the organizations that might contribute to the American Civil War. Smith appeared iconic films of this genre. The first was students’ historical learning. in Concussion (2015) which featured The Wizard of Oz (1940). This film a Black pathologist who discovered was a blend of social satire, fantasy, and Thucydides wrote about the serious brain damage in deceased NFL entertainment. She sang one of the most conflict between Sparta and ancient football players. He defied the NFL famous songs in the English language, Athens. Sparta was a militaristic society leaders by insisting this fact be ac- “Over the Rainbow.” The second iconic while Athens was an intellectual and knowledged. Both movies illustrate how film was Meet Me in St. Louis (1944). commercial society. From a similar commitment to a cause can produce This film shows how an American fam- perspective, elementary students could improvements in people's lives. This is ily was affected by the World’s Fair of study the American Civil War as a clash an important lesson for all young gifted 1904. Garland sang two famous songs between the agrarian Confederacy and children to learn. in the film, “Meet Me in St. Louis” and the industrialized American Union. “The Trolley Song.” Octavia Spencer appeared in Edward Gibbon described two recent movies that show the dilem- Two other musicals can bring the rise and fall of the Roman Empire mas encountered by Black females. Hid- diversity and breadth to the study of and civilization. Teachers could discuss den Figures (2016) was about a team cinematic musicals. One is West Side Roman culture and compare it to the of women mathematicians who worked Story (1961) starring Natalie Wood Soviet period in Russia. for NASA and contributed important and directed by Jerome Robbins and research on space travel. In 2012, she Robert Wise with music by Leonard Carl Sandburg, besides being a received the Academy Award for The Bernstein. Like the stage production, great American poet, wrote a multi-vol- Help (2011). The movie concerned the film loosely follows the Romeo and ume biography of Abraham Lincoln. Black women in the South who worked Juliette story, but reset on the Upper This work described the interaction as maids and how they demanded to be West Side of New York City in the between his character and history. treated with human dignity. These mov- 1950s with its rival street gangs. Many Teachers could compare Lincoln to John ies can help young gifted children to young people will relate to the themes F. Kennedy. They could also compare stand up against prejudice and discrimi- and struggles brought to life [a remake Kennedy’s experiences with PT 109 in nation. by Steven Spielberg planned for 2020]. World War II with his later interactions The other production worth exploring with history. Gregory Peck performed in for its uniqueness and value to history two great films about social prejudice is the wildly popular sung-and-rapped H.G. Wells was a great Master in the United States. The first film was “Hamilton” by Lin-Manuel Miranda of Science Fiction. He wrote War of the Gentlemen’s Agreement (1947). It dealt and based on Ron Chernow’s biography, Worlds. Gifted students could study this with antisemitism in polite society Alexander Hamilton. Though current- fiction book and the famous movie. exemplified by a restrictive clientele ly no film adaptation exists, the stage In addition, they could learn from his policy in public accommodations. Peck production of Hamilton was recorded book, The Outline of History, about the portrayed an investigative reporter who in 2016 with the original cast and will many challenges of world civilizations. wrote a series of articles in a popular appear in theaters in 2020. magazine that turned the spotlight on Examples in the Craft of Acting this nefarious activity. After this 1947 Gifted children will learn about film, he performed in another iconic the art of musical performance and It is important for young film about prejudice in America. The composition by studying these movies. gifted children to study the craft of name of this film was To Kill a Mock- acting. The two main reasons are that ingbird (1962). It portrayed a coura- it represents the combination of ratio- geous White lawyer in a small Southern

42 An Example of the Art of Dance Autobiography: Jamison, Judith (1993). children. "Spotted Horses" (1931) and Dancing Spirit. New York: Doubleday. "The Bear" (1942) are good exam- Judith Jamison – ples—both interesting short stories. Artistic Director and Choreographer, Studies in Literature These works give the reader a sense of Alvin Ailey American Dance Theater time, place, and humanity. They also The great literary works by display to the young gifted child the Jamison was born in Philadel- American and English authors should importance of the physical environment phia in 1943 and grew up in a racially form the basis for literacy among young to their own human development. mixed working class neighborhood. gifted students. When they read works The gifted child's sensibility can relate While attending public school, she re- by writers such as Mark Twain, they to stories about animals, for example, ceived dance instruction at the Judimar will learn about American humor and Aesop's Fables (mid sixth century BCE). School of Dance under the tutelage of the different cultures that form this In addition, these stories by Faulkner the director, Marion Cuyjet. While she nation. The Adventures of Huckleberry are related to books like Kipling's Jungle was studying dance as a young girl, she Finn (1885) and Tom Sawyer (1876) Book (1894) and Anna Sewell's Black met the dancer, Pearl Primus, who inte- also teach them about the great Missis- Beauty (1877). grated concepts from African dance into sippi River and the adventures that can the American modern dance movement. be experienced traveling on it. Mark “Ah! Easily said. I am the Twain was a steam boat pilot on the son, Mr. Meagles, of a hard father and At age 15, Ms. Jamison en- Mississippi and a newspaper reporter mother. I am the only child of parents rolled at Fiske University in Nashville, in San Francisco. He spared no words who weighed, measured, and priced Tennessee but did not graduate because in using these experiences to write everything: for whom what could not she had a far more intense and broad- his novels, stories, and essays. One of be weighed, measured and priced, had er approach to dancing. After she left his most humorous stories was “The no existence. . . .” (from Little Dorrit by Fiske she returned to Philadelphia and Celebrated Jumping Frog of Calaveras Charles Dickens). became a member of the Philadelphia County” (1867), and was his first story Dance Academy. Later, she attracted that received national attention. All of What is the reason for holding the attention of Alvin Ailey who was his works emphasized American humor up Charles Dickens as an exemplar for emerging as a foremost choreographer. and irony. gifted students? It is obvious, based on He gave Ms. Jamison the opportunity the involvement of television, theatre to become the signature performer for Walt Whitman represented and cinema as well as countless readers his dance creations which combined her the American character and environ- worldwide, that we are not the only physical strengths and the expression of ment through his poetry. His enthu- ones impressed by these novels. Little a wide range of emotions. siasm for the American people and Dorrit describes the machinations, cor- their accomplishments was reflected in ruption, and incompetency of bankers In 1980 she appeared on Leaves of Grass (1855) which he revised and stock brokers in the 1820s. There Broadway with Gregory Hines in throughout his life. It was a celebration is also a good characterization of the Sophisticated Ladies (1981), a tribute of America – showing the work and impact these economic malignancies to Duke Ellington’s musical genius. accomplishments of different social have on individuals and society. The She also performed with Mikhail and ethnic groups. His poetry was main characters reside in a debtors’ Baryshnikov and Ailey’s dance compa- open-ended without rhyme or consis- prison named Marshalsea. Dickens was ny in another musical tribute to Duke tent meter. But it possessed a rhythm painfully aware of Marshalsea because Ellington – Pas de Duke (1976). After that made the reader enthusiastically his father and family were residents Alvin Ailey’s premature death in 1989, attend to each line and topic. when he was a youngster. she became the director of the Alvin Ailey American Dance Theater. Her A wonderful poem included in Dickens’ social critique in Little autobiography, Dancing Spirit (1993), Leaves of Grass was "O captain! My Cap- Dorrit was rooted in a private, emotion- is an expression of courage and heroism tain!" Whitman wrote this poem as a al, and psychological wound. In spite as a gifted performer and creator. Judith tribute to Abraham Lincoln. Young gift- of this, he was able to become both a Jamison’s career clearly shows the influ- ed children could discuss why Whitman public celebrity and one of the greatest ence of family and mentors on gifted wrote this poem and some of Lincoln's writers in the English language. Gifted individuals – Pearl Primus, Agnes de accomplishments. students will respond to the ability of an Mille, Alvin Ailey, Gregory Hines and author who not only champions social Mikhail Baryshnikov. The shorter works of William justice, but who also creates literary Faulkner have a lot of materials that works and enduring art. What gives appeal to the sensibility of young gifted Dickens such power and resonance is

43 his wonderful ability to create characters Emily Dickinson (1830-86) – representing a panorama of humanity. Prolific New England poet with a reclusive disposition.

Little Dorrit’s story is related to Only seven of her 1,775 poems were published (anonymously) the present economic crisis. By read- during her lifetime. Her poetry is noted for its plain words and lines that ing this book gifted students will have a better understanding of the tragedy have deep metaphoric meanings. Dickinson’s unrequited genius was finally and suffering that can result from this recognized in the 1950s and 1960s when all of her poems were finally type of crisis. Instead of being incar- published. cerated in debtors’ prisons, millions are now imprisoned by mortgage foreclo- “Hope” Is the Thing With Feathers (Number 254, c. 1861) sures, severe credit card debts, and lost retirement funds. Charles Dickens was Hope is the thing with feathers— not a politician or economist; he was a That perches in the soul— creative genius and humanitarian. And sings the tune without the words— Among Dickens’ later admir- And never stops—at all— ers were such British social critics and political philosophers as G. K. Chester- And sweetest—in the gale—is heard— ton and George Orwell. Gifted students And sore must be the storm— That could abash the little Bird That kept so will benefit by comparing the works of many warm— all three authors. They will also perceive Little Dorrit as a masterpiece that I've heard it in the chillest land— resonates with contemporary American And on the strangest Sea— society. Through this classic, students Yet, never, in Extremity, can explore more contemporary nov- It asked a crumb— of Me. elists and poets of all ethnicities and backgrounds who are addressing similar issues. From America’s Favorite Poems (2000) by Robert Pinsky and Maggie Dietz (Editors), p. 72.

Tell All the Truth But Tell It Slant (Number 1129, c. 1868)

Tell all the Truth but tell it slant— Success in Circuit lies Too bright for our infirm Delight The Truth's superb surprise As Lightning to the Children eased With explanation kind The Truth must dazzle gradually Or every man be blind—

From Good Poems (2003) by Garrison Keillor (Editor), p. 230.

44 Giftedness as “Intimations of Immortality”

What though the radiance which was once so bright Be now for ever taken from my sight,

Though nothing can bring back the hour Of splendour in the grass, of glory in the flower; We will grieve not, rather find Strength in what remains behind; In the primal sympathy Which having been must ever be; In the soothing thoughts that spring Out of human suffering; In the faith that looks through death, In years that bring the philosophic mind.

[From ODE: Intimations of Immortality from Recollections of Early Childhood (1802-04) by William Wordsworth, lines 176-187].

These lines from William Wordsworth became the central theme for the film, Splendor in the Grass (1961). The place was rural Kansas just prior to the depression of 1929. The cast included Warren Beatty and Natalie Wood. The writer was the dramatist, William Inge (who also wrote the screen plays for Bus Stop (1955) and Picnic (1956) and the Director was Elia Kazan. The process of reading and analyzing this particular poem would be an important cognitive and emotional experience for any gifted student.

Giftedness is a basis for “Intimations of Immortality.” Wordsworth uses the term “immortality,” not only in its religious sense but also philosophically and esthetically. The gifted have an understanding of intimations of creativity, beauty, and value. In a similar sense to Wordsworth, a gifted person does not take nature for granted. The rose is more than an object of beauty; it is also an insight into the wonders of creation – thus a confirmation of life.

This poem can help gifted students appreciate on a deeper and more profound level the importance of thought and creativity. In fact, one of the best ways to comprehend the sensibility of giftedness is by studying poetry that has “emotion recollected in tranquility” (Wordsworth, Preface to the Lyrical Ballads, second edition, 1800). Scientific creative minds such as Isaac Newton and Albert Einstein functioned with a similar sensibility. Another English Romantic poet, John Keats (1795-1821), who was influenced by Wordsworth, continued this sensibility of “In- timations of Immortality.” In his poem, Ode on a Grecian Urn (1819), Keats wrote an immortal line that has continued to resonate with his readers. ‘“Beauty is truth, truth beauty,” - that is all/Ye know on earth, and all ye need to know.”

Instead of using a “tricky dog” format of creative skills games to teach the gifted, there are many exemplars of the creative sensibility that exist in such poets as Wordsworth and Keats.

Resource: Selected Poetry of William Wordsworth. (2002). Mark Van Doren, Editor. New York: Modern Library.

45 E. Paul Torrance (1915-2003): Master Educator and Teacher of Creativity

One Of the most important contributors to educating gifted children has been the creativity pioneer and prolific author, E. Paul Torrance. In his many books and papers, he stressed the importance of educating all children to think and solve problems in a flexible manner by seeking numerous alternative solutions. The learning atmosphere in the gifted classroom should emphasize the production of creative problem solutions rather than giving correct answers.

Torrance's ideas on developing creativity have been influential in schools worldwide. The gifted classroom would benefit greatly from using his creativity model by teaching these children to think of many ways to solve problems in a relaxed and enjoyable atmosphere. All of the recommendations in this article have been influenced by the creative ideas of Dr. Torrance. May his ideas continue to be a positive force in the gifted education field for many years to come.

Maurice D. Fisher was a prolific author, creative thinker and pioneer, and the publisher of Gifted Education Press and Gifted Education Press Quarterly. Through his immense publishing work, he disseminated creative teaching strategies and resources to thousands of teachers and parents around the world every year. He obtained his doctorate from the University of Virginia in Educational Psychology and Gifted Education.

Michael E. Walters is a professor of history and literature at Touro College in New York City. He has a doctorate in Educational Curriculum from the University of Virginia. Numerous books and articles by Dr. Walters have been published by Gifted Education Press.

Claire Goodowens

46 Cultivating Creative Environments in the Era of High-Stakes Standardized Testing by Robin Greene and Ellen Honeck

Standardized testing is at cross purposes with many of the most important purposes of public education. It doesn't measure big-picture learning, critical thinking, perseverance, problem solving, creativity or curiosity, yet those are the qualities great teaching brings out in a student. --Randi Weingarten, n.d.

Introduction following findings (a) educators and learners and their motivation are suffer- students feel significant pressure associ- ing (Hennessey, 2004, 2016; Smutny & A teacher’s role in developing ated with testing; (b) high stakes testing von Fremd, 2008) and nurturing creativity in a culturally classrooms negatively affect instruction responsive environment is essential for so that it occurs in service to high test Creativity at its Roots student engagement and success (Gay, scores; (c) educators and students feel an 2018; Hammond, 2015; McCarthy increased pressure to perform in highly The ootr form of the word & Blake, 2017; Schroth, Helfer, Beck impoverished schools; (d) there is a dis- creativity is “create.” Create means “to & Swanson, 2011). However, since proportionate demand for high achieve- grow;” and in education and psychol- the inception of No Child Left Behind ment experienced by students in poverty ogy, there are multiple definitions and (2002) and its successor, Every Student as compared to those in the suburbs; theories regarding what it means “to Succeeds Act (2015), teachers and stu- (e) gifted and talented students feel a grow” (Amabile, 1996; Csikszentmi- dents have faced the increasing demands greater need to perform at higher rates halyi, 1996; Guilford, 1950; Lubart & of high-stakes testing and the cognitive so as to bring up all scores, which results Sternberg, 1998; Piirto, 2004; Renzu- dissonance that occurs when creativity in their disengagement from learning. lli, 1992; Simonton, 1999; Torrance, is in conflict with strict accountability When students become disengaged 1962). Whether teachers adhere to measures. Students need teachers who and/or face increased pressure, overall one theory of creativity such as Guil- are able to move within an educational achievement declines and creativity is ford’s and Torrance’s ideational fluency, standard and beyond testing to create stifled. flexibility, and originality, or they create an environment where they can grow, their own definition based on multiple thrive, and be prepared for solving un- In another study, researchers theories, one truism remains: creativ- known problems. Giving them complex sought to understand the long-term ity is found in all domains, content challenges that require increased mental impact of a test-driven learning environ- areas (Kaufman, 2013) and cultures effort are opportunities for creativity to ment on a students’ ability to think cre- (Kaufman & Sternberg, 2006; Lubart, thrive (Carroll, 2013). atively and solve problems. This study 2010; Rudowicz, 2003; Simonton, showed that such students are “unlikely 2011). Impacts of High-Stakes to develop creative thinking skills” Standardized Testing needed for college and the workplace It is important for teachers to (McCarthy & Blake, 2017). Specifi- see themselves as creativity scouts and When learning environments cally, students who were in the school seek to nurture and develop creative and are filled with test preparation, drilled system for 12 years where test-taking critical thinking. They must understand repetition of facts, and devoid of chal- skills and test-specific content were how culture adds to an individual or lenges and creative learning, there emphasized did not show the ability group’s ability to express their creativity are both short-term and long-term to develop or sustain creative think- (Lubart, 2010). An art teacher who no- consequences. In a study focusing on ing skills (McCarthy & Blake, 2017). tices a student’s innovative approach to the impact of state testing on schools, In the current testing situation, with using multimedia must support that ap- educators, and students, Moon, Brigh- demands from curriculum, educators, proach and foster the child’s potential, ton, Jarvis, & Hall (2007) noted the administrators, and law-makers, gifted finding the next Van Gogh, Banksy, or 47 graffiti artist. Math and science teachers for Kids, 2019, p. 1). The framework Support and Focus on Intrinsic should cultivate creativity to develop the focuses on learning and innovation skills Motivation future Jonas Salks, Percy Julians, Rosa- that include creativity and innovation, lind Franklins, and Katherine Johnsons critical thinking and problem solving, Amabile (1996) found that of the world. Lastly, and just as impor- communication, and collaboration. It intrinsic motivation can be productive tantly, educators should nurture creative is designed to help schools go beyond in terms of general creativity. Research thinking and encourage one another to content only academics and high stakes has shown that extrinsic motivation teach creatively (Smith & Smith, 2010). testing in order to foster students’ skills may or may not be harmful to creativity, This everyday form of creativity is ob- for success in life and work environ- so teachers should not limit rapid fire served in the simplest of moments when ments. feedback and external feedback about a teacher creates differentiated access projects and assignments. But allowing points for authentic learning, responds Teachers have a difficult role students to struggle is also important to every day social-emotional needs, or balancing the academic, intellectual, and strategies can be offered without teaches creativity to his or her students social, and emotional lives of individual leading to quick solutions. Questions (Lubart, 2010). students. Classrooms and content need should help students formulate answers to meet the needs of the learners in and/or provoke their thinking. Student Being creative does not mean each setting and be culturally responsive engagement within a learning process or that an individual must be eminent, like to them. In order to foster creativity task provides opportunities for intrinsic some of the individuals above who have in any environment, it is critical for motivation to shine. what is identified as Big-C (Beghetto, teachers to establish a safe and encour- Kaufman, & Baer, 2014; Csikszent- aging space for all students (Gay, 2018; Opportunities to Pursue Personal mihalyi, 1996; Kaufman & Sternberg, Hammond, 2015). There are multiple Interests and Passions 2010). Instead, it may be seen as components and considerations for a everyday creativity or little-c (Beghetto, creative classroom including psychologi- Classroom environments need Kaufman, & Baer, 2014; Csikszent- cal safety, support and focus on intrinsic to provide students with the opportu- mihalyi, 1996; Kaufman & Sternberg, motivation, and various opportunities nity to try new things, explore various 2010). As Piirto (2004) stated, “Cre- to pursue personal interests and pas- topics, and explore personal passions. ativity is the basement, the underpin- sions, engage in quiet reflection, and Teachers are in a position to support ning, the foundation for talents to be explore materials and ideas. self-initiated questioning and learning realized” (p. 38). It is the teacher’s job and not dismiss “off task” questions. In- to nurture, cultivate, and tend to that Psychological Safety stead, educators can ask learners to con- foundation so that students are able to nect their questions to the original topic grow. The first, and most significant by saying, “Tell me more about what aspect of the classroom is to ensure that sparked your question.” If the questions it is culturally responsive (Gay, 2018; seem unrelated to the topic, then teach- Developing a Creative Environment Hammond 2015; Ladson-Billings, ers could ask students to write them 2014). Creating a culturally responsive down and then review the questions Creativity can be fostered classroom involves meeting the psycho- with them at a later time. Allowing within any environment, and every logical needs for belongingness and es- for student autonomy and engagement student can be taught creative thinking teem so that students become self-actu- is critical to make learning meaning- and problem-solving skills (Beghetto, alized and autonomous learners. These ful. This exploration and independent Kaufman, & Baer, 2014; Renzulli, elements within the environment allow engagement foster joy and happiness in 1992; Schroth, 2018; Smutny & von creativity to flourish across all cultures. the learning process (Csikszentmihalyi, Fremd, 2008; Torrance, 1962, 1972). (Davis, 2010; Gay, 2018; Hammond, 1996). Fostering creativity does not mean that 2015). this will produce the next eminent Engage in Quiet Reflection artist; however, it will develop char- Additional elements of psy- acteristics that are needed to survive chological safety include focusing on Students benefit from oppor- in the 21st century. Partnership for respect of ideas and each other through tunities for quiet reflection. This is 21st Century Learning developed a empathetic understanding and focus on important for exploring internal ideas framework for 21st century learning creative thinking and output. Feedback (Piirto, 2004). Educators can create in order “to define and illustrate the from educators needs to enhance the space for both creativity and quiet skills, knowledge, expertise and support relationship and promote students’ es- reflection by incorporating activities, systems that students need to succeed teem, worth, and ability (Starko, 2013). regardless of content area, such as in work, life and citizenship” (Battelle journaling, coloring, painting, draw-

