Factors affecting group creativity: lessons from musical ensembles

Slayton, Matthew; Bristol, Adam S.; Viskontas, Indre V.

doi:10.1016/j.cobeha.2018.12.013

Cited by 3 publications

(6 citation statements)

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“…However, there is evidence that personal attributes interact with situational variables to affect group creativity. Any comprehensive analysis of creativity should be predicated on the total interaction between people, tasks, and situations (Amabile, 1996;Slayton et al, 2019;Tromp & Sternberg, 2022;Zhou et al, 2020). This experiment indicated a negative correlation between group dynamics and creativity, rejecting hypothesis 1.…”

Section: Discussion Part 1: Relationship Between Group Dynamics and C...mentioning

confidence: 78%

“…While groups can promote creativity through the combined experiences, expertise, and resources of multiple individuals pursuing a common goal, certain conditions can lead to narrow thinking, leading to a reduced quality of creativity. Personal attributes interact with situational variables to influence creativity in groups (Slayton et al, 2019). As Kurtzberg andAmabile (2000-2001) argued, natural team interactions seem to hinder creativity: creativity is not a spontaneous process but is the intersection of an individual's creativity-relevant skills, domain-relevant skills, and motivation.…”

Section: Introductionmentioning

confidence: 99%

“…Group creativity is a function of individual creative behavioral inputs, interaction of the individuals involved, group characteristics, group processes such as approaches to problem solving, contextual influences such as the larger organization, and characteristics of group task. It is thus important to study interactive and communicative behaviors such as creative actions, creative thinking, distracting action, play, among members as they are just as important to group creativity as individual attributes and processes (Slayton et al, 2019;Woodman et al, 1993).…”

Section: Introductionmentioning

confidence: 99%

See 2 more Smart Citations

Group Dynamics and Creativity: A Research With Young Adults in Reggio Emilia, Italy

Komarova,

Ndungu,

Gavazzoli

et al. 2023

Creativity Studies

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Modern society demands innovativeness and creativity. Few studies have examined group dynamics’ influence on individuals’ creativity. This study explores creativity in group settings and how the gender of participants influences group dynamics and the creative process by observing specific behaviors, including social interaction and play, creative action, and creative thinking. In groups of three, thirty participants (20–25 years) were asked to create mosaics representing a “learning community” using Lego DOTS. Relationships between group dynamics and creativity, creative thinking and creative action, gender of participants and their orientation to creativity and group dynamics were explored. Results showed negative relationships between group processes, creative thinking, and creative actions: the more intense the group dynamics were, the less the creativity. Surprisingly, female participants were more oriented to the creative task; male participants were more oriented to group dynamics. Further investigation of the relationship between creativity and cultural stereotypes on gender roles is needed.

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Section: Discussion Part 1: Relationship Between Group Dynamics and C...mentioning

confidence: 78%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

Group Dynamics and Creativity: A Research With Young Adults in Reggio Emilia, Italy

Komarova,

Ndungu,

Gavazzoli

et al. 2023

Creativity Studies

View full text Add to dashboard Cite

show abstract

“…In psychological studies, creativity is often defined as the capacity of an individual to create original and useful ideas, insights and solutions (see e.g., Amabile, 1996;Ekvall, 1996;West, 1990;Woodman et al, 1993;Sternberg & Lubart, 1999). However, in recent years, as a response to the literature concerning creativity as a quality and mental property of an individual, or as a novel outcome of an individual's action, we can find an increasing number of studies suggesting that this individualistic notion needs to be complemented with a broader approach, examining creativity as a multidimensional, collective and collaborative phenomenon (Csikszentmihalyi, 1996;John-Steiner, 2000;Sawyer & deZutter, 2009;Glaveanu, 2011;Sawyer, 2012;Littleton et al, 2012;Sannino & Ellis, 2013;Runco & Beghetto, 2019;Slayton et al, 2019;Glaveanu et al, 2020). From this perspective, the social context, culture and communities of actors with different understandings (e.g., novices and experts) are considered central in contributing to the creative processes (Drazin et al, 1999;Glaveanu, 2011;Sawyer, 2004) and practices, such as problemsolving (Segers et al, 2018) leading to novel outcomes (Hakkarainen et al, 2013;Oddane, 2014).…”