48 ing, crafting, yoga, and mindfulness experiment with new materials. Under- Application of Environmental exercises. During this time, teachers standing and engaging in imaginative Principles can play music or leave the classroom play fosters creative thinking and using silent. These activities can be done as materials can provide these types of The environmental components an anticipatory set before a lesson, as a opportunities. Materials do not need to of creativity can be applied in multiple break during an assignment, especially be expensive and may include recyclable ways and can stand as independent if students get “stuck” solving a problem items (plastic bottles, lids, cardboard as well as layer on each other. When or arriving at a solution, or at the end of tubes), natural materials (leaves, rocks, thinking of lessons, units, and topics the lesson/unit as a way to express them- twigs), art supplies (crayons, paints), of discussion, creativity can be fostered selves in relation to the experience they craft supplies (popsicle sticks, thread, throughout the environment with con- just had. material, buttons), office supplies (pa- sideration and value of the purposes. perclips, erasers, pencils) among other “Meditation has long been items. In this example, the SCAMPER tech- known to work on quieting the mind nique is used. and body, and to make one receptive to Creative exploration should also the inner speech that facilitates creativ- focus on ideas and thoughts; therefore, SCAMPER with the Community Food ity” (Piirto, 2004, p. 435). Mindfulness questioning can be helpful. It engages Bank meditation—specifically Open Mon- students in the higher level and creative itoring meditation where students are thinking needed to explore and manip- S - substitute open to any thoughts that enter their ulate ideas. One very popular creative Could we substitute canned goods with mind and accept those thoughts with- thinking technique is called SCAMPER. fresh produce? What possible outcomes out judgement—has the opportunity to Each letter of SCAMPER stands for a could occur with the substitution? generate creativity tenets such as flexibil- different aspect of engagement within ity, fluency, and originality in students the idea or material. C - combine (Colzato, Ozturk, & Hommel, 2012). How might we combine the food bank Purposeful, quiet reflection pushes out S - substitute - Can I substitute a with the after-school program and the the noises of the day and allows the material or idea? night shelter? Can we combine the food metacognitive voice to take over. Stu- bank with community events? dents may need scaffolds to access this C - combine - Is there a way I can piece of themselves and teachers should combine this with something else? A - adapt be patient with their ability to engage How could we adapt the marketing of in quiet reflection. Consider starting A - adapt - How can I adapt this idea? the food bank so that more families in with smaller segments of time (one to need are able to access food? two minutes) and then ease into longer M – modify, magnify, minify amounts of time throughout the day M - modify, magnify, minify (five to fifteen minutes). P - put it to another use How would we magnify the impact of the food bank on the community? Teachers should also model E - eliminate something Is there a way that we can minify the reflective and metacognitive practices stigma of receiving food from the food for their students while they are also R – rearrange. bank? reflecting; therefore, if educators ask students to reflect before starting an P - put to another use activity through the act of drawing or Could we put the food bank to another writing, they should also draw or write use after typical operating hours? What in front of the class. This small practice would we use it for? of modeling leaves a large imprint on students and enforces the significance of E - eliminate quiet reflection in the classroom. If we eliminated food with allergens, how would the food supply be Exploration of Materials and Ideas impacted?

Creativity relies on the process R - rearrange of exploration, through physical mate- What would be the effect of rearrang- rials as well as ideas. Throughout this ing the organization of the aisles in the process, it is important to engage in and foodbank?

49 The example is built on the References Hammond, Z. (2015). Culturally focus of exploring ideas. However, responsive teaching and the brain: Pro- the recognition and development of a Amabile, T. M. (1996). Creativity in moting authentic engagement and rigor psychologically safe environment and context: Update to the social psychology of among culturally and linguistically diverse the opportunity for quiet reflection are creativity. London: Hachette UK. students. Thousand Oaks, CA: Corwin critical when diving into real-world Press. topics. Students have many ideas and Battelle for Kids (2019). Framework thoughts that need to be shared, and for 21st century learning. Retrieved Hennessey, B. A. (2004). Developing teachers need to foster an environment 2/15/19 https://www.battelleforkids. creativity in gifted children: The central that allows these to surface without any org/learning-hub/learning-hub-item/ importance of motivation and classroom fears about being “right.” framework-for-21st-century-learning climate. Research Monograph Series. RM04202. National Research Center on Conclusion Beghetto, R. A., Kaufman, J. C., & the Gifted and Talented Baer, J. (2014). Teaching for creativity in Fostering creativity in a cultur- the common core classroom. New York, Hennessey, B. A. (2016). Intrinsic ally responsive environment is critical to NY: Teachers College Press. motivation and creativity in the the development of students as citizens classroom. In R.A. Beghetto & J.C. of the 21st century. At its core, stan- Beghetto, R. A. (2010). Creativity in Kaufman (Eds.), Nurturing creativity dardized testing promotes convergent the classroom. In J.C. Kaufman & in the classroom (2nd ed.). Cambridge thinking and has a significantly larger R.J. Sternberg (Eds.), The Cambridge University Press. impact on those “who attended schools handbook of creativity (pp. 447-463). in low-income and predominantly Cambridge University Press. Kaufman, J. C., & Sternberg, R. J. ethnic-and racial-minority neighbor- (Eds.). (2006). The international hand- hoods—exacerbating long standing Carroll, J. M. (2013). The brutal reality book of creativity. Cambridge University inequities in the opportunities and of bringing kids up to level: Are critical Press. access to quality education afforded thinking and creativity lost in the world to traditionally underserved students” of standardized testing? University of Kaufman, S.B. (2013). Ungifted: (Beghetto, 2010). With these measures, New Orleans Theses and Dissertations. Intelligence redefined. Basic Books (AZ). the excellence gaps grow and students 1616. are indeed left behind. Ladson-Billings, G. (2014). Culturally Colzato, L. S., Szapora, A., & Hom- relevant pedagogy 2.0: aka the remix. Much to many a teacher’s mel, B. (2012). Meditate to create: Harvard Educational Review, 84(1), dismay, accountability mandates that The impact of focused-attention and 74-84. barriers to creativity are not going away open-monitoring training on conver- anytime soon. When educators create gent and divergent thinking. Frontiers Lubart, T. (2010). Cross-cultural per- a safe space where they integrate the in Psychology, 3, 116. spectives on creativity. The Cambridge strengths of students’ cultures, incorpo- handbook of creativity, 265-278. rate quiet reflection, and allow students Csikszentmihalyi, M. (1996). Flow to explore materials, then motivation and the psychology of discovery and Lubart, T. I., & Sternberg, R. J. (1998). and engagement increase. When doing invention 56, 107. New York, NY: Creativity across time and place: Life these practices, teachers are finding ways Harper Collins. span and cross‐cultural perspectives. to infuse creativity into the curriculum High Ability Studies, 9(1), 59-74. and environment so that creativity is Davis, J. L. (2010). Bright, talented, not an afterthought or addendum but and Black: A guide for families of African McCarthy, C., & Blake, S. (2017). Is an integral layer of the “pedagogy”. American gifted learners. Scottsdale, AZ: this going to be on the test? No child Great Potential Press. left creative. SRATE Journal, 26(2), 25-31. Gay, G. (2018). Culturally responsive teaching: Theory, research, and practice Moon, T. R., Brighton, C. M., Jarvis, J. (3rd ed). New York, NY: Teachers M., & Hall, C. J. (2007). State stan- College Press. dardized testing programs: Their effects on teachers and students. National Guilford, J. P. (1950). Fundamental Research Center on the Gifted and statistics in psychology and education (2nd Talented. ed.). New York, NY: McGraw-Hill.

50 No Child Left Behind Act of 2001, Simonton, D. K. (1999). Origins of Robin Greene. Ed.D. is an Academic P.L. 107-110, 20 U.S.C., Section 6319 genius: Darwinian perspectives on creativ- Program Manager for the Gifted and (2002). ity. Oxford University Press. Talented Department of Denver Public Schools and has been involved in gifted Obama, B. (2016). Every Student Suc- Smith, J. K., & Smith, L. F. (2010). education as a classroom teacher for ceeds Act. Retrieved from Educational creativity. The Cambridge both gifted and highly gifted magnet https://www.ed.gov/essa. handbook of creativity, 250-264. programs. She has also served as a gifted specialist, school-level gifted coordi- Piirto, J. (2004). Understanding Smutny, J. F., & von Fremd, S. E. nator, district-level gifted coordinator, creativity (Vol. 46). Scottsdale, AZ: (Eds.). (2008). Igniting creativity in and district-level administrator. Great Potential Press. gifted learners, K-6: Strategies for every teacher. Corwin Press. Plucker, J. A. & Peters, S. J. (2016). Ellen Honeck, Ph.D., is an Academ- Excellence gaps in education: Expanding Starko, A. J. (2013). Creativity in the ic Program Manager for the Gifted opportunities for talented students. Cam- classroom: Schools of curious delight. and Talented Department of Denver bridge, MA: Harvard Education Press. Routledge. Public Schools and been involved in gifted education as a classroom teacher, Randi Weingarten Quotes. (n.d.). Torrance, E. P. (1962). Guiding creative administrator, gifted specialist, curricu- BrainyQuote.com. Retrieved March 12, talent. Englewood Cliffs, NJ: Pren- lum developer, consultant, and adjunct 2019, from BrainyQuote.com Web site: tice-Hall. professor. She is currently serving on the https://www.brainyquote.com/quotes/ NAGC Board of Directors. randi_weingarten_776446 Torrance, E. P. (1972). Can we teach children to think creatively? The Journal Renzulli, J. S. (1992). A general theory of Creative Behavior, 6(2), 114-143. for the development of creative produc- tivity through the pursuit of ideal acts of learning. Gifted Child Quarterly, 36(4), 170-182.

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Schroth, S. T., Helfer, J. A., Beck, D.L., & Swanson, B. L. (2011). Planning differentiated instruction & assessing results: Teaching to assure each student’s success. Dubuque, IA: Kendall Hunt Publishing Co.

Simonton, D. K. (2011). Bilingualism and creativity. In J. Altarriba & R.R. Heredia (Eds.), An Introduction to Bilingualism (pp. 167-186). Psychology Press.

Yukyung Kim

51 Developing Creative and Critical Thinking Skills in Diverse Young Learners: Synthesizing Knowledge to Create Optimal Learning Environments by Stephen T. Schroth and Ocie Watson-Thompson

Introduction posure. As these disciplines are especially ment and thinking, but one that was useful for teaching critical and creative also neglected by researchers and schol- Public schools in the United thinking skills, their omission from the ars (1950). Beginning with the launch States are admired by school admin- curriculum is troubling to those who are of Sputnik, interest in critical thinking istrators and leaders in many other interested in developing these ways of exploded, with Bruner emphasizing the parts of the globe. This admiration thinking in all children, especially those need for children to explore the “fun- stems from American schools’ success from diverse backgrounds. damental ideas of a discipline” insofar building young learners’ critical and This article shall examine some that they will be able to gain both skills creative thinking skills. Yet, exposure helpful ways to ponder critical and cre- and a general sense of understanding to curriculum and instruction that ative thinking skills, including thoughts (Bruner, 1960, p. 3). For the past half supports critical and creative thinking on the origins of critical and creative century, educators have acknowledged skills is often denied diverse learners, thinking; their relationship to such that critical and creative thinking skills including children of color, English concepts as intelligence, motivation, are important, but have often struggled language learners, and students from and the arts; and methods that teachers, to provide children with educational low-SES backgrounds. These disparities administrators, parents, and others can experiences that buttress and build these often stem from two distinct but related use to support children in develop- ways of thinking (Plucker, 2016). One misconceptions on the part of classroom ing these skills. Clearly, due to space reason that instructional sequences for teachers, gifted education specialists, limitations there are perspectives and supporting critical and creative think- and administrators. First, academic viewpoints that will not be represented ing are so scarce is perhaps the lack of excellence is often seen as a prerequi- in this article. Similarly, the activities, consensus about what precisely critical site for children to receive exposure to instructional strategies, and supports and creative thinking are. critical and creative thinking skills. This suggested to develop and build critical Academic attainment is often is not the case. While certain academic and creative thinking skills in diverse seen as a combination of creativity, skills such as reading fluency and some learners provide only a starting point, intelligence, and wisdom. Creativity has facility with numbers are certainly im- but one that will hopefully encourage been defined in various ways over the portant, they do not determine a child’s some educators who have not previously years. Sternberg defines creativity as, ability to engage in activities requiring used such tools to try them for the first “the potential to produce novel ideas critical and creative thinking. Second, time. that are task-appropriate and high in many teachers, administrators, and quality, best understood in a societal schools have emphasized literacy and Critical and Creative Thinking context terms of a dialectical relation numeracy at the expense of much of the to intelligence and wisdom” (2001, p. rest of the curriculum. Fields of study In 1950, at his American 360). Although definitions of intel- such as art, music, dance, theatre, and Psychological Association (APA) pres- ligence vary widely, almost all share a social studies have been especially hard idential address, Guilford identified view that it involves individuals using hit, with many children, and especially creativity as an attribute that was very their natural skills and gifts to adapt diverse learners, receiving little or no ex- important to an individual’s develop- to the environment in which they find

1 We realize that many educational “reformers” insist that one need not worry about children’s understandings, as these cannot be measured. We respectfully assert that such policy makers are wrong, and that Bruner was right. 52 themselves (Sternberg, 2001). Wisdom 2014; Smutny & von Fremd, 2010; may have little or no relationship to involves a person’s ability to synthesize Treffinger et al., 2004). Educators who them (Smutny & von Fremd, 2009; the theses of intelligence (Sternberg, grasp the importance of teaching the Treffinger, Schoonover, & Selby, 2013). 2001). At its essence, creative thinking structure of the discipline are better able Many myths surround creativ- involves the ability to invent products to understand knowledge, both as it ity. A long-surviving myth associated that are both of high quality and novel relates to the subject and “as it exists at creativity with madness, implying an (Sternberg, 2001). The aspect of novelty different points in the development of increased likelihood of mental insta- stretches the definition beyond the the child” (Bruner, 1966, p. 7). Chil- bility among those who were especially products that intelligent individuals dren’s intellectual growth and increasing creative, such as artists, musicians, and might make, and pushes the edges of ability to engage in critical thinking others; this has been debunked, as these the discipline to craft something new, results from the confluence of teaching, individuals have proved no more likely useful, and unexpected (Csikszenthi- learning, familiarity with the language to exhibit mental health issues than halyi, 1996). and procedures of the disciplines, and anyone else (Collins & Amabile, 1999). Critical thinking is related to development (Bruner, 1966). Unless Similarly, many believe that creative creativity, but different in substance and all of these factors exist, better critical individuals are motivated to work and scope. Critical thinking, Bruner posited, thinking will not occur. will continue on projects for hours with involves understanding a subject in a Critical thinking has increasing- little regard to time (Collins & Ama- manner that permits many other things ly become a skill that American schools bile, 1999). Studies have indicated that to be related to it meaningfully (Bruner, want their students to master (Aguirre intrinsic motivation is more conducive 1960). Curiously, in opposition to many et al., 2013; Brown, 2011; Schneider, to creative endeavors than extrinsic current fads in education, such as the 2018). Although faced with various (Sternberg & Lubart, 1996). When an Common Core State Standards (CCSS), competing responsibilities and obliga- individual invests his or her time in Bruner believed that children will often tions, teachers are nevertheless expected identifying a problem and then devising learn how to use formal operations in to build these skills in their students a number of solutions, this happens mathematics and other fields before (Schroth & Helfer, 2018). By explicitly because of his or her intense interest in they fully understand them or can even teaching critical and creative thinking the subject matter (Collins & Amabile, identify them (Bruner, 1960). Part of skills and then designing instructional 1999; Csikszentmihalyi, 1990). For the difficulty of helping students engage sequences that enable children to use teachers, this means that students are in critical thinking are content standards them, teachers can increase proficiency much more likely to be motivated and that expect all children of the same age (Smutny & von Fremd, 2009; Treffin- engage in creative behaviors when they to be grappling with the same subject ger, Schoonover, & Selby, 2013). Such pursue topics they love (Collins & Ama- matter. It is imperative that there be instruction is especially important for bile, 1999; Torrance 2002). some variety in the curricula so that diverse learners, who may lack oppor- For this interest in learning each child has an appropriate level of tunities to engage in these processes to occur it is especially important to challenge (Bruner, 1966). Instruction outside of school settings. respect the learners’ home language is chiefly an effort to assist or foster a and culture. Content should not be child’s growth and to cultivate excel- Intelligence, Motivation, and the Arts compromised or diluted and there must lence (Bruner, 1966). Teaching that be increased interactions with peers recognizes and responds to the structure To the extent intelligence and others. These students should have of the discipline assists both the less able involves selecting and shaping environ- experiences that enhance and extend and the gifted child to “achieve their ments, it is creativity (Ochse, 1990). their critical and creative thinking skills. optimum intellectual development” While sophisticated assessments of Current research has found that diverse (Bruner, 1966, p. 9). intelligence first came into common use learners tend to be motivated when the Children thus must be ex- over a century ago, tests that measure content has a human, social focus and posed to the structure of the disciplines creativity have taken much longer to teaching strategies that involve them that they study (Bruner, 1960; 1967; develop (Sternberg & O’Hara, 1999). with other people. Instruction must Renzulli, 1988; Tomlinson et al., 2008; Though some maintain that creativ- be based on the same principle of high Treffinger et al., 2004). Teachers, even ity is merely a subset of intelligence, expectations for all students. those who work with very young chil- others suggest there is no relationship In an effective classroom dren, must understand that they are not between the two (Sternberg & O’Hara, environment, knowledge is constructed just teaching the three R’s, but instead 1999). As a result, it is imperative that through active engagement in learn- English, arithmetic, algebra, geometry, all children be exposed to activities that ing activities where students of diverse astronomy, biology, chemistry, physics, support the acquisition, enhancement, cultures feel welcomed and encouraged economics, geography, history, political and refinement of their creative talents, to become a community of leaders. To science, and the like (Renzulli & Reis, as their performance in other subjects meet their needs and promote practices

53 that encourage them to perform their ic environments exposed to the arts on a the situation and time available for the best, teachers must have some knowl- regular basis performed consistent with process. As such, CPS is highly flexible edge of cultural traditions and values. It students from higher-income communi- and practical, and should be part of is critical to understand possible differ- ties (Catterall et al., 2012). One of the the toolkits of all educators seeking to ences in behavior as well as appreciate examples given was students involved build and refine the critical and creative those differences. As facilitators of an in band and orchestra; these students thinking skills of children. inclusive learning environment, teach- received higher scores than others on First developed during the ers can be more cognizant of cultural the NELS math assessment. Addition- 1950s by Parnes and Osborne, CPS is variations and mindful of these varia- ally, students who participated in drama a proven way of building the creative tions while planning and implementing demonstrated higher scores on reading thinking and problem solving skills instruction. According to Gay (2018), proficiency. of learners of any age (Osborn, 1963; there are five essential elements of Cul- Deasy (2002) has suggested Parnes, 1967; Treffinger, Isaksen, & turally Responsive Teaching: that when artists create work that engag- Stead-Dorval, 2006). CPS remains a es others emotionally, the artists experi- flexible and dynamic process (Treffinger, 1. Developing knowledge about enced self-emotions. The arts provided Isaksen, & Stead-Dorval, 2006; Treffin- culturally diversity stimulation to the brain for both the ger, Selby, & Schoonover, 2013). Those creator and the end consumer of that using the process can begin at any point 2. Including ethnicity and art (Deasy, 2002). Deasy concluded, and may revisit those parts as neces- cultural diversity content in “Through research the brain had been sary (Schroth et al., 2011; Treffinger, curriculum; found to physically change when any Isaksen, & Stead-Dorval, 2006). CPS type of learning takes place. The change consists of four main components and 3. Demonstrating caring and was tremendous and overriding when eight specific stages that work in unison building learning communities; emotion was part of the learning” or individually (Treffinger, Isaksen, & (Deasy, 2002). When teachers create Stead-Dorval, 2006). The components 4. Communicating with learning environments that acknowl- consist of Understanding the Chal- ethnically diverse students; and edge this and make use of children’s lenge, Generating Ideas, Preparing for emotions, the opportunities for growth Action, and Planning Your Approach 5. Responding to ethnic increased markedly. (Treffinger, Isaksen, & Stead-Dorval, diversity in delivery of 2006). The specific stages are framing instruction. Ways to Support Children’s Critical problems, exploring data, constructing and Creative Thinking opportunities, generating ideas, devel- When these elements are present, oping solutions, building acceptance, diverse learners are much more likely to Over 45 years ago, Torrance appraising tasks, and designing process perform in a way that permits creative identified teaching children the ap- (Treffinger, Isakesen, & Stead-Dorval, production. proaches, processes, and procedures 2006). A variety of tools exist to help The aluev of the arts and im- associated with Creative Problem with each of the stages, such as brain- pact on academic achievement cannot Solving (CPS) as one means of build- storming, SCAMPER (i.e., substitute, be minimized. There are studies that ing critical and creative skills (Torrance combine, adapt, modify, put to another support the role of the arts on the & Torrance, 1973). CPS is especially use, eliminate, and reverse), ALoU motivation to learn, on critical as well attractive to teachers, coordinators, and (i.e., advantages, limitations, overcome as creative thinking of students engaged administrators for several reasons. First, limitations, and unique features), and in arts-related experiences. Catterall, a wealth of materials, developed over a host of others (Treffinger & Nassab, Dumais, and Hampden-Thompson five decades, exist that can help educa- 2000). (2012) conducted a study that exam- tors introduce CPS to children and then As mentioned, CPS can be ined data from the National Education- continue to develop their proficiency used with students of any age, with any al Longitudinal Survey (NELS). The using the processes over time. Second, subject, and at any time (Schroth et al., study observed the relationship between CPS applies to any age group, with any 2011; Treffinger, Isaksen, & Stead-Dor- students’ involvement in the arts and subject, and with any population of val, 2006). A third-grade teacher, for ex- academic success. This quantitative children, including those with special ample, whose students are studying con- study “showed that the probability of needs and those identified as gifted and tinuity and change, may use a variety of having more arts experiences in school talented. Third and last, CPS can adapt CPS strategies and tools as part of that was greater for economically advantaged to meet the skills and needs of children process (California Department of Edu- students than for low-socioeconomic as well as the adults who work with cation, 1998). If her overarching goal is status students” (Catterall et al., 2012, them. The entire system may be used, that students demonstrate basic eco- p. 17). Students from low socioeconom- or just selected parts, depending upon nomic reasoning skills and understand

54 the local economy, she might suggest work best, especially for young learners All of these benefits greatly support the that they work in groups to develop a (Yenawine, 2013). The artwork can be development of critical and creative product using resources appealing to lo- in any form, such as a print, an im- thinking skills. When teaching diverse cal consumers. To begin this process, the age on a transparency for use with an learners, there is an advantage to gaining children engage in a brainstorming exer- overhead projector, or a digital art work exposure to a variety of great works of cise, generating many possible products, projected on a screen or SmartBoard. art. Teachers who are especially attuned inviting unusual options, withholding The art piece is shown to the children to the interests, readiness levels, and criticism of ideas presented, and freely with little introduction, and they look learning profiles of their students will combining ideas to create new options at it for a minute. The teacher then be sure to include art of special appeal (Treffinger & Nassab, 2000; Treffinger, proceeds to ask the children variations to the children they teach (Tomlinson, Selby, & Schoonover, 2013). Once they on three questions: 2003; 2014; Torrance, 2002). compile a list of possible products, the students could use SCAMPER to hone 1. What’s going on in this picture? Conclusion and improve some of the more popular ideas, this time engaging in a more 2. What else do you see? And Teachers must assure that critical approach (Treffinger, Isaksen, certain conditions and environments & Stead-Dorval, 2006; Treffinger & 3. (In the case of an interpretive answer) are in place before they can expect Nassab, 2000). Finally, when they select What makes you say that? children, especially those from diverse one or two of the most popular prod- (Yenawine, 2013). backgrounds, to engage in critical and ucts, the children might use ALoU to creative thinking activities. Happily, a analyze each of these and determine the As the children answer, the teacher re- variety of programs and strategies can one for producing a prototype (Schroth, peats children’s responses and points out help teachers to involve students from Collins, & Treffinger, 2011; Treffinger features that children have noted. When all backgrounds in those activities and & Nassab, 2000). a child makes an interpretive response, behaviors that will permit them to Torrance also suggested that such as “The girl looks sad,” the teacher grow their critical and creative prob- exposure to the arts and to programs asks the child to explain why he or she lem-solving abilities. Below in Table 1 that teach and practice creative think- feels that way. are a variety of resources that will assist ing were positive ways to build both Initially, students will list items teachers, coordinators, and admin- critical and creative thinking skills in they see in the piece. As they become istrators interested in using some of children (Torrance & Torrance, 1973). more familiar with the process, how- these strategies with the children they The Visual Thinking Strategies (VTS) ever, children begin to make more serve. Many of these resources are free approach helps children interact with interpretive responses and to include or relatively inexpensive, permitting a visual art, encouraging an acquaintance their knowledge of art theory and teacher to use them in the classroom or with the creative arts and practice in composition in the discussions. They a principal to initiate such a program at creative thinking, both of which Tor- also become much more attentive to his or her school without inordinately rance believed were so crucial to their the responses of their peers and include expensive material costs. development (Torrance, 1962; Torrance these answers or rejoinders in their More important than resources, & Torrance, 1973; Yenawine, 2013). comments. Yenowine (2013) posits that however, is the desire to initiate instruc- VTS offers a research-based method for several benefits result from children tional experiences that develop critical engaging with visual art—easy, inexpen- participating in VTS: and creative thinking skills and the drive sive, and enjoyable—that many leading to work through the inevitable problems art museums use (Yenawine, 2013). 1. Looking more carefully at works that arise. Such initiatives may prove Teachers, coordinators, and adminis- of art; difficult, given the landscape of top- trators who seek ways to build critical down content standards and scripted and creative thinking skills in children 2. Talking about what they observe; curriculum that seem to place greater will find VTS useful, especially due to demands upon teachers than there are its value when working with diverse 3. Supporting their ideas with evidence; minutes in the day. Nonetheless, those populations. teachers committed to the “patient The process for using VTS is 4. Listening to and considering the pursuit of the possible” will gladly work simple. The teacher selects a piece of thoughts and opinions of others; to find the time within their day to visual art to show the children. While provide the children they serve with the the choice of the artwork lies com- 5. Discussing, considering, and deciding opportunity to engage in critical and pletely with the teacher, experience has upon a variety of opinions and creative thinking skills (Bruner, 1966, p. shown that representational artworks perspectives. 23). Such efforts will be rewarded with of a somewhat narrative nature tend to increased on-task time, more motivated

55 learners, and classrooms where learning environments better represent the cultures of the children served within them. By providing the joy that Tor- rance felt was so important for children to experience, teachers who initiate such programs and see them through to maturity will enjoy the fruits of having done their job and done it well (Torrance, 2002).

Table 1. Resources for Teaching Critical and Creative Problem Solving Skills

Resource Author/Location Use

The Metropolitan Museum of Art https://www.metmuseum.org/art/ Over 400,000 high resolution collection/ Open Content images from the Met’s collection that permits teachers, parents, and students to locate, download, and use drawings, paintings, and other artworks

Igniting Creativity in Gifted Learn- Joan Franklin Smutny and Tremendous sourcebook that ers, K-6: Strategies for Every S. E. von Fremd provides ideas for developing Teacher creativity in young learners

Creative Problem Solving: Donald J. Treffinger, Scott G. An explanation of and toolkit for An Introduction (4th ed.) Isaksen, & K. Brian Stead-Dorval using the Creative Problem Solv- ing approach with students of any age

The Differentiated Classroom: Carol Ann Tomlinson Wonderful introduction to Responding to the Needs of All differentiated instruction Learners (2nd ed.)

Torrance Creativity Awards http://www.centerforgifted.org/ International competition cel- torrance.html ebrating student excellence in creative writing, the visual arts, music, and inventions

Planning Differentiated Instruc- Stephen T. Schroth, Jason A. Introduction to planning instruction & Assessing Results: Helfer, Diana L. Beck, & Barry L. tion to assure student growth Teaching to Assure Each Swanson in mixed-ability classrooms Student’s Success

56 References Deasy, R. J., Ed. (2002) Critical links: Cross (Eds.), Learning in the arts and student academic Handbook of Counselors Serving Stu- Aguirre, J. M., Turner, E. E., Bartell, T. and social development. Arts Education dents with Gifts and Talents (pp. 39-52). G., Kalinec-Craig, C., Foote, M. Q., Partnership. Washington, DC: Depart- Waco, TX: Prufrock Press. McDuffie, A. R., & Drake, C. (2013). ment of Education, National Endow- Making connections in practice: How ment for the Arts (NEA). Schroth, S. T., & Helfer, J. A. (2018). prospective elementary teachers connect Developing teacher diversity in early to children’s mathematical thinking Gay, G. (2018). Culturally responsive childhood and elementary education: The and community funds of knowledge teaching (3rd Edition). New York: REACH program approach. New York: in mathematics instruction. Journal of Teachers College Press. Palgrave Macmillan. Teacher Education, 64(2), 178-193. Guilford, J. P. (1950). Creativity. Schroth, S. T., Helfer, J. A., Beck, D. L., Brown, D. F. (2011). Curriculum American Psychologist, 5(9), 444-454. & Swanson, B. L. (2011). Planning dif- integration: Meaningful learning based ferentiated instruction & assessing results: upon students’ questions. Middle Grades Ochse, R. (1990). Before the gates of Teaching to assure each student’s success. Research Journal, 6(4), 193-206. excellence. New York: Cambridge Dubuque, IA: Kendall Hunt Publishing University Press. Co. Bruner, J. S. (1960). The process of education. Cambridge, MA: Harvard Osborn, A. F. (1963). Applied Smutny, J. F., & von Fremd, S. E. University Press. imagination (3rd ed.). New York: (2009). Igniting creativity in gifted Scribner’s. learners, K-6: Strategies for every teacher. Bruner, J. S. (1966). Toward a theory of Thousand Oaks, CA: Corwin Press. instruction. New York: W. W. Norton & Parnes, S. J. (1967). Creative Co. behavior guidebook. New York: Smutny, J. F., & von Fremd, S. E. Scribner’s. (2010). Differentiating for the young California Department of Education. child: Teaching strategies across the content (1998). History-social science standards Plucker, J. A. (2016). Creativity & areas, PreK-3 (2nd ed.). Thousand Oaks, for California public schools: Kindergarten innovation: Theory, research, and practice. CA: Corwin Press. through grade twelve. Sacramento, CA: Waco, TX: Prufrock Press. California State Board of Education. Sternberg, R. J. (2001). What is the Renzulli, J. S. (1988). The muti- common thread of creativity? Its Catterall, J. S., S. A. Dumais, and G. ple menu model for developing dialectical relation to intelligence and Hampden-Thompson. (2012). The differentiated curriculum for the wisdom. American Psychologist, 56(4), arts and achievement in at-risk youth: gifted and talented. Gifted Child 360-362. doi: : 10.IO37//00O3- Findings from four longitudinal studies. Quarterly, 32(3), 298-309. doi: 066X.56.4.36O National Endowment for the Arts. 10.1177/001698628803200302 Sternberg, R. J., & Lubart, T. I. (1996). Collins, M. A., & Amabile, T. M. Renzulli, J. S., & Reis, S. M. (2014). Investing in creativity. American Psychol- (1999). Motivation and creativity. In R. The schoolwide enrichment model: A how- ogist, 51(7), 677-688. J. Sternberg (Ed.), Handbook of creativi- to guide for talent development (3rd ed.). ty (pp. 297-312). New York: Cambridge Waco, TX: Prufrock Press. Sternberg, R. J., & O’Hara, L. A. University Press. (1999). Creativity and intelligence. Schneider, J. (2018). Marching for- In R. J. Sternberg (Ed.), Handbook of Csikszentmihalyi, M. (1990). The do- ward, marching in circles: A history creativity (pp. 251-272). New York: mains of creativity. In M. A. Runco & of problems and dilemmas in teacher Cambridge University Press. R. S. Albert (Eds.), Theories of creativity education. Journal of Teacher Education, (pp. 190-214). Newbury Park, CA: 69(4), 330-341. Tomlinson, C. A. (2003). Fulfilling the SAGE. promise of the differentiated classroom: Schroth, S. T., Collins, C. L., & Treffin- Strategies and tools for responsive teaching. Csikszentmihalyi, M. (1996). ger, D. J. (2011). Talent development: Alexandria, VA: Association for Supervi- Creativity. New York: HarperCollins. From theoretical conceptions to practi- sion and Curriculum Development. cal applications. In T. L. Cross & J. R.

57 Stephen T. Schroth, Ph.D. is a Pro- Tomlinson, C. A. (2014). The differen- fessor and Graduate Programs Director tiated classroom: Responding to the needs in the Department of Early Childhood of all learners (2nd ed.). Alexandria, VA: Education at Towson University. His ASCD. research interests include gifted education, teacher preparation, creativity and Tomlinson, C. A., Kaplan, S. A., problem solving, and the arts. Renzulli, J. S., Purcell, J. H., Leppien, J. H., Burns, D. E., Strickland, C. A., Ocie Watson-Thompson, Ed.D. is a & Imbeau, M. B. (2008). The parallel Professor in the Department of Early curriculum: A design to develop learner Childhood Education at Towson Uni- potential and challenge advanced learners versity. Her research interests include (2nd ed.). Thousand Oaks, CA: Corwin literacy, the recruitment and retention Press. of new teachers, multicultural education, and early childhood education. Torrance, E. P. (1962) Guiding creative talent. Englewood Cliffs, NJ: Prentice-Hall, Inc.

Torrance, E. P., & Torrance, J. P. (1973). Is creativity teachable? Bloomington, IN: Phi Delta Kappa Educational Founda- tion.

Torrance, E. P. (2002). The manifesto: A guide to developing a creative career. Westport, CT: Ablex Publishing.