Section: Introductionmentioning

confidence: 99%

Distributed Creativity and Expansive Learning in a Teacher Training School’s Change Laboratory

Hyrkkö

Kajamaa

2021

Palgrave Studies in Creativity and Culture

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Our chapter presents a case study of distributed creativity and expansive learning in the context of a teacher training school in Finland facing transformational needs due to a curriculum reform. We report on an analysis of a Change Laboratory (CL) process of six meetings involving a group of teachers, their headmaster and researchers. Drawing from sociocultural theories on creativity and the theory of expansive learning, we set out to explore how creative acts emerged during the CL and how the interactive creative process contributed to expansive learning. Our findings illustrate that the creative learning process was socio-materially mediated through the participants' discourse and tool use. The multiple consecutive creative acts, taken by the participants, generated "creative leaps", which contributed to expansive learning actions and the materialization of the process into creative products. Consequently, the creative process resulted in a new tangible artefact: a shared pedagogical leadership model and a new collective conceptualization of the leadership activity for the school community. Our findings point to the need to analyse creativity not purely as independent actions but also as collective activity. Our study offers a novel analytical method for analysing and conceptualizing processes of distributed creativity as a learning activity in organizations. Our study also contributes to the understanding of creativity as a distributed process intertwined with expansive learning.

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“…Near infrared spectroscopy (NIRS) showed increased prefrontal activation in trained musicians relative to demographically matched nonmusicians during a divergent thinking task (Gibson et al, 2009), but the musician group had a significantly higher full-scale IQ than the comparison group. A related study tied resting-state fMRI connectivity changes in the default mode, salience network, executive control, and motor planning to musicality (Bashwiner et al, 2020); but brain regions associated with musical creativity may differ depending on whether convergent or divergent thinking is being recruited (Slayton et al, 2019). Another study showed higher coupling of EC with DMN networks, along with lower connectivity within EC but higher connectivity within DMN, in a group of professional visual artists compared to an education-matched comparison group (De Pisapia et al, 2016).…”

mentioning

confidence: 99%

Big-C creativity in artists and scientists is associated with more random global but less random local fMRI functional connectivity.

Anderson¹,

Japardi²,

Knudsen³

et al. 2024

Psychology of Aesthetics, Creativity, and the Arts

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Brain mechanisms underlying creativity are largely unknown and few studies have involved exceptionally creative individuals. We examined functional MRI (fMRI) connectivity in a "smart comparison group" (SCG; n = 24), and in exceptionally creative ("Big C") visual artists (VIS; n = 21) and scientists (SCI; n = 21). Groups were matched on age, sex, and estimated IQ. FMRI scans were acquired during the resting-state and performance of two tasks: (a) alternative uses test (AUT), putatively measuring divergent thinking; and (b) remote associates test (RAT), putatively engaging convergent thinking. Graph theory measures of functional connectivity were compared across groups using generalized linear mixed models. Global connectivity measures included small-worldness (indexing efficiency), clustering coefficient, and characteristic path length. Local connectivity measures included local efficiency and clustering coefficients within default mode, dorsal attention, frontoparietal, salience, ventral attention, and visual networks. During the resting-state, global small-worldness was lower for SCI than SCG; VIS had intermediate values. Relative to SCG, the Big C groups had higher local clustering coefficients during the resting-state conditions but lower local clustering during the AUT condition. No significant differences were found during the convergent thinking test (RAT). These findings suggest that Big C creativity is associated with more "random" rather than more "efficient" global network functional architecture, with condition-dependent variations in local clustering and efficiency. Large condition-dependent correlations between global and local clustering measures deserve further examination in exceptionally creative and other groups to more fully characterize the functional topology of brain networks most relevant to creativity.

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Factors affecting group creativity: lessons from musical ensembles

Cited by 3 publications

References 36 publications

Group Dynamics and Creativity: A Research With Young Adults in Reggio Emilia, Italy

Group Dynamics and Creativity: A Research With Young Adults in Reggio Emilia, Italy

Distributed Creativity and Expansive Learning in a Teacher Training School’s Change Laboratory

Big-C creativity in artists and scientists is associated with more random global but less random local fMRI functional connectivity.

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