Treffinger, D. J., Isaksen, S., & Stead-Doval, B. (2006). Creative problem solving: An introduction (4th ed.). Waco, TX: Prufrock Press.

Treffinger, D. J., & Nassab, C. A. (2000). Thinking tools lessons: A collection of lessons for teaching creative & critical thinking. Waco, TX: Prufrock Press.

Treffinger, D. J., Schoonover, P. F., & Selby, E. C. (2013). Educating for creativity & innovation: A comprehensive guide for research-based practice. Waco, TX: Prufrock Press.

Treffinger, D. J., Young, G. C., Nassab, C. A., & Wittig, C. V. (2004). Enhanc- ing and expanding gifted programs: The levels of service approach. Waco, TX: Prufrock Press.

Yenawine, P. (2013). Visual thinking strategies: Using art to deepen learning across school disciplines. Cambridge, MA: Alexander Durreuce Harvard Education Press.

58 Incubating Mathematical Creativity Through a Molecular Gastronomy 101 Saturday Enrichment Camp1 by Connie Phelps

This article addresses creative for modified curricula. When placed tigations to prove their point (pp. 244, applied mathematics used outside the in gifted services, students then receive 246). regular education classroom. It exam- individualized instructional plans de- ines universal themes and standards of signed to address their exceptionalities. Kozlowski, Chamberlin, and mathematics through the pedagogical Content standards in academic subjects Mann (2019) reviewed characteristics of framework of the Torrance Incubation determine expected outcomes, and mathematical giftedness and operation- Model of Creative Teaching and Learn- individuals with gifts and talents may alized mathematical creativity as a psy- ing (TIM) during a university-spon- function several grade levels above their chological construct blending fluency, sored Saturday Enrichment Camp for chronological age ability. In mathemat- flexibility, originality, and elaboration gifted and talented learners. Enrichment ics, for example, identified gifted learn- as indicators (p. 506). They examined camp instructors included experienced ers may receive enriched and accelerated mathematics and creativity within the gifted facilitators, parents of gifted instruction above grade level so they Wallas Gestalt Model of Creativity with children, and grown-up gifted children continue to learn and develop advanced its four stages of preparation, incuba- who volunteered their time, energy, cu- potential. tion, illumination, and verification with linary expertise, and specialized equip- their respective associations between ment to explore three modern culinary Hoeflinger (1998) found iden- conscious and unconscious processes. techniques in a three-hour molecular tification of mathematically precocious Despite the complexity of defining gastronomy class for gifted and talented students an elusive process, as they may domain-specific mathematical creativ- learners ages 8-14 years. The hands-on underachieve in the regular education ity and its unconscious processes, they Saturday Enrichment Camp with real classroom, show little interest or effort found considerable research addressed world application required participants during math instruction, or score below quantifying creative thinking abilities. to apply mathematics and technology their potential on achievement tests. Kozlowski et al. (2019) advocated to prepare a three-course meal using Moreover, when classroom teachers research to examine the relationship seasonal locally sourced farm food ingre- teach only basic formula and rules, between teaching methods and the role dients from a rural Midwestern commu- mathematically gifted learners miss op- of student affect toward mathematics in nity in the United States. portunities to demonstrate their creative the classroom. thinking processes. A common charac- Mathematical Creativity and teristic of mathematically gifted children Torrance Incubation Model of Giftedness relates to their ability to grasp multiple Teaching layers of complex problem-solving and Young learners identified with suggest a variety of solutions or strate- In 1996, E. Paul Torrance gifts and talents typically receive spe- gies to solve a problem. Students with developed the Incubation Model of cialized instruction for core academic academic giftedness in mathematics Teaching (TIM) with its three inter- subjects including reading and math in view the world through a mathematical active, sequential stages to support public and private schools. Qualified lens, interpret scenarios embedded with creativity in the classroom (Hébert, school personnel assess gifted learn- mathematical language, create graphs Cramond, & Neumeister, 2002). The er potential in these subjects using a and tables to solve problems, and use model supported teachers during lesson variety of standardized instruments to manipulatives to explain processes. They planning, delivery, and extension with a determine academic potential and need ask why and conduct their own inves- menu of instructional strategies for each

1This article is published in the Proceedings of the 11th International Conference on Mathematical Creativity and Giftedness. August 2019. www.mcg2019.de

59 of the three stages. Stage One, Heighten a series of camps on consecutive Satur- The outcome of a three-course molecu- Anticipation, served as a warm-up with days during an academic semester—a lar gastronomy meal calibrates technol- six functions in lesson planning; Stage morning or afternoon of several hours ogy correctly to cook and hold foods at Two, Deepen Expectations, embedded duration with multiple sessions within precise temperatures. problem-solving processes with eight each camp. Camp programs organize strategies in lesson delivery; Stage Three, sessions by clustered ages or grade levels Molecular Gastronomy 101 Keeping it Going, extended learning with sessions conducive to common interests real world applications with five meta- and cognitive ability. This environment Molecular gastronomy rep- phors to inspire creativity to extend the provides hands-on engagement essential resents a type of modern cuisine based lesson. This study proposes the TIM to to support social, emotional, and cog- on distinct flavor sensations created bridge the gap between psychological nitive growth in a non-competitive envi- during physical and chemical transfor- constructs of creativity, instructional ronment without homework or grades. mations of manipulated foods. In the strategies, and student affect during a late 1980s, French agricultural scientist range of learning experiences outside Enrichment programs pro- Hervé This experimented with thou- the classroom. School budget reductions vide excellent opportunities otherwise sands of transformations in molecular in programming, less school staff to unavailable in schools for diverse gifted gastronomy designated as the scientific deliver modified services for high ability learners to learn and practice academic study of cooking. A classic study ex- learners, and concerned parents seeking thinking dispositions needed for success amined the impact of temperature on talent development opportunities for in life and as career explorations at eggs using sous vide or “under water” their children increase the need for out- young ages. In mathematics, think- technique with a low temperature of-school enrichment experiences. This ing dispositions such as perseverance, immersion circulator. Other molecular study examines mathematical standards, thinking and communicating with clarity gastronomy techniques include spheri- concepts, relationships, and applications and precision, thinking flexibly, thinking fication of substances for a caviar effect, during the Saturday Enrichment Camp interdependently, and remaining open to creating foams with a whipping siphon through the pedagogical framework of continuous learning found in the Habits or immersion blender, flash freezing the TIM. Similar to the grassroots of Mind (Costa & Kallick, 2008) prove with liquid nitrogen to make ice cream makerspace movement of “hands- useful. Broad-based thinking disposi- or to shatter fruit, food dehydration, on making, creating, designing, and tions relate well to more specific disci- powderization with maltodextrin, and innovating” (Peppler & Bender, 2013, pline-based ways of thinking and behav- infrared sensors to monitor cooking p. 23), the Molecular Gastronomy 101 ing. For example, the National Council times. This experimentation provided enrichment camp blended community of Teachers of Mathematics (NCTM) the foundation that transformed culi- involvement, high interest, and cre- Evaluation Standard 10 Mathemati- nary arts used in high-end restaurants ativity through a range of activities and cal Disposition advocates confidence, throughout the world. variety of assembly materials. flexibility, perseverance, inventiveness, reflection, valuing, and appreciation of Michelin three-star Chef Ferran Saturday Enrichment Camps mathematics as both a tool and a lan- Adrià of the former elBulli in Spain guage (NCTM, 1989, 2000). Moreover, manipulated food flavors to infuse rose Saturday Enrichment Camps mathematics content standards support scent into mozzarella cheese, combine for gifted and talented children provide universal themes and generalizations for melon and ham, and create pine nut out-of-school experiences to explore change, conflict, exploration, force or marshmallows. Chef Grant Achatz of high interest areas with real world influence, order, patterns, power, struc- the three-starred Alinea in Chicago applications as a group in a supportive ture, systems, and relationships (Ka- blended fruit flavors and inverted sugar environment. Infused with higher-level plan & Curry, 1985). Combined with to create his iconic edible helium-blown thinking and creative problem-solving innovative culinary techniques, mathe- balloon signature dessert. Former Chef skills, enrichment camps provide a matical standards and themes required Homaro Cantu of Moto restaurant in single-focus academic or creative experi- creative planning, careful preparation, Chicago served edible paper menus con- ence designed to stimulate their intellec- and evaluation of practices. For exam- structed of corn and soy, laser cooked tual curiosity for further exploration af- ple, community supported agriculture fish, and used the West African miracle ter the camp. Although school districts, (CSA) flexibly delivers seasonal food berry to sweeten sour foods. Chef Cantu universities, academies, and museums products despite unpredictable weather also transformed crabapples, cactus, and often sponsor enrichment camps, vari- conditions that affect crop growth and hay ingredients from his backyard into ous organizations, businesses, and com- harvest. Some molecular gastronomy barbecued steak. These chefs achieved munity groups also possess facilities and techniques depend on lightweight food game-changing innovations in the cu- expertise to offer enrichment programs. substances that require digital scales to linary world based on investigations in Saturday enrichment programs include measure ratio-based amounts accurately. science labs. World-class chefs represent

60 celebrity status, and the plethora of read digitally displayed information, universal mathematical theme of systems cooking shows on television attest to follow a series of sequential steps in a (Kaplan & Curry, 1985) with campers the appeal of culinary arts for children procedure, and understand the concept learning in whole groups, applying skills as well as adults. Moreover, the culinary of ratios. in small groups, and evaluating progress market now provides affordable equip- individually. ment and products needed for molecu- As an initial effort, the Saturday lar gastronomy cooking techniques for Enrichment Camp included volunteers Mathematical dispositions the home chef. These culinary ad- to keep costs affordable yet provide (NCTM, 1989, 2000) form a signifi- vancements demonstrated the universal funds for future enrichment camps. For cant element in assessing giftedness and themes of change and growth in math- example, a retired Gifted Coordinator creativity. The Molecular Gastronomy ematics (Kaplan & Curry, 1985). The who co-founded a Summer Enrichment 101 enrichment camp provided an out- Saturday Enrichment Camp challenged Camp in a large school district served of-school experience for camp instruc- campers to use applied mathematics cre- as registrar. A grown up gifted Honors tors and staff to observe approximately atively and innovatively as they encoun- College student took photographs. Sev- 15 high ability students in whole group tered new technology and ratio-based eral school-based personnel assisted with learning and hands-on small group “recipes.” small group rotations through three mo- exploration settings. Campers demon- lecular gastronomy techniques. A parent strated mathematical dispositions to Stage One Heightening Anticipation of gifted children with expertise in solve problems and communicate ideas; molecular gastronomy led small group flexibly explore mathematical ideas and Months of behind the scenes explorations. A professional chief who try alternative solutions; persist in tasks preparations set the stage for the Satur- taught a molecular gastronomy class at requiring precise mathematics, approach day Enrichment Camp. The warm-up a regional culinary center mentored the mathematical tasks with curiosity; phase included a variety of physical, project from start to finish. A parent reflect on their own performance; value mental, and social activities designed donated chicken, corn, and blackberry mathematical applications in other to get attention for a “problem” to juice products from her local farm, and disciplines; and appreciate mathemat- solve and stimulate curiosity about the local gifted facilitators assisted with food ics in their own culture. For example, subject. The “problem” targeted out-of- preparation. The camp director secured campers explored ratios by quantity and school enrichment experiences, and a college grant funding to purchase farm quality of food ingredients evaluated by group of gifted facilitators from a local vegetables and greens from a local taste, color, and size in a meal course school district met with the Director of farmer and maltodextrin, and agar from and recorded observations in their camp Gifted Education at a nearby university Amazon.com. booklets. They assessed timing required to organize its first Saturday Enrich- for droplets of juice into containers ment Camp, “Molecular Gastronomy TheTeachers College provided of chilled vegetable oil to form encap- 101.” Considering school events and classrooms at no charge, and the camp sulated spheres at the desired size and holiday breaks, they selected a Satur- staff stored perishable dairy products in shape. They reflected these dispositions day in late April, multiple grade levels the faculty lounge refrigerator. Without through verbal and written comments three through eight, affordable cost, traditional kitchen equipment, they in booklets. convenient location at the university secured a former science lab classroom without charge, camp curriculum, and with a deep sink to vacuum “hand duration of three hours. The gifted press” plastic bags under water for sous facilitators notified parents of gifted vide and used its extended countertop students at in their respective schools, to prepare and cook foods. The Saturday and the Director of Gifted Education Enrichment Camp delivered an inten- announced the enrichment camp during sive experience infused with applied a Faculty Senate meeting. A university mathematics experienced creatively graduate assistant designed a camp flyer throughout the program. The pre-camp with essential information and created experience identified and motivated a booklet including the camp schedule, potential campers, their parents, teach- class content, vocabulary, and camp ers, and camp staff by marking their instructor biographies. As an innovative calendars for the Saturday Enrichment camp experience, prior knowledge and Camp. The coordination of activities skills only required the ability to use with parts that worked together and standard measuring spoons and cups, involved subsystems related to the

61 Stage Two: Deepening Expectations plan the main and dessert courses. They understood these innovative culinary The olecularM Gastronomy practices required mathematics applied 101 enrichment camp consisted of creatively. two parts: whole group community supported agriculture (CSA) demon- The whole group “deepening stration and small group exploration of expectations” phase presented mathe- three molecular gastronomy techniques. matical problems of planning, secur- During the whole group demonstration, ing, and purchasing ingredients for a a local farmer discussed the farm to fork three-course meal. They estimated the movement and CSA as a system with element of time needed for innovative shareholders supporting a small farm techniques such as sous vide as well operation. The presentation included a as freezing and thawing food items. demonstration of microgreens as a sim- During small group hands-on explora- ple way to grow vegetables for any meal. tions, campers determined preparation The farmer guided campers as they time by verifying food temperatures planted sprouted sunflower seeds and during the spherification technique cut microgreens for the salad course in requiring cold vegetable oil to encapsu- the three-course luncheon. When camp- late liquid substances. They understood ers planted small sprouted seeds at the the relationship of cooking time and correct depth for optimal growth, they temperature needed to cook chicken observed the relationship between size, and eggs safely to a precise temperature texture, and shape from the fully-grown using sous vide and a non-touch infra- microgreens they washed and dried for red digital thermometer. the salad starter course. Stage Three: Keeping It Going The whole group demonstration also introduced three molecular After the farm to fork whole gastronomy techniques used in the group demonstration, campers extended three-course luncheon: sous vide, learning through hands-on small group spherification, powderization. Sous explorations culminating in a high-class vide cooks food in a vacuum-sealed three-course culinary experience. Camp- plastic bag at a slow constant tempera- ers formed small groups in the former ture. Sous vide requires an immersion science lab room, wore aprons, practiced circulator to heat and circulate water knife skills under supervision, selected to a precise and constant temperature. flavor profile ingredients, and rotated Powderization transforms food textures through exploration stations, thus expe- with maltodextrin and a high-fat liquid riencing applied mathematics creatively like olive oil or Nutella spread into a while learning molecular gastronomy flavorful powder. N-Zorbit contains techniques. A bonus technique featured maltose, a food additive similar to starch. a whipping siphon using nitrous oxide Spherification encapsulates liquid food to quick freeze ice cream for dessert. substances such as juices or oils into Students used modern culinary experi- spheres using Super Agar, a form of agar ences to assemble the three-course meal agar derived from red sea vegetables with a microgreen salad starter dressed used to thicken foods. Campers experi- with spherified olive oil and blackberry enced the universal mathematical theme juice pearls, sous vide cook the main of relationships during the whole group course chicken with lemon slices and farm to fork and molecular gastronomy fresh herbs served with spring vegetables demonstrations through purposefulness and corn side dishes, and a frozen ice (Kaplan & Curry, 1985) as they pre- cream dessert topped with powderized pared microgreens for the salad starter Nutella spread. course and gained knowledge needed to

62 Campers used multiple sens- completion of the Saturday Enrichment es to create flavor profiles with fresh Camp, Junior Chefs reflected upon lemon, garlic, rosemary, thyme, butter, the benefits of Community Supported and olive oil, as well as salt and pepper, Agriculture and impact of the farm to for sous vide chicken. They select- fork movement on their local commu- ed, crushed, and chopped seasonings nity. They spoke to parents and siblings by size, shape, and color to provide a of “the best chicken they ever ate,” slow pleasing blend of flavors. They released cooked without traditional kitchen droplets of blackberry juice and olive methods requiring a stovetop or oven. from a plastic squeeze bottle into vegeta- Junior Chefs received digital badges ble oil chilled in tall cylindrical glass jars through email acknowledging their transformed into salad dressing “pearls.” achievement preparing a three-course They evaluated the taste and texture meal using molecular gastronomy tech- of tender sous vide chicken, corn, and niques, demonstrating team-building spring turnips. Throughout the hands- skills, and building individual flavor on small group rotation, campers ob- profiles. Based on evaluations, the Satur- served and practiced mis en place with day Enrichment Camp leadership team culinary utensils and equipment ready planned Crime Scene Investigator (CSI) for use and removal as a demonstration and Entrepreneurship enrichment camp of the universal mathematical theme of experiences in subsequent years. order (Kaplan & Curry, 1985). The three-stage TIM pedagogi- Mathematical applications in cal framework provided a richly layered the hands-on exploration groups includ- creative out-of-schools learning experi- ed measuring the lightweight substances ence that generated multiple opportuni- of N-Zorbit (maltodextrin) required ties for Junior Chefs to view, examine, for powderization and Super Agar used and assess culinary facts, concepts, during spherification. Campers used and principles as creative and gifted food ratios, rather than standard recipes, mathematicians. Junior Chefs solved to transform food flavors into new reality-based mathematical questions in shapes and textures. They relied on their order to cook a high-class three-course sense of taste and smell to season sous meal. As a result, they experienced vide chicken in vacuum compressed and applications of mathematics in areas sealed plastic bags. Sous vide immersion where the use of mathematical methods circulators cook and hold chicken and might seem less obvious. They gained eggs at precise and constant tempera- an impression about the influence of tures needed for food safety. Campers mathematics on an activity such as observed infrared digital thermometer cooking that might superficially seem readings to check doneness of sous vide more creative rather than strictly logical. chicken and eggs in the water bath con- Through a variety of mathematical tasks tainers. used for a range of culinary activities, Junior Chefs observed a creative usage Conclusion of mathematics as they investigated knowledge and skills needed to per- The aturdayS Enrichment form the range of culinary tasks. As a Camp “Junior Chefs” used individual specialized type of community-based camp booklets to take notes, record makerspace, the project demonstrates impressions, and research culinary real-world learning outside the class- references for further study. For exam- room as Junior Chefs practiced applied ple, they could further explore fantastic mathematics creatively, collaboratively, applications of molecular gastronomy and communicatively practiced at three-star Michelin restaurants or enjoy every day applications to cook eggs precisely with their enrichment camp “recipes” at home. Upon

63 National Council of Teachers of Math- Phelps, C. (2019). Incubating mathe- ematics (NCTM) (1989). Curriculum matical creativity through a molecular and evaluation standards for school gastronomy 101 Saturday enrichment mathematics. Reston, VA: NCTM. camp. In M. Nolte (Ed.), Including the Highly Gifted and Creative Students— National Council of Teachers of Math- Current Ideas and Future Directions ematics (NCTM) (2000). Principles (pp. 296-303). Proceedings of the 11th and standards for school mathematics. International Conference Mathemat- Curriculum and evaluation standards ical Creativity and Giftedness (MCG for school mathematics. Reston, Va.: 11). Hamburg, Germany: Universität NCTM. Hamburg.

Peppler, K., & Bender, S. (2013, No- vember). Maker movement spreads innovation one project at a time. Phi Delta Kappa, 95(3), pp. 22-27.

Connie Phelps, Ed.D., is Gifted Program Director and Director of the Great Plains Center of Gifted Studies at Emporia State University. She is co-editor of Emporia State Research References Studies journal and serves on the University Press of Kansas, Teaching for High Potential and Torrance Journal for Applied Creativity advisory boards. She also Costa, A. L., & Kallick, B., Eds. (2008). directs the Inventions division for the International Torrance Legacy Creativity Learning and leading with Habits of Awards competition. Mind: 16 essential characteristics of success. Alexandria, VA: ASCD.

Gourmet Food World. (2019). Top molecular gastronomy techniques and recipes. Retrieved from https://www. gourmetfoodworld.com/molecular-gastronomy-techniques-15249

Hébert, T. P., Cramond, B., Speirs Neumeister, K. L., Millar, G., & Silvian, A. F. (2002). E. Paul Torrance: His life, accomplishments, and legacy. Research Monograph Series, 35(2), 197–206.

Hoeflinger, M. (1998). Developing mathematically promising students. Roeper Review, 20(4), 244-247.

Kaplan, S., & Curry, J. (1985). Uni- versal themes and generalizations. Retrieved from https://youtu.be/ Wv6A6gDbB1Y

Kozlowski, J. S., Chamberlin, S. A., & Mann, E. (2019). Factors that influence Stella Lee mathematical creativity. The Mathemat- ics Enthusiast, 16(1), 505-540.

64 Digital Creative Problem Solving: The Beyonders Program by Kathy Goff, Erik Guzik, and Rex Jung

Though interest in STEM/ compartmentalized approach to educa- 1. The context is motivating, STEAM is increasing as a component tion (Holley, 2009). engaging, and real world; of K-12 education, the connection of STEM/STEAM to such critical Indeed, in terms of this key 2. Students integrate and apply 21st century skills as creative thinking transdisciplinary element in STEM, meaningful and important mathematics remains unclear. Does increasing focus recent innovative thinking has relied on and science content; on STEM/STEAM diminish oppor- breaking down the distinction between tunities for students to exercise their disciplines traditionally seen as “cre- 3. Teaching methods are creativity? Or might STEM/STEAM ative” like the arts or music and STEM inquiry based and student centered; open new avenues for creativity in subjects traditionally seen as more rigid the K-12 classroom? This article will or logical-mathematical (Catterall, 4. Students engage in solving explore the concept of STEM/STEAM 2002; Henriksen, 2014). For example, challenges using a problem-solving in reference to 21st century learning the art element (A) of STEAM is often process; skills—specifically, creativity and inno- referred to as creativity in education vation, digital learning, creative problem (Land, 2013; Sousa & Pilecki, 2013). 5. Teamwork and communica- solving, collaboration, and communica- Art has proved to be a valuable in- tions are a major focus. Throughout tion. We explore a pilot digital creative structional tool for integrating STEM the program, students have the freedom problem-solving program, the Beyon- into the regular curriculum as well as to think critically, creatively, and inno- ders Program, along with preliminary engaging students in the social and vatively, as well as opportunities to fail research into its impact. The Beyonders cultural contexts of science and technol- and try again in safe environments. Program includes a pre/post creativity ogy (Kuhn, Greenhalgh & McDermott, assessment along with team challenges 2016). The involvement of the arts According to Turner (2013), for secondary students. We believe that provides a more complete knowledge STEM/STEAM education is not just an focus on STEM/STEAM offers new op- and skill base for learners to develop the area of study, but a way of teaching and portunities to increase student creativity most effective solutions possible. learning that is project-based, collabora- and other 21st century skills. tive, and focused on solving real-world As such, STEAM is an essential problems. STEM/STEAM programs STEM/STEAM paradigm for creatively infused teach- educate the whole student, emphasizing ing and learning in STEM disciplines. innovation, problem solving, critical The ationalN Science Founda- The concept of STEAM suggests a thinking, and creativity. Oner, Nite, tion developed the acronym of STEM need to celebrate and encourage the Capraro, and Capraro (2016) found for science, technology, engineering, development of creativity by allowing that secondary students believe that and mathematics. STEM is an inqui- students to use original and artistic ways STEM careers require creativity. ry-based program that incorporates to express knowledge (Barber, King & teamwork and instruction in the “soft Buchanan, 2015). As such, the very structure of skills” needed for business and indus- STEM/STEAM programs, especially try (The Partnership for 21st Century There are a number of K¬-12 their integrative approach to learning, Skills, 2007). In addition, STEM STEAM programs. Characteristics suggests an important opportunity for integrates curriculum and instruction, of quality STEM/STEAM programs even greater focus on creative thinking thereby removing boundaries between include the following (Jolly, 2014): in the classroom. Using creativity can subjects (Morrison & Bartlett, 2009). In this way, STEM acts as a transdisciplinary vehicle for overcoming the

65 establish the interdisciplinary concepts 2016). Problem- and team-based learn- educational achievement. Creative found in STEM as well as engage stu- ing provide opportunities for students growth seems to be the greatest and dents in learning. In addition, creativity to develop their creativity, engage in most predictable when deliberate, direct can serve as a means for students to ex- collaborative learning, and increase ad- teaching of creative thinking skills is press their understanding of STEM con- vanced thinking skills (Hargrove, 2011). involved (Torrance, 1995). tent. Indeed, according to Boy (2013), creativity cannot be treated separately Creativity and innovation are Caswell (2006) describes it from STEM, and Mote, Strelecki, and linked through the purpose of pro- as an approach to finding workable Johnson (2014) note that the use of ducing something of value that can be answers to problems that exist in real creativity in STEM activities has grown. traded, developed, and commercially life. Creative problem-solving skills exploited. Innovation is the application operate at the most general level and can The benefits of consciously of a creative solution with a profitable influence performance in any domain applying creative thinking to a STEM outcome (Serrat, 2017). (Amabile, 1989). Problem-solving based curriculum are many. Students activities shift the focus of the class apply learned information to creatively E. Paul Torrance to a student-centered orientation that address a problem they have not yet provides a more creative and interactive encountered (Roberts, 2012). Those Dr. E. Paul Torrance was a pio- environment (Yen & Lee, 2011). These involved in integrated problem-solving neer in creativity research and education skills can be influenced by training and curricula display increased engagement, for more than 60 years. He produced experience. Torrance (1957) found that satisfaction, and enjoyment (Havice, over 1800 publications and presen- elements of a creative solution can be 2009). Teachers agree that students tations on creativity (Millar, 1997). taught, but the creativity itself must be are more immersed in learning when it Torrance chose to define creativity as a self discovered and self disciplined. includes one or more creative modalities process because he thought it could be (Gullatt, 2007). Taken together, STEM used to predict what kinds of people There is a big difference be- and a conscious focus on creativity in could master the process, what climates tween getting ideas and doing some- the classroom offer a potent combina- could make it grow, and what products thing about them. An idea all by itself tion to improve educational outcomes could be involved (Torrance, 1995). does not mean much unless it relates and better prepare students for 21st Torrance created a battery of tests of to people and things. The value of century occupations. creative thinking abilities for use from ideas comes in their application. In kindergarten through graduate and pro- creative problem solving, students work Creativity and Innovation fessional education. The Torrance Tests in groups to creatively solve a problem of Creative Thinking (TTCT) (1966) that generally has no known or pre- Creativity is a vital ingredient are the most widely used assessments determined solution (Caswell, 2006). in meeting the challenges of a contin- of creative talent in the United States Creative problem solving is a teaching uous life cycle, a cycle in which growth and have been translated into over 50 method that incorporates active learning and change are the norm from concep- different languages. strategies to engage students in work- tion onwards. A life filled with growth ing with complex situations (Samson, and change requires a conscious effort to Torrance (1979) found that 2015). think creatively. To develop creativity, learning and thinking creatively take the mind needs to be exercised as well place in the process of sensing difficul- A key way to engage students as filled with materials out of which to ties, problems, gaps in information; is to integrate active learning strategies form ideas. The richest fuel for ideation making guesses or formulating hypoth- into the curriculum (Delialioglu, 2011; is firsthand experience (Osborn, 1963). eses about these deficiencies; testing Hayden, Ouyand, Scinski, Ollsterwski, Anytime one is faced with a problem or these guesses, revising and then retesting & Bielefeldt, 2011). Active learning dilemma with no learned or practiced them; and finally, communicating the strategies that incorporate student solution, some creativity is required results. Vital human needs are involved collaboration and are challenging with (Torrance, 1962;1988;1995). The 2010 in each of these four stages. timely feedback help increase both IBM Global study of 1,500 CEO’s learning and academic achievement selected creativity as the most crucial Creative Problem Solving (Delialioglu, 2011). Creative problem factor for future success. solving is an effective strategy to moti- Torrance’s research demon- vate and inspire students. It promotes Fostering creativity in educa- strates that a variety of techniques for deeper learning and fosters the develop- tion is vital. Research demonstrates that training in creative problem solving ment of critical thinking skills (Samson, activities requiring creative thinking produce significant growth without 2015). result in positive outcomes (Oner, et al, interfering with traditional kinds of

66 Problem Based Learning learners develop higher-order thinking Collaboration is a core concept skills, have more motivation to partic- for creativity that requires expertise in Problem Based Learning (PBL) ipate, and become more active learners a wide range of domains (Karakaya & is an instructional and curricular, (Şendağ & Odabaşı, 2009; Delialioğlu, Demirkan, 2015). As an innovative learner-centered approach that em- 2012). activity, team members engage in a powers students to conduct research, shared process of exploration. Collab- integrate theory and practice, and apply Collaboration and Communication orative learning is the joint construc- knowledge and skills to develop a viable tion of meaning, understanding, and solution to a defined problem (Savery, Collaboration is about shared knowledge, based on elaboration and 2006). It is a strategy that enables meaning and vision. It is a purposeful evaluation of group members’ ideas students to learn while actively examin- relationship formed to solve a problem, and thoughts (Chen, Gao, Yan & Xu, ing meaningful problems (Yew & Goh, to create, discover, change or review 2015). 2016). something. Collaboration involves sharing responsibilities; it involves each Creativity is a collaborative Hmelo-Silver (2004) described team member being equal and con- process where the members of the team PBL as an instructional method where tributing to the process. According to produce a new and useful output for students learn through facilitated prob- Sawyer (2007, p.7), collaboration drives the group or wider community (Chen, lem solving that centers on a complex creativity because innovation always et al, 2015). When learning in teams, problem without a single correct answer. emerges from a series of sparks – never students interact with their peers with Students work in collaborative groups to a single flash of insight. Students learn effective communication (Morrison & identify what they need to learn in order about themselves in collaborations. Bartlett, 2009). During the collabo- to solve a problem, engage in self-direct- They learn to identify their strengths ration process, students not only learn ed learning, apply their new knowledge, and talents as well as increase self-esteem to respect each other, they also develop and reflect on what they learned and the by sharing and achieving a common self-regulation in order to contribute to effectiveness of the strategies employed goal. the project tasks (Kuo, Hwang, & Lee, (Savery, 2006, p. 12). 2012; Trilling & Fadel, 2009).

PBL fosters the ability to iden- Positive outcomes from a Communication is an essen- tify the information needed for a partic- collaborative learning environment tial part of creativity. Once a solution ular application, where and how to seek include is found the creators are compelled to that information, how to organize it in communicate it. Creativity is the “c” in a meaningful conceptual framework, 1. increased levels of communication (Boy, 2013). In order and how to communicate it to others achievement to collaborate, they must communicate (Duch, Groh, & Allen, 2001, pp. 6-7). well enough to ensure that their work PBL teaching methods increase the cre- 2. feeling better about them- together will flourish and lead to more ative thinking skills of students (Ersoy selves when given opportunities for productive and creative solutions. The & Baser, 2014). success and self-expression quality and level of communication among team members is an effective Problem-based learning is 3. learning to deal with assessment of the success of their collab- differentiated from traditional, lec- differences and to show respect for oration (Shen, Ony & Nee, 2010). ture-based instruction by employing the contributions of all group/team a real-world problem that engages members Technology learners in active exploration rather than providing them with passive reception 4. learning to recognize each 21st century and prob- of lecture material (Peterson, 2004). The other’s strengths by communicating lem-based learning skills include the de- underlying assumption is that through their experiences and ideas velopment of creativity, self-motivation, the process of engaging with the re- innovation, problem-solving, and col- al-world problem the students learn. 5. gaining practical experi- laboration skills (Kaufman, 2013). The ence with people who are culturally, three factors of problem-based learning, Deslauriers, Schelew, and academically or physically different authentic assessment, and meaningful Wieman (2011) confirmed that students from themselves, which then enables community are a powerful combination become enthusiastic when experiencing students to accept difference in and of tools that online instructors can use problem-based learning. Studies of PBL outside of the classroom. to provide students with effective digital in online environments indicate that

67 pedagogy (Barber, King & Buchanan, value in the classroom, such technol- Specifically, the Beyonders 2015). ogies are inherently limited in their Program seeks to ability to promote and assess creative Without creativity, the process outcomes, as their focus and design do • apply existing research of human of developing technological solutions not directly target creative thinking and creativity to create a comprehensive to the problems we face in society is problem solving. digital creativity application limited to the replication of old solutions (Cropley, 2015). In order to find In addition to Mindtools, some • promote the teaching, practice, and the solutions that can solve new and old K-12 educators are now experimenting assessment of creativity in the classroom problems, creativity is required (Tor- with existing online technologies—es- rance, 1995). pecially collaborative software—to pro- • train teachers to use the Beyonders mote creative activities in the classroom. Program creativity tools Digital technologies can create Indeed, the growing desire for new web- a new type of cyber-learning environ- based collaborative tools is perhaps best • promote research into effective ment—an environment that effectively illustrated in the increasing classroom creativity models, problem solving, targets creative thinking and problem use of such social networking sites and and higher-order cognition solving within the classroom. They applications as Facebook, Twitter, Insta- hold the unique potential to be rep- gram, Second Life, and Google Docs. • promote research into information licated and extended across the globe technology and advanced web technol- in a cost-effective and wide-ranging While allowing for valuable ogies that might be effectively used in manner. The impact of such a digital new forms of interaction and infor- creating cyber creativity environments environment may be transformative in mation-sharing in and outside of the the classroom and bring a wider range classroom, such software programs are • develop digital tools to store and track of higher-level thinking skills to a global again severely limited by their designed development of student creativity. population. uses and applications. Such programs are primarily intended to allow users The aluev of mobile devices Technology-rich activities can to share existing information—not is that they allow students to connect, sustain high levels of student engage- develop, construct, evaluate, and actu- communicate, collaborate, and create ment and peer collaboration compared alize new creative ideas and innovative through rich digital resources (West, to less technology focused activities artifacts. 2013). The Beyonders Program offers (West, 2013). groups a comprehensive CPS-based Beyonders Program mobile app that utilizes personal tablets Jonassen (2000) and Jonassen, for accessing the exercises and projects Strobel, and Gottdenker (2005) have The eyondersB Program is a in the classroom, at home, and in the identified the effective use of technology mobile application developed to better community. The Program provides an in supporting creativity and problem understand and promote the creative immersive digital learning environment solving. Such technology includes what process within and beyond the class- that aims to keep students linked, digi- are often referred to as Mindtools. room. The Beyonders Program draws tally and figuratively, to active learning together a number of activities directly throughout the day, in and beyond the Jonassen’s research suggests that connected to research and education, traditional classroom. Mindtools play an important role in with a stated goal of creating a digital promoting the problem-solving capac- creativity system focused squarely on The eyondersB Program offers ities of students and providing a fertile teaching, training and learning. participating students the ability to environment for student engagement collaborate on assignments and projects, and cognitive growth. The technolo- creating what the program refers to as gies that Jonassen and others identify, virtual “pop-up classrooms.” Sixty one however, are not new creativity tools, percent of high school students surveyed nor do they focus specifically on the thought that collaborating with class- human creative process. Rather, such mates on real world problems would tools are often software applications, help them be more successful in science, such as spreadsheets, database programs, for example (Project Tomorrow Speak mind-mapping programs, and so on, Up Survey, 2013). that teachers may use with students in new ways. While certainly of great

68 Through the Beyonders Pro- 3. to systematically research the (78% gain). Flexibility showed little gram, students participate in activities creative capacities of 6th-12th grade sec- difference between Pre and Post testing. of scientific investigation and technical ondary school students before and after design of specific problems, becoming participation in the Beyonders Program The SPSS results indicated significant the main investigators and questioners. (Advanced Skills Assessment). increases (p<.05) in fluency, originality, Investigation, creative thinking, and elaboration, and overall creativity as problem solving are central to science The eyondersB Program is a cited in the tables that follow. and technology education; they are also digital education and research program precisely the skills that the Beyonders for secondary students. This online program seeks to promote in grades program offers 4 distinct challenges to 6-12 classrooms worldwide. participants during an academic year. These STEM related challenges in- A growing body of research clude such topics as entrepreneurship, supports the efficacy of inquiry-based environmental awareness, inventing, learning on student motivation and en- improved health, community safety and gagement (Jonassen, 2011) and student improvement, and so forth. Students retention and graduation rates (Dy- learn creative problem-solving models narski et. al, 2008; Kemple & Snipes, and apply them to a range of local and 2000). For substantive improvements global issues. Teams of students devel- in student retention and learning out- op creative solutions and take action comes to appear in U.S. classrooms, it to communicate their solutions. Each is imperative that schools offer authen- challenge is developed and evaluated by tic learning opportunities connecting trained scorers. classrooms with the broader community. Engaging in 21st century thinking The eyondersB Program skills like creativity, decision-making, provides teams with opportunities to and collaboration must be authentic work with students from other regions and meaningful to students, especially and countries on global challenges. The as they relate to the workplace. Beyonders platform offers synchronous and asynchronous communication tools Beyonders Pilot Research to facilitate discussions between team members as they work through the The term eyondersB is meant challenges. to designate individuals in society who exhibit advanced creativity—individu- A pilot of the Beyonders Pro- als who move beyond others in terms gram was conducted during the 2014- of the development and application of 2015 school year at a residential treat- advanced creative thinking and prob- ment program for troubled adolescent lem-solving abilities. (Torrance, 2002). boys ages 11-18. The students were The main goals of the Beyonders pre and post tested using the VCAI-re Program are (VAST Creative Abilities Indicator - research edition). They participated in 1. to engage students in STEM- 28 one-hour per week sessions, during based, real-world creative problem-solv- school hours, between assessments. ing projects using advanced digital technology (Problem-Based Learning) Seventy-three percent of the TBH boys (N=27) realized an increase 2. to develop the creative capac- in their creativity scores. The average ities of 6th-12th grade students so that gain for overall test scores was 17.3 they realize their potential for creative points, an 85% increase between pre outcomes and initiate positive individ- and post testing. Overall, the greatest ual and social change (21st Century scoring gains were for Fluency (87% Thinking Skills Development) gain), Originality (170% gain), Elabora- tion (81% gain) and Creative Strengths

69 70 Although this is a very limited Specifically, many existing 4. have been designed to focus study, it does provide encouraging data creativity programs on predetermined topic areas, usually for continued research and application. determined by the supplying organiza- 1. have been geared heavily tion itself—usage within the classroom Team Based Learning toward the gifted and talented popula- has therefore been limited tion, neglecting the wider student pop- Team-based problem solving ulation, especially the underrepresented 5. have often been created for is a popular and established method of and disadvantaged use outside of the standard classroom promoting creative thinking among stu- curriculum and have therefore provided dents and has, in the past, served as the 2. have often focused on single little focus on ways of applying creativi- basis for a number of successful creativ- conceptualizations of creativity and one ty tools within the classroom ity programs, including Odyssey of the basic problem-solving model, thereby Mind, Destination Imagination, Future limiting their application to different 6. have usually charged fees to Problem Solving, and TASC. Such curriculum areas and issues, as well as participating students and teams for programs, while certainly important teacher and student needs program access (given their extracur- and effective among their target student ricular nature), further limiting their populations, have suffered from a num- 3. have not sought to evaluate use and application among the broader ber of flaws inherent in their deploy- nor gather research on the impact of student population, especially the ment models and methods. Such flaws their creativity tools in order to better disadvantaged have limited the acceptance and use of understand the creative process and such programs as means of promoting the particular tools needed to promote creative thinking, even given their ad- human creativity and its products mirable goals of promoting higher-order thinking among participants.

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73 The Partnership for 21St Century Skills Yew, E. H. J. & Goh, K. (2016). Prob- (2007) www.21stcenturyskills.org lem-based learning: An overview of its process and impact on learning. Torrance, E. P. (1957). Psychology of ScienceDirect, 2, 75-79. survival. Unpublished manuscript, Air Force Personnel Research Center, Lackland Air Force Base, TX. Kathy Goffis the Co-founder and Rex Jung has been on the Neurosurgery Chief Creative Officer of Vast Learning faculty at the University of New Mexico Torrance, E. P. (1962). Guiding Systems, a cloud-based edtech software since 2008, where he splits his time be- creative talent. Englewood Cliffs, NY: company that focuses on creativity tween neuroimaging research and hold- Prentice-Hall. assessments and brain trainings. Kathy ing neuropsychology clinics with neuro- also serves as President of McGoff Cre- surgical patients. He studies both brain Torrance, E. P. (1966). Torrance tests of ativity. She served as E. Paul Torrance’s disease and what the brain does well—a creative thinking. Bensenville, IL: personal research assistant and worked field of research known as “positive Scholastic Testing Company together for over 16 years. Goff and neuroscience.” His research is designed Torrance (2000) created the Abbreviated to relate behavioral measures, including Torrance, E. P. (1979). The search for Torrance Test for Adults (ATTA), one of intelligence, personality, and creativity, satori and creativity. Buffalo, NY: Bear- the first instruments to measure creativ- to brain function and structure. He has ly Limited. ity in adults. She is an internationally published articles across a wide range of recognized author, researcher, educator, disciplines, among them, the study of Torrance, E. P. (1988). The nature of patented inventor, consultant, and intelligence, creativity, and genius. His creativity as manifest in its testing. In entrepreneur. research has been funded by the Na- R.G. Sternberg (Ed.), The nature of tional Institutes of Health, the National creativity: Contemporary perspectives Erik Guzik is co-founder and CEO of Endowment for the Arts, DARPA, and (p. 43-75). New York: Cambridge VAST: Next Generation Learning and the John Templeton Foundation. He University Press. executive director of the non-profit Vir- will be editing a forthcoming book with tual Problem Solving Program. Guzik’s Cambridge University Press (with Oshin Torrance, E. P. (1995). Why fly? A research centers on the micro-founda- Vartanian) entitled, Handbook of the philosophy of creativity. Norwood, NJ: tions of creativity and software-based Neuroscience of Creativity Ablex Publishing Corp. problem solving methodologies for improving learning outcomes and Torrance, E. P. (2002). The manifesto: cognitive training. For his research into A guide to developing a creative career. cloud-based learning and assessment, Westport, CT: Ablex Publishing. Guzik received the Creative Oklahoma Great Inspirations Award, the Oklaho- Trilling, B. and Fadel, C. (2009) 21st ma Journal Record’s Creativity Award, century skills: Learning for life in our and Hewlett Packard’s Catalyst Show- Times. Wiley. case People’s Choice Award.

Turner, K. B. (2013). Northeast Ten- nessee Educator’s Perception of STEM Education Implementation. Disserta- tion. East Tennessee State University.

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74 Gifted Learners Enhance Their Creativity Through a Paris Excursion by Jerry D. Flack

I was a reluctant and poor of information available almost instanta- Brainstorming student in my early education until fifth neously. grade when I was assigned a major proj- Brainstorming was first ar- ect by my new teacher. Each student in Traveling Across the Nation and ticulated by A. F. Osborne in Applied the class had picked a state or territory Around the World Imagination: Principles and Procedures of of the USA to investigate thoroughly. Creative Problem Solving (Charles Scrib- Suddenly, I was on fire. After complet- The following outline of a pro- ner's Sons, 1961). ing my state project on Mississippi, posed investigation of Paris can serve as I spent the entire following summer a template to serve as a creative passport Brainstorming has four key between the fifth and sixth grades to studies of any city, state, territory, or components. learning all about geology, geography, 200 or more nations in the world. Spe- history, culture, national parks, capitals cifically, the generic resources and activ- Criticism is ruled out. and capitols, and other hallmarks of ities in this curriculum model or outline the remaining 47 states at the time and can also serve as a format for organizing “Free-wheeling” (new ideas) all for no grades or school credit. My geographical and cultural studies as a are welcomed. writing skills greatly increased and I creative pursuit. Students can investigate found an entirely new genre of reading the cities and nations of their ancestors. Quantity is desired. materials and writing, technical writing, They may seek knowledge about places that served me well for the rest of my where they want to spend one or more Combinations and formal education. years of their college education. They improvements are sought. may want to learn more about a city, I invented my own creative state or nation that would be a dream Creative Productive Thinking (FFOE) curriculum. vacation. It is a great and wonderful nation and world. Encourage gifted E. Paul Torrance was one of Learning about individual cit- learners to delve into studies to become the first persons to both teach and test ies, states, and nations can be a wonder- more familiar with their importance. creative productive thinking with its ful multi-disciplinary inquiry with con- core components of fluency, flexibility, siderable attention paid to the hallmarks The reativityC Extensions in originality, and elaboration. See Tor- of creative learning such as brainstorm- this article may be completed by indi- rance’s classic The Search for Satori and ing, creative productive thinking, and vidual students, student pairs and small Creativity (Creative Education Founda- creative problem solving. The recom- groups, or as whole class activities. tion, 1979). Fluency refers to the ease mended studies and extensions further of coming up with many ideas. Flexibil- offer inventive ways to meet state and The fields of study emphasized ity keys in on differences and alterna- national standards. Moreover, such in this manuscript are creative thinking tives. Originality emphasizes generating inquiries provide many different and strategies, problem solving, and world unique ideas. Elaboration is the process rich pathways students may follow that studies. Creative studies include the of exploring alternatives to enhance an best match their individual interests and following prescripts. idea or make a product more complete. learning styles. One of the great changes that has occurred in the many decades SCAMPER is an acronym Bob Eberle since my fifth-grade introduction to first articulated in Visual Thinking: A a passion for learning is the Internet. SCAMPER Tool for Useful Thinking Today, students may use myriad online (D.O.K., 1982). SCAMPER serves as searches to open their eyes to the glory a useful mnemonic tool for developing

75 even more creative thinking strategies. originating a plan of action to imple- famous painting, Leonardo da Vinci's The key elements of SCAMPER are: ment the best possible solution to the Mona Lisa. Paris is the world capital of identified problem. haute couture (high fashion) and also S Substitute the culinary capital of the world. Expa- A creative problem solving session triate writers and artists such as Ernest C Combine might begin with Mess-Finding as Hemingway (USA) and Pablo Picasso students begin to use a Creative Prob- (Spain) created masterpieces while living A Adapt/Adjust lem Solving Model to determine how in Paris. to best share with others what they have M Modify, Minify, Magnify learned about Paris in the 20th century. The first two-timeobel N Prize winner, Marie Curie, heads the list of P Put to other uses The Five Ws Parisian distinguished scientists and inventors. The motion picture camera and E Eliminate, Elaborate Students can employ journal- projector and the world's first films were ism’s Five Ws: Who, What, Where, created in Paris. The Metro, the subway R Reverse, Rearrange. When, and Why. of Paris, was the first underground mass transit system in the world. Students use electronic re- Creative Problem Solving sources to seek online explanations and Many of the world's most alternative approaches to these creative prized, admired, and well-known monu- Many innovative thinkers have tools in their projects and products. ments and buildings are housed in Paris. outlined steps for creative problem solv- Further, they explore Google or other Paris is also the home of great works of ing. The model noted here has been ar- search engines to find additional creative sculpture and architecture. The Luxor ticulated by Donald J. Treffinger, Scott thinking strategies such as Forced Rela- Obelisk in the Place de la Concorde, G. Isaksen, and K. Brian Dorval in their tionships and Attribute Listing. a gift from Egypt (1826) dates back book Creative Problem Solving: An Intro- thousands of years to Ramses II's temple duction (Center for Creative Learning, Why Paris? at Luxor. A far more recent example 1994.) Six stages are spread across three of brilliance in architecture is the glass broad components: Understanding the Paris is quite possibly the most pyramidal entrance to the Musee du Problem, Generating ideas, and Plan- famous city in the world. It is the once- Louvre created by I. M. Pei in 1986. ning for action. Dr. E. Paul Torrance in-a-lifetime dream vacation destination Notre-Dame (Our Lady) is noted as used a similar rubric when he created annually for 50 million travelers from being the first of Europe's great Gothic the Future Problem Solving Program in around the world. Paris, also known cathedrals. The foundation stone was set the 1970s. as La Ville Lumiere (City of Light), is a in place in 1163. place of study that may also be thought Mess-Finding, Data-Finding, of as the most creative city in the world. From at least World War I and Problem-Finding are the stages of It is a most appropriate location for (1914-1918) African Americans have Understanding a Problem. Creative creative studies since La Ville Lumiere been welcomed to Paris and throughout problem solvers note that a problem has at least two meanings. Paris was the France as a whole. Black celebrities were exists and seek data to better understand center during the Enlightenment when embraced by Parisians and experienced the “messy” situation. Problem-Finding it became the heart of learning, intellec- none of the ugly racism that once typi- is the articulation of a specific problem. tualism, and creativity. Quite literally, fied much of the United States. Harlem Paris is also the most spectacularly beau- writers such as Richard Wright and Next, problem solvers engage tiful city of light since the invention James Baldwin and entertainers such in Idea-Finding (Generating Ideas) by of electricity. Joie de vivre is a French as Josephine Baker and Nina Simone using tools such as fluency to come up phrase that translates into English as were honored celebrities in Paris during with many unique and promising possi- the “Joy of Living.” Creativity obviously the 20th Century. Prior to World War bilities to solve the stated problem. flourishes in an atmosphere such as Paris II and Hitler's invasion of France that which celebrates such joy. included Paris, in 1940, American jazz Planning for action consists as performed by African Americans was of two final stages. Solution-Finding Paris is also the pinnacle of especially a hit in the City of Light. involves choosing the best possible the world of art containing the world's solution to the problem that has been largest art museum (Musee du Louvre) Paris is also home to incredible identified. Acceptance-Finding involves and the home of the world's most children's and young adult literature,

76 especially masterpieces of picture books attractive guide feature fold-out maps design a “wish list” travel guide of ten that are shared herein. Paris is the home of the entire city of Paris and the Paris Parisian experiences for their dream trip of Ludwig Bemelman's Madeline series Metro or subway system. to France's capital city. Virtual tours and the setting of numerous Caldecott and other online sources can aid this Medal and Caldecott Honor books. process. Gerrard, Mike & Dailey, Donna. Top 10 Paris. New York: DK Encourage students to do their Travel Guide Books and Maps Eyewitness Travel, 2016. own searches on Paris, including a range of sources and media (not exclusively A number of publishers special- While Walking Paris is present- Internet based) focused on their inter- ize in tour books of cities, regions, states ed by the city's most memorable neigh- ests. Explore maps, art books, literature, (or provinces), and nations. Common borhoods, the authors of Top 10 Paris poetry, maps, popular songs, compos- publishers include National Geograph- organize their visually splendid “pocket ers, and so forth. After students learn ic, Lonely Planet, Insight/Discovery, guide” of Paris according to the top ten more about Paris, induce them to use Fodor's, Frommer's, and DK Eyewitness visits in a wide host of categories that Brainstorming to choose their favorite Travel Handbooks. The library Dewey highlight the wonders of Paris. Gerrard landmarks, art, food and other high- Decimal number for adult travel guide and Dailey begin broadly with “top ten” lights and design original post cards to books about Paris is 914.436104. chapters on broad categories such as the send back home to family and friends as “Top 10 Paris Highlights” and the “Top they enjoy their once-in-a-lifetime trip A majority of middle-grade and 10 of Everything.” They do salute the to Paris. secondary gifted students have more “Top 10 Locations Not to Be Missed” than likely never sampled the first-rate which includes side trips to Versailles nonfiction writing found in these travel and Disneyland Paris. Other “Top 10” Retro Children's Travel Guides books. Once students have sampled this chapters are devoted to sporting events, type of writing about Paris and France, places of worship, historic buildings, Sasek, Miroslav. This is Paris. New York: they can hone their own technical art galleries, fine dining, gardens, parks, Universe Publishing, 2004. writing authority by composing creative shops and markets, plus book stores chapters (or entire books) about the and book sellers. Two chapters not to _____. This is the World: A Global Trea- people, places, and highlights of their be missed are the “Top 10 Children's sury. New York: Universe Publishing, own home city or state and myriad Attractions” that includes a museum of 2014. dream locations they choose to study. magic with live performances, and the “Top 10 Merry-Go-Rounds” in the City Miroslav Sasek was born in Paschali, Pas & Robinson, of Light. Prague in 1916 and trained to become Brian. Walking Paris: The Best of the City, an architect reputedly when his parents 2nd ed. Washington, D.C., 2016. Two additional advantages of refused him the freedom to pursue Top 10 Paris are the exceptionally bril- his first loves, drawing and painting. Stunning color photogra- liant color photographs of all Parisian When the Communists gained power phy greatly enhances the lively text attractions plus the fact that this useful over Czechoslovakia in the aftermath of that highlights walking tours of nine pocket guide is updated every year. World War II, Sasek escaped from be- unique Paris neighborhoods including hind the “Iron Curtain” to Paris where trips to the Louvre, the Latin Quarter, For additional print guides to he studied art at the world renown Montmartre, and the Eiffel Tower. One Paris, see Rick Steves Paris 2016 (Avalon l’Ecole des Beaux Arts. special highlight is the chapter “Paris Travel, 2016) and Frommer's Easy Guide in a Weekend with Kids.” The weekend to Paris 2016 (Frommer Media, 2016). Although Sasek was a fine artist begins with a climb up the steps of the Check libraries for DVD travel guides and a prodigious writer and illustrator Eiffel Tower, includes a side trip to the to Paris and France, especially those of diverse juvenile literature, he became oldest toy store in Paris, a journey to see featuring Rick Steves as the on-camera especially well known for his This is… the Egyptian mummies at the Louvre travel guide. His video works are partic- series, a comprehensive library of 18 Museum, and concludes with a visit to ularly “kid friendly.” unique travel guides. Each Universe the world-famous Centre Pompidou. reissue of Sasek’s This is…series features As with virtually all professional travel Creativity Extensions Sasek’s high-quality art and vibrant guides, Walking Paris: The Best of the narratives that entice bright children City includes a treasury of helpful maps. Direct students to use Creative around the world to become truly excit- The inside covers of this extremely Productive Thinking (FFOE) tools to ed about the subjects of travel, geogra-

77 phy, history, and architecture. In 2014, vibrant narrations, and ultimately pro- fairy tales to world literature. During Universe published This is the World: A duce their very own This is...volume. the darkest days of Nazi Occupation of Global Treasury that compiles highlights Paris (1940-1944) and most of France from the entire series. during World War II, a French Resis- The ABCs of Paris, France, tance pilot wrote one of the most in- Following a vacation to Par- and Matisse spiring books in French history. Antoine is in the late 1950s, Sasek created a de Saint-Exupery published The Little manuscript and sketch book of the city Wilbur, Helen L. E is for Eiffel Prince in April of 1943. His masterpiece geared especially for younger readers. Tower: A France Alphabet. Illus. by Yan has become a staple of French language He sought to introduce children to the Nascimbene. Discover the World series. classes in American schools. history, architectural grandeur, and the Ann Arbor, MI: Sleeping Bear Press, vibrant population of the monumental 2010. I is for Inventors. The metric City of Light in a manner far removed system, the hot-air balloon, the “Aqua- from adult travel guides. This is Paris E is for Eiffel Tower: A France Lung” (created by Jacques Cousteau), (1959, 2004) opens with a visual over- Alphabet highlights the entire French Braille, and food sterilizing (Louis Pas- view of special highlights such as the nation, western Europe's largest coun- teur) are just a sampling of the creativity River Seine and the unique landmarks try, but much of the content is devoted of French discoverers. of the Eiffel Tower, Notre-Dame, the to the capital, Paris. This charming and Arc de Triomphe, and the gleaming colorful alphabet book features Sleeping E is for Eiffel Tower ends with a white Sacre-Coeur basilica in Mont- Bear's famous two-tiered non-fiction page of 25 English-into-French words martre. The pose is spare, direct, and content. Short poems in large print and phrases complete with phonetic touched with a degree of sly humor introduce topics for young readers while spellings and pronunciations. Many that should delight children. Sasek pays expository sidebars offer considerable gifted students will spend at least a se- homage to the great monuments, parks, detail about the subjects in finer print. mester or a full year of their high school and buildings of Paris, but he also gives Beautiful illustrations further highlight or college careers engaged in study and an equal and delightfully sly nod to the the chosen topics. One example is the travel in Europe. Most travel litera- city's feline population, street artists, letter P, “P is for Paris.” The double-page ture includes a glossary of English-in- nuns, flea markets, monkeys in the zoo, spread open with pleasing verse. to-French words and phrases to comple- butchers, grocers, shoppers, a flower girl ment what they are learning in school. and a bicycle policeman, sidewalk book P is for Paris stall owners, and even a church warden who guards the mighty Notre-Dame. A We'll stroll the boulevards and then Creativity Extensions particularly charming illustration cap- we'll see the Louvre and cruise the Seine. tures the nostalgic appeal of the Rue de We'll stop for lunch in a small cafe. See also Matisse from A to Z Chat (Street of Cats) that is a mere two A day in Paris is like no other day. (Peter Bedrick Books, 1995) by Marie yards wide. Sellier. Matisse from A to Z provides one The expository sidebars provide example of how alphabet books may be a verbal summary of the establishment created by highly creative students from Creativity Extensions of two small islands in the middle of the such disciplines as art, music, entertain- Seine River that ultimately became The ment, movies, invention, science, and A thorough study of the M. City of Light and moves on to highlight history. Sasek’s This is…series suggests a stim- adventurous days spent exploring pres- ulating follow up activity for gifted, ent-day Paris. The illustrator's bird's-eye Assign letters of the alphabet creative, and talented students. Orig- view of the heart of Paris on a snowy to individual students and direct them inality and Elaboration, elements of day is redolent of the artistic visions of to Brainstorm Parisian topics for their (Creative Productive Thinking) may great Parisian artists. letters. Employ Combine (from SCAM- be employed as students choose favorite PER) to find a unique way to display locations as their subjects to emulate The letter H is forVictor Hugo their Paris ABC products. Sasek’s This is…series format. Gifted one of France's greatest writers. He learners can research favorite places, authored such classics as Les Miserables, Gifted students quickly learn engage in library explorations, make The Count of Monte Cristo, and The how fragile creativity can be. A single lists of people, places, and subjects they Three Musketeers. Charles Perrault intro- word such as “book” may greatly limit wish to highlight, engage in preliminary duced “Cinderella,” “Sleeping Beauty,” their creative thinking. ABC books are sketching, create storyboards, write and “Puss in Boots” and the genre of effective catalysts, but they represent but

78 one use of the alphabet. As an alterna- of the 20th century. Parisians – and quotation found in both Islamic and tive, students may be encouraged to later, people all over the globe – came Jewish cultures: employ Originality in their use of the to both honor and celebrate her unique alphabet to salute The City of Light. qualities. Coco became a very wealthy Save one life, and it is as if you've They may create three-dimensional woman. She created “the little black saved all of humanity. objects, for example, to celebrate Paris dress” and she expanded her business to in an alphabetical fashion. the world of perfume. Chanel No. 5 de- Despite revolutions and wars buted in 1921 and was the world's most across many, many centuries, the nadir Parisian and French Notables and expensive perfume at the time. Ameri- of Parisian history is generally believed Heroes Through the Ages can movie mogul Samuel Goldwyn paid to be the Nazi occupation of most of her one million dollars to design clothes France and especially Paris from 1940 Inventors, scientists, artists, for Katherine Hepburn, Grace Kelly, until 1944. The Grand Mosque of Paris authors, composers, war heroes and and Gloria Swanson. relates the story of Muslim heroism notable Parisians from many fields are dating from the First World War to worthy of print and online reading and Matthews salutes Coco's differ- the end of Nazi domination during research. Some of the most celebrated ence by using her most famous quota- World War II. Built in 1926 in the citizens include: tions for her black-and-white end pages. center of the city, the Grand Mosque was and remains a sprawling commu- Charlemagne, Saint Louis IX, Joan of Fashion is architecture: it is a matter nity center that includes not just rooms Arc, Charles Perrault, Antoine Lavoisier, of proportions. for prayers but also a library, a hall of Blaise Pascal, Marquis de Lafayette, Na- records, a medical clinic, a steam bath, poleon Bonaparte, Victor Hugo, Louis How many cares one loses when one gardens, playgrounds, a restaurant, and Braille, Louis Pasteur, Marie Curie, Jules decides not to be something but even housing apartments. The mosque Verne, Auguste Rodin, Claude Monet, to be someone. was built on land that was filled with Maurice Ravel, Claude-Achille Debussy, underground passages, tunnels, and Pierre de Coubertin, Charles De Gaulle, catacombs. During the occupation these Coco Chanel, Colette, Leslie Caron, Creativity Extensions areas served as hiding places for children Catherine Deneuve, Simone de Beau- and adults in grave danger. voir, Edith Piaf, George Sand, Juliette Engage students in researching Binoche, and Jacques Cousteau. See a famous Parisian such as Marie Curie From its opening the rector of many artists in Degas. Louis IX (1214- or Jules Verne and then employ the the mosque was an Algerian-born diplo- 1270) is the only king of France to ever reporters’ Five W’s to write a profile of mat, Si Benghabrit. He worked closely be canonized as a saint. the chosen subject for the classroom with Dr. Ahmed Somia, a Muslim from newspaper about Paris. Tunisia. Many of the Muslims who lived Matthews, Elizabeth. Different in Paris during the Nazi occupation Like Coco. Cambridge, MA: Candle- Have students pretend to be were Kabyles, Berbers from Algeria. wick, 2007. Coco Chanel or Yves Saint Laurent and The rector falsified papers noting the design clothing or a special costume for North African Muslim heritage of a Gabrielle “Coco” Chanel is a a notable Parisian. The design and the great many Jews. Dr. Somia sent Jewish typical Parisian heroine. Born poor and model will appear on the front cover of children to safety in health clinics that skinny, she became an orphan by age a distinguished Paris magazine. were extensions of the great mosque. 12. Coco learned to sew at the orphan- The Kabyles spoke a language that was age and her love of fashion began as so little known by German soldiers that she sewed special clothes for her dolls. German Occupation and A Story of it could be used as an unbreakable code. She learned the fashion trade working Great Heroism in Paris Together, all of these Muslims risked for a tailor, eventually acquiring a shop their own lives by secreting, protecting, through an English benefactor. At first, Ruelle, Karen Gray, & DeSaix, and transporting both French Resistance women spurned Coco's simple yet com- Deborah Durland. The Grand Mosque heroes and especially Jewish children to fortable designs but she did not mind. of Paris: A Story of How Muslims Rescued places that were safe havens such as the She wanted to be different and soon her Jews During the Holocaust. New York: Free French regions of North Africa. fashions began to set her apart as the Holiday House, 2010. most unique fashion designer in Paris The illustrations of the book and beyond. She succeeded in becom- This exceptional historical- are reverent, somber, and in keeping ing one of the most influential persons ly-based picture book begins with a with this remarkable chapter of history.

79 The paintings of the mosque itself are in Braque, Paul Gauguin, Henri Rousseau, of Degas, twenty bronze copies of The keeping with Islamic art and architec- Pierre-Auguste Renoir, Henri Marie de Little Dancer were made and sold to the ture. Toulouse-Lautrec and Rene Magritte. greatest museums in the world.

The daring escuesr of Jews and Anholt, Laurence. Degas and Additional volumes in French Resistance fighters involved the Little Dancer. Anholt's Artist Books Anholt's Artist Books for Children some remarkable creative problem solv- for Children series. Hauppauge, NY: series include: ing. One way that the Kabyles helped Barron's Educational Services, Inc., these people to escape was by hiding 2007. Camille and the Sunflowers: A Story them inside empty wine kegs, placing about Vincent van Gogh. the barrels on barges and transporting Laurence Anholt is a British them via the River Seine until the po- author and illustrator who has created The Magical Garden of Claude Monet. tential victims were out of harm's way. a series of beautiful picture books that combine superb storytelling about great Picasso and the Girl with a Ponytail. Creativity Extensions artists and their encounters with real-life children or young adults. The famous Leonardo and Flying Boy: A Story about Students may research a French painters and sculptors were either born Leonardo da Vinci. or Parisian hero of the Second World in Paris or lived there at one time in War such as famed entertainer Josephine their creative lives. Anholt uses his con- Cezanne and the Apple Boy. Baker (a spy for the French Resistance) siderable talent as a painter to illustrate or beloved author of The Little Prince these stories while also rendering beauti- Matisse: The King of Color. Antoine de Saint-Exupery (aviator ful reproductions of many of the artists’ against the Nazis). Borrow any of the greatest creations. Creativity Extensions letters from SCAMPER to portray the honored hero(ine). Perhaps Adapt or In Degas and the Little Dancer, Adapt or Modify (from Adjust the salient information from a Anholt introduces Marie, a young girl SCAMPER). Students write and standard report or biography to a poster living in Paris whose greatest dream is illustrate a new addition to Laurence or sculpture that honors the hero. to become the world's greatest ballerina Anholt's series of stories about famous and to dance at the Paris Opera House. artists and children or young adults. For Inspire students to write an Marie is a gifted dancer, but her parents example, invite them to create a story acrostic poem about a hero or hero- are too poor to pay for the lessons she about a classmate who meets Pierre-Au- ine. Brainstorm words and phrases to needs to fulfill her quest. Just as her guste Renoir. What is the basis of their complete a poem dedicated to brave ambition is dashed, Edgar Degas (1834- chance encounter? What is the resultant Parisians during the Second World War. 1917) offers her a job to pose as a model painting or sculpture? for a masterpiece. H… Ask students to compare and E… In the story, Degas is portrayed contrast two or more of the picture R… as an angry and demanding man. While books in the Anholt's Artist Books for O… losing his vision, he must switch from Children series that feature artists work- E… painting an oil portrait of Marie to a ing in or near Paris. S… sculpture with clay. Still, at the conclusion of their work together, Degas Artists in Paris confesses to his young model that his Engineering, Architecture, Sculpture sculpture of her is the best thing he has Paris has been the uncon- ever done. Paris is the home of some of the tested capital of the world of art for world's most amazing engineering feats, at least the past two centuries. Such The full title of the statue is The unique architecture, and at least one avant-garde schools of art invented by Little Dancer of Fourteen Years, 1880- mighty sculpture. These monuments are artists that lived and worked in Paris 1881. In reality, Marie van Goethen hallmarks of creative genius and brilliant include Impressionism, Cubism, and did exist and posed for Degas' The Little problem solving. Surrealism. Famed artists of painting, Dancer. The sculpture was displayed in photography, and sculpture include a glass case at the Impressionist Exhibi- Edourd Manet, Auguste Rodin, Henri tion in Paris in 1881 and it became an Cartier-Bresson, Marc Chagall, Georges immediate sensation. Upon the death

80 Engineering: The Eiffel Tower A Verse Tribute Two authors feature Notre-Dame in exceptional children's The iffelE Tower was construct- Lewis, J. Patrick. Monumental books. ed by Gustave Eiffel, a brilliant engi- Verses. Washington, D. C.: National Dillon, Patrick. The Story of neer, as the archway or entry point to Geographic Society, 2005. Buildings: From the Pyramids to the the Paris World's Fair in 1889 which, in Sydney Opera House and Beyond. Illus. turn, was the 100th anniversary cele- Poet Patrick J. Lewis begs read- by Stephen Biesty. Sommerville, MA: bration of the French Revolution. At ers to examine 16 of the world's most Candlewick Press, 2014. its original height (986 feet), the Eiffel well-known monuments that represent Tower became the tallest structure in human ingenuity and creativity at its Patrick Dillon tells the sto- the world and remained so for 40 years finest. He takes his title, Monumental ry of how the massive cathedral was until the opening of New York City's Verses from a line by poet Dante Gabriel constructed and Stephen Biesty com- Chrysler Building (1,046) in 1930. Lat- Rossetti who once wrote that a poem is plements the narration with dramatic er, a radio transmission tower furthered a “monument's monument.” He uses and colorful cut-away drawings of the the elevation of the Paris structure to a variety of verse forms from acrostic to many unique features of the new style of 1,063 feet. Eiffel argued that the design concrete to free verse to pay homage to architecture, French Gothic. was inspired by the Great Pyramid magnificent structure such as the Eiffel of Cheops, the only remaining Seven Tower. His tribute begins: Macaulay, David. Building the Wonders of the Ancient World. Today, Book Cathedral. Boston, MA: Houghton the Eiffel Tower is the most visited Three hundred workers nailed you, Mifflin Company, 1999. monument in the world. The Prince of Wales unveiled you, Your countrymen have hailed you a star. _____. Cathedral: The Story of A Parisian Love Story Its Construction. Boston, MA: Hough- Other Parisian and near-Pari- ton Mifflin, 1981. Briere-Haquet, Alice. Madame sian monuments poetically celebrated Eiffel: The Love Story of the Eiffel Tower. by Lewis are the Arc de Triomphe and David Macaulay's Cathedral Illus. by Csil. Berlin, Germany: Little the Palace of Versailles. of Chutreaux is a fictional site but his Gestalten, 2015. New York Times Best exceptional pen-and-ink drawings and Illustrated Book of the Year. expert storytelling reveal how the great Architecture: Notre-Dame Cathedral French Gothic cathedrals were built by Madame Eiffel (Cathy) is the the people of 12th, 13th, and 14th-cen- loving wife of Gustave Eiffel. They live tury Europe. Twenty-five years after the and love in the world's most romantic On 15 April 2019, a tragedy publication of his first book, Cathedral: city. Cathy especially loves to travel, but occurred in Paris. A structure fire broke The Story of Its Construction, a Caldecott an unknown illness leaves her deeply out beneath the ancient roof of No- Honor book, Macaulay went back to depressed and bed-ridden. An army of tre-Dame Cathedral causing extensive France and added a great deal of further doctors do not know why she does not damage and great sorrow for the French architectural substance to his original recover. But, Cathy has an idea. She people. Notre-Dame (“Our Lady”) was volume in Building the Book Cathedral. tells her beloved husband what would the first great French Gothic cathedral. make her happy. “You could build us a Construction began in 1163. The cathe- Sculpture: The Statue of Liberty railway that takes us up to the clouds dral was completed and the dedication in a blink.” With a flash of inspiration, mass was held in 1345. Notre-Dame Beginning in Paris in 1865, Gustave knows what he must do. He was one of the first great buildings of a great idea was born. The people of must build the vertical railway Cathy the Middle Ages to use flying buttress- France would honor the one hundredth imagines. He completes the mighty es that allowed for thinner and higher anniversary of American Independence tower and Cathy's health returns. walls and great stained-glass windows by giving to the United States a great that illustrated scenes from the Bible. In sculpture to be named “Liberty Enlight- The brief love story is imagina- front of the Notre-Dame Facade stands ening the World.” The influential Pari- tive and a fine read-aloud picture book, the grand equestrian statue of Char- sian sculptor Frederic-Auguste Bartholdi but the highlight are the pen-and-ink lemagne (742-814 A.D.) whose reign was chosen to create the figure of a great drawings by Csil. They capture Paris as marked the birth of France as a nation. lady holding high the lamp of liberty in it must have appeared when the mag- the artistic style of neoclassicism. She nificent monument was built by a man would wear a crown of seven spires, like very much in love with and inspired by the rays of the sun, that would repre- his loving wife.

81 sent the seven continents and the seven employ Flexibility from Creative Pro- Madeline: The Most Courageous seas. Constructed by engineer Gustave ductive Thinking. Encourage students Little Girl in Paris Eiffel, the colossal statue would be to also celebrate this great Parisian land- made of iron and copper and stand at mark but with a different verse form Bemelmans, Ludwig. Madeline. New a height of 150 feet. The French would such as an acrostic poem. York: The Viking Press, 1939. Caldecott give the mammoth statue to the United Honors. States of America and the Lady Liber- Direct students to research ty would face eastward as a symbol of online resources about the history and _____. Madeline's Rescue. New York: America welcoming immigrants from special features of the soaring edifice of The Viking Press, 1953. Caldecott the old world to the world's greatest Notre-Dame (or some other structure). Medal. democracy. A Russian immigrant Emma Students can use The Five Ws of journal- Lazarus referred to the great lady as the ism plus Originality (Creative Produc- “Mother of Exiles.” She composed the tive Thinking) to write a story of how a Few children's books begin and sonnet, “The New Colossus” which young person who lived in 13th-century end in verses that are instantly recogniz- was engraved on the giant pedestal and Paris viewed the building of the cathe- able to generations of children who first included these famous words: dral. How might a child have helped met Paris through the eyes of a fearsome cathedral builders of that time period? and petite heroine, Madeline, who is so Give me your tired, your poor, your brave a child that she says to a fearsome huddled masses yearning to breathe free... Using art media of their choice tiger in the Paris zoo, “Pooh-pooh.” The encourage students to engage in Brain- original Madeline begins, “Liberty Enlightening the storming to enable them to design a World” was built in Paris and shipped glorious new window for Notre-Dame. In an old house in Paris, to the United States in 1884. It was That was covered with vines reassembled and formally dedicated on Direct students to borrow Lived twelve little girls October 28, 1886. A superb picture Reverse (from SCAMPER). France In two straight lines book history of the Statue of Liberty is gave the Statue of Liberty as a very Lynn Curlee's Liberty (New York: Athe- special gift to America. How might the and ends, forever, with these words, neum Books for Young Readers, 2003). USA reciprocate? That is, how could the The Statue of Liberty is another creation United States build a special gift for the ...and that's all there is – there that J. Patrick Lewis celebrates in Monu- people of France? One example. If not isn't any more. mental Verses. See also Emma's Poem: The for the aid given by the French to the Voice of the Statue of Liberty (Houghton thirteen colonies during the battles of Madeline is a spirited little Mifflin, 2010) written by Linda Glaser the American Revolution, victory and red-headed Parisian girl who is the and illustrated by Claire A. Nivola. the creation of a great new democracy smallest of twelve young girls in a might not have occurred. Students can Catholic boarding school in the heart Creativity Extensions draw plans and even build a scale model of Paris (circa 1939) which is headed of a great monument that contemporary by the redoubtable Miss Clavel. Miss After exploring engineering, ar- Americans could give to the people of Clavel takes Madeline and her eleven chitecture, and sculpture through these Paris and France. This activity is a fine companions on daily outings that allow examples, students can write new stories opportunity for students to use the six them to see the Eiffel Tower, the Paris with a variety of dazzling structures as stages of Creative Problem Solving. Opera House, The Place Vendome, the settings. Encourage imagination that Hotel des Invalides, the Church of the might involve Parisian icons. Perhaps Students can also borrow a page Sacre Coeur, the Tuileries Gardens and Madeline is spending a day exploring from J. Patrick Lewis’s Monumental the Louvre Museum. the tower. Might a visiting American Verses. They can write a poem that will student meet her and enjoy an exciting be inscribed on the monument Amer- From 1939 to 1961, Ludwig adventure? Students will be Combin- icans ultimately decides to donate to Bemelmans created six Madeline books ing ideas (from SCAMPER) and using France for display in Paris. that additionally included Madeline and both Originality and Elaboration from the Bad Hat, Madeline and the Gypsies, Creative Productive Thinking. Madeline in London, and Madeline's Christmas. He certainly could not have Invite students to read J. Pat- imagined the world-wide fame and the rick Lewis's poetic tribute to the Eiffel incredible staying power of his impish Tower in Monumental Verses. Next, they creation. Madeline has been merchan-

82 dized as dolls and other toys, multiple Alemagna, Beatrice. A Lion in gift, a young giraffe born near Felucca films and television programs, songs, a Paris. New York: Abrams, 2015. in the south of Egypt. Her devoted biography of Bemelmans plus sequels Sudanese caretaker and the narrator of crafted by his own grandson and biogra- In this glorious extra large this remarkably true story is Atir. Belle pher, John Bemelmans Marciano. format picture book a young and and Atir's travels began with a trip on curious but lonely lion leaves his native the mighty Nile River to Alexandria and Marciano's extended Madeline grasslands to seek a brighter and happier across the Mediterranean to the French adventures to include Madeline at the future elsewhere. He arrives in Paris by port city of Marseille. As Belle made White House (Viking, 2011) Madeline train at the Gare de Lyon station. His her way down the ship's gangplank on and the Cats of Rome (Penguin, 2008), many adventures include stopping at a its arrival in Marseille, spectators were Madeline in America and Other Holi- café for a cup of morning coffee, spot- incredulous. Belle was 12 feet tall and day Tales (Scholastic, Inc., 1999), and ting his reflection in the River Seine, unlike any living creature they had ever Madeline and the Old House in Paris encountering a smiling young woman seen. Tired of the sea travel, Belle was (Viking, 2013). He is also the author (Mona Lisa) in the Louvre, strolling most comfortable strolling the streets of and compiler of an attractively through the wondrous Montmartre, the city. Belle and Atir would walk the illustrated biography of his grandfather, and finding a giant tower (Eiffel) that 500 miles to Paris which would take 41 Bemelmans: The Life and Art of he loves. At a major intersection of Paris days. Special boots protected her feet Madeline's Creator (Viking Press, 1999). streets, he finds a large empty stone that and a royal blanket kept her warm. seems to be made just for him. Finally, Creativity Extensions he has found his true home and perfect Parisians were caught up in a contentment. People in cars toot their frenzy of anticipation awaiting Belle's In Madeline's Rescue, a brave horns to welcome him. arrival. There were giraffe songs, paint- dog named “Genevieve” saves Madeline ings, pottery, wallpaper, jewelry, toys, from an almost certain drowning in the The story was inspired by and even Belle-inspired hair styles. The River Seine. The author, Ludwig Bemel- the statue of a lion in the Place Den- grand culmination of Belle's very long mans, recounts the dramatic tale in the fert-Rocher that was first erected in journey occurred on July 9, 1827 when 1954 Caldecott-winning picture book. Paris by architect Frederic Auguste the king received Belle. Atir and Belle Students can Substitute (SCAMPER) Bartholdi between 1876 and 1880. were given special living quarters in a new and unique narrator of the story. The illustrations and the design of the the Jardin des Plantes. In their first six Rewrite (and illustrate) Madeline's dar- book are superb. The inside front cover months in Paris, six hundred thousand ing escape from harm by “Genevieve” as is the young lion's map that points out Parisians came to see Belle. the first-person (canine) author. the famous landmarks of Paris that he sees. The giant-size pages and text are Jon Cannell's illustrations, including Invite students to imagine horizontally-oriented and the books is maps, visually capture the excitement that Madeline, her classmates, and intended to be encountered as if reading people of both Egypt and France experi- Miss Clavel travel on a spring break to a calendar. Alemagna captures the lion's enced when Belle traveled the Nile and their home town (Chicago, Denver). wonder at he encounters both the peo- walked to Paris, her new home. What adventures await the brave young ple and unique places of the great city. charges who reside the rest of the year in His facial expressions are priceless. A de Brunhoff, Jean. The Story the heart of Paris? lion enjoying a morning cup of coffee in of Babar. New York: Random House, a typical sidewalk cafe appears to be as 1931. natural as the flowing of the city's great A Lion, A Giraffe, and an river. In Paris, not even a visiting lion is Inspired by a story told by his Elephant Visit Paris out of place. wife Cecile to their sons, Jean de Brun- hoff (1931) created magnificent pictures Three great African animals Holmes, Mary Tavener & of the abandoned baby elephant and his come to Paris in a famed series and Harris, John. A Giraffe Goes to Paris. travels to Paris, including his encoun- in two new children's books that are Illus. by Jon Cannell. Tarrytown, NY: ter with a kind Old Lady who clothes destined to become classics. Their Marshall Cavendish, 2010. him and introduces him to the ways perspectives and situations are indeed of French culture. He gave the young wonderful introductions to the Paris of In 1827, Muhammad Ali, pachyderm a name, “Babar.” For a both the 1930s and today. Pasha of Egypt presented Charles X, time, the father used watercolors to cre- the King of France with a very special ate what many critics believe to be the

83 first true picture book in the history of pieces by a variety of artistic giants. Exquisite Picture Books of Children children’s literature, The Story of Babar The latest abarB adventure by in Parisian Settings (Random House, 1931). Jean de Brun- Laurent de Brunhoff begins when the hoff created five more “Babar” picture loving father who is also king of the ele- Countless picture books capture books before his own untimely death phants announces to his children, “Your the glory of Paris as a background for from tuberculosis in 1937. In Babar’s mother and I have a surprise for you. highly imaginative stories for children adventures, the once desperate young We are taking you around the world.” and young adults. The following titles elephant returns to the jungle, marries Those words open up a world of dis- represent but a small number of such his cousin Celeste, becomes king of the covery for readers of Babar’s World Tour magnificent books that may be appre- elephants, and lovingly raises his own (New York: Harry N. Abrams, 2005). ciated by children of all ages. Although children – Pom, Flora, and Alexander— The pachyderm family have many ad- most of the titles are fictional, many in their own city of Celesteville. ventures that include language learning connect with the real lives of famous in Italy and Russia, flamenco lessons artists, composers, fashion designers, Laurent de Brunhoff was just in Spain, snorkeling in Thailand, the and other notable Parisians. Library 12 when his father died, but he was al- pyramids in Mexico, and the temple of and Internet searches will help gifted ready on course to follow in his father’s Abu Simbel in Egypt. Most appropri- students find many additional picture footsteps as an artist. Drawing elephants ately, in Paris, they marvel at the beauty book wonders. and telling stories about them brought and grandeur of the Cathedral of Notre him great joy and he has been re-creat- Dame and attend a Paris fashion show. Picture books are typically relat- ing and inventing new stories of Babar Of course, like most families who take ed to reading for elementary students. since 1946. Two newer Babar books a grand tour, Babar’s family can hardly However, many of the picture books are especially appropriate for gifted wait to see all the magnificent photo- listed here should be available to middle children to help them learn more about graphs and images they have captured and high school gifted students. Two French scenery and culture through on film of their global trek. examples. The Author's Notes of Claude the present-day activities of Babar, Monet: The Painter Who Stopped the Celeste, and their children. Both books Creativity Extensions Trains provides a fine introduction to are beautifully illustrated and both Impressionism and art criticism. The also feature exquisite fold-out posters, Raise the bar on creativity. Ask Artist's Notes at the end of Adele & elephantine-sized, on heavy stock paper students to use Modify (SCAMPER) Simon provide historical contexts for highlighting the subjects of each book, the adventures of the lion in the Place both the scenery and notable Parisians fine art and world travel. Denfert-Rochereau, the giraffe “Belle” portrayed circa 1900. End notes best and/or “Babar,” the elephant from pic- serve secondary students to introduce Laurent de Babar’s Museum ture books to a daily comic strip in one the history and culture of the City of of Art (New York: Harry N. Abrams, of the premier newspapers of Paris. Light more than a century ago. 2003) is clearly a tribute to the exceptionally creative French enterprise, in Parisian leaders Put to other Anderson, M. T. Strange Mr. the 1970s and 1980s, of transforming uses (SCAMPER) an old and un- Satie. Illus. by Petra Mathers. New York: the abandoned Victorian train station, used train station in The City of Light Viking, 2003. A colorful and highly Gare d’Orsay into the magnificent when they converted it to a world-class inventive view of the eclectic Parisian Musee d’Orsay that houses the great museum of modern art, the d’Orsay composer Erik Satie. Impressionist paintings once kept in the Museum. Encourage students to use Louvre. The conversion of Celesteville’s Brainstorming as they seek new ways Druvert, Helene. Paris Up, Up former train station allows Laurent de to make use of another public building and Away. New York: Thames & Hud- Brunhoff to re-introduce the characters such as an empty school or university son, 2016. In this highly imaginative his mother and father created in the building, an old hospital, or another ed- picture book the Eiffel Tower becomes 1930s and paint at least 30 marvelous ifice that is scheduled to be demolished bored and lifted by a flotilla of balloons reproductions of the world’s great art in the near future. Encourage students spends a day soaring over the entire city treasures with anthropomorphized to draw images and blueprints of their of Paris. Here is the perfect aerial view pachyderm subjects. The elephant mod- imagined renovations. of the great structure’s home city. els are creatively used to recreate master-

84 Johnson, D. B. Magritte's Priceman, Marjorie. Hot Air: readers meet Gertrude Stein and other Marvelous Hat. New York: Houghton The (Mostly) True Story of the First Hot- members of the art and literature com- Mifflin, 2012. Rene Magritte was born Air Balloon Ride. New York: Atheneum, munities of Paris. Priceman's illustra- in Belgium but moved to Paris and 2005. Caldecott Honor. Priceman's tions are extremely vivid and fluid. joined other experimental artists who radiant pictures recount the first-ever founded the field of modern art known hot-air balloon ascension that took place Creativity Extensions as Surrealism. The unique placement of at the Palace of Versailles (11 miles from transparency pages in the book better the center of Paris) by its French inven- reveal the essence of this unique art tors Joseph Montgolfier and his brother Students read A Walk in Paris form than any possible definition could. Etienne on September 19, 1783. The by Salvatore Rubbino and Barbara flight lasted eight minutes and traveled McClintock’s Adele & Simon. Both Maltbie, P. I. Claude Monet: two miles. The spectators included King feature walking tours of Paris but The Painter Who Stopped the Trains. Illus. Louis XVI, Queen Marie Antoinette, the time settings are a century apart. by Jos. S. Smith. New York: Harry N. and America's Ambassador to France, Imagine Adele of (Adele & Simon) on a Abrams, 2010. Glorious artwork and Benjamin Franklin. walking tour of Paris today (as featured a lively narrative examine the lives of in A Walk in Paris) with her grandfather Claude Monet, his young son, and the Rubbino, Salvatore. A Walk rather than her younger brother Simon. school of painting that became known in Paris. Somerville, MA: Candlewick Fast forward the journey by at least one as Impressionism. Press, 2014. A young girl and her hundred years. Encourage the use of the loving grandfather spend a full day on four components of Creative Produc- McClintock, Barbara. Adele & a walking tour of Paris. They visit all tive Thinking (FFOE) to create at least Simon. New York: Farrar, Straus and the special places that make Paris such three picture book pages of the walking Giroux, 2006. The setting is Paris in the a mecca for tourists from all over the journey highlighting special scenes the early 20th century and what happens world. They begin early in the day and two characters observe. when a sister and younger brother go finish with a nighttime view of the Eiffel on a colorful walk through the beautiful Tower aglow with gold lighting. The Marcia Williams Adapted streets of Paris. It is a charming story page dedicated to the Eiffel Tower un- (SCAMPER) Les Miserables for a young that ends with the friendly people of folds (vertically) to twice the size of the audience. Encourage students to read Paris who stand in line waiting to return rest of the book pages. The end pages a classic book with Paris or France as the personal items Simon had lost on are contemporary maps of Paris with a its setting. Young readers may examine his walk. The author's end notes, filled dozen landmarks highlighted. a French version of “Cinderella” (Cen- with history, are definitely for mature drillon) by Charles Perrault and mature readers. To add authenticity to the Selznick, Brian. The Invention readers may read A Tale of Two Cities by period flavor of the book, the end pages of Hugo Cabret. New York: Scholastic Charles Dickens. Encourage readers to are reproductions of a map of Paris from Press, 2007. Caldecott Medal. Primarily then adapt these classics for younger au- Karl Baedeker's 1907 edition of Paris the story of an orphan boy genius, but diences, especially by using comic book and Environs. Fans of this delightful also an introduction to the birth of cine- or graphic novel images. brother and sister act will want to read ma in Paris and its first great movies. the sequel, Adele & Simon in America Many classics have become (Farrar, Straus and Giroux, 2008). Williams, Marcia. Les Misera- stunning films. Hugo (Warner Broth- bles: The Epic Masterpiece by Victor Hugo. ers, 2012) is a notable example as is McCully, Emily Arnold. Mirette Williams retells one of the great mas- The Hunchback of Notre Dame (Walt on the High Wire. New York: G. P. terpieces of French literature in a comic Disney Studios, 2002). Madeline (Sony Putnam's Sons, 1992. Caldecott Medal. book fashion. She makes the story acces- Pictures Home Entertainment, 1998) In a gas light era of Paris a courageous sible to young readers. reveals the sheer beauty of Paris for young girl gives back a famed circus young viewers. Explore film versions of performer the courage that he had lost. Yolleck, Joan. Paris in the great stories as they can take the imagi- Every painting appears to be an Impres- Spring with Picasso. Illus. by Marjorie nation of young people to another level. sionist painting of museum quality. The Priceman. New York: Random House, artist's color palette is extraordinary as 2010. This sumptuous picture book in- are her lovely watercolor paintings. The troduces readers to the great city and its scenes, mostly above Paris roof tops, splendid scenery. In addition to Picasso, adds an entirely new visual perspective of Paris for readers.

85 La Fin

Students on a multidisciplinary “trip” to Paris, as outlined here, enable them to absorb a great deal of territory, while pursuing their interests and creative ideas. Now that they have been enthralled with their educational and creative trip to Paris, where will they travel next? Teachers and students will use Creative Problem Solving to replicate all their experiences in Paris on future journeys to Australia, Venice, Hong Kong, or Washington, D.C.

Au revoir!

Jerry Flack is Professor Emeritus of Education and President’s Teaching Scholar at the University of Colorado. He is a reviewer of children’s literature of various publications, author of 10 books as well as numerous articles on creativity and curriculum development. He is the 2003 recipient of the E. Paul Torrance Award from the National Association for Gifted Children. Brandon Yao

86 Book Review: (2017) Jacob’s Ladder: Reading Comprehension Program K-1, 1-2, 3, 4, 4-5, 5, 6-7, 6-8, 7-8 Joyce VanTassel-Baska, Ed.D. Tamra Stambaugh, Ph .D. Prufrock Press Inc. paperback, $39.95, approx.161 pp. ISBN-13: 978-1-61821-724-D

Reviewed by Elaine S. Wiener

Finding all these books in one series is like seeing your favorite ice creams and wanting to eat them all at once!!

These books run through grades K-8 with the authors reversing their name credits and also sharing credit on some books with the Center for Gifted Education. Each book is eight and a half by eleven inches so that the pages are big enough to reproduce.

“Jacob’s Ladder is a supplemental reading program that implements targeted readings from picture books, fables, and poetry that link reading comprehension and analysis with content disciplines. With this program, students engage in an inquiry process that moves from lower order to higher order thinking skills. Starting with basic literary understanding, students learn to critically analyze texts by determining implications and consequences, generalizations, main ideas, and/or creative synthesis.”

By the time you get to grades 7-8, the Table of Contents reads like this but all grades are similar:

Part l: Teachers’ Guide to Jacob’s Ladder Reading Comprehension Program Part ll: Readings and Student Ladder Sets Chapter 1: Short Stories Chapter 2: Poetry Chapter 3. Biographies Appendix A: Pre and Post Assessments Appendix B: Record-Keeping Forms/Documents Appendix C: Alignment to Standards

Common Core State Standards Alignment A little example to whet your appetite:

The Red Book by Barbara Lehman Caldecott Honor Book

This book about a book exposes both the main character and readers to new parts of the world. The main character, a young schoolgirl, finds a magical red book that has the ability to connect people from remote distances, allowing her to develop a friendship with a boy who is far away.

Jacob’s Ladder books are large and expensive, but a program can buy a set which then can be checked out and used. The name, Jacob’s Ladder, brings back wonderful memories.

Elaine S. Wiener [email protected]

Currently retired from teaching gifted children in Garden Grove Unified School District, Elaine S. Wiener also served on the Board of Directors of the California Association for the Gifted (CAG) and as Associate Editor for the Gifted Education Communicator. She has contributed numerous articles for this widely respected publication and continues to write book reviews, sidebars, and her column. She received CAG’s Award of Recognition in 2004. [email protected].

87 Torrance Journal for Applied Creativity