Shikshan Me Srujanatmakata

Here's a comprehensive summary of the Jain text "Shikshan me Srujanatmakata" by Bhagwatilal Vyas:

The book "Shikshan me Srujanatmakata" (Creativity in Education) by Prof. Bhagwatilal Vyas emphasizes the importance of fostering creativity in education. The author argues that creativity is a distinct human trait that sets humans apart from animals, and research has shown that everyone possesses some degree of creativity.

Key Concepts and Historical Context:

• Definition of Creativity: While creativity has been a driving force in human civilization since its inception, its formal study in education and psychology is relatively recent, dating back only a few decades.
• Guilford's Contribution: J.P. Guilford's 1956 "Structure of Intellect" model identified two dimensions of thinking: convergent (one-way) and divergent (multi-way). Guilford linked creativity to divergent thinking, which involves thinking outside the box to solve problems. This problem-solving ability, when characterized by novelty, is a hallmark of a gifted individual.
• Scholars in the Field: The text acknowledges the significant contributions of numerous foreign scholars like Horace, Taylor, Tumin, Maslow, Thorndike, Rogers, Mooney, Mednick, Thurstone, Bruner, and Wertheimer, as well as Indian scholars like Surendranath Tripathi, B.K. Mehdi, M.K. Raina, and T.N. Raina.
• The "Crisis of Definition": Despite extensive research, a universally agreed-upon definition of creativity remains elusive because scholars disagree on its constituent components.
• Creativity vs. Intelligence (Medha): For a long time, creativity and intelligence were considered synonymous. However, research has clarified that they are distinct. A creative person might excel at tasks that an intelligent person finds difficult, and vice versa. Studies have shown a low correlation between high creativity and high intelligence.

Components of Creativity (Based on Guilford):

The book outlines the key components of creative thinking as identified by J.P. Guilford:

1. Fluency (Pravahita): The ability to produce a continuous and uninterrupted flow of thought. Guilford identified four types: verbal fluency, figural fluency, ideational fluency, and associative fluency.
2. Originality (Maulikata): The expression that is unique and deviates from the conventional or the beaten path.
3. Flexibility (Anagrah): The ability to adapt, to be free from rigidity and dogmatism, and to exhibit quick and varied execution. Guilford distinguished between spontaneous flexibility and adaptive flexibility.
4. Sensitivity (Samvedyata): The ability to identify practical problems, recognize deficiencies or shortcomings, and suggest solutions for improvement.
5. Elaboration (Vistar): The capacity to explain, define, and redefine things.

Conclusions on Creativity:

Based on the existing thinking, research, and studies, the author draws several key conclusions:

• Every individual possesses creativity to some extent.
• The degree of creativity varies among individuals.
• The development of different components of creativity also varies in each person.
• Creativity can be taught.
• Creativity can be measured.
• Creativity can be enhanced by providing a suitable environment.
• Creative individuals naturally attract others.
• Creativity has a close relationship with productivity.
• Activities related to creativity should be beneficial to society.

Personality Traits of Creative Individuals:

The book highlights studies by Getzels and Jackson, McNemar, Torrance, Rad, King, and Vicware, as well as the author's own work, which identified various personality traits of highly creative individuals. These traits include:

• Deep affection and respect for principles.
• A sense of dissatisfaction.
• Attraction to mysteries and challenges.
• Courage and conviction.
• A desire to be distinct.
• Being hardworking and enterprising.
• Openness to others' ideas.
• Persistence and diligence.
• Mental seriousness.
• Commitment to their work.
• A tendency towards fatalism (to some extent).
• Honesty towards their work.
• Disinterest in unnecessary elaboration.
• An unconventional approach to time.
• A lack of business and administrative skills.
• Willingness to make mistakes.
• Not getting bored.
• A tendency to adopt a combative and negative attitude.
• Embracing peculiar habits.
• A willingness to withdraw at times.
• A tendency to accept risks.
• Multifaceted talent.
• Unpretentious and natural behavior.

Developing Creativity:

The author asserts that creativity can be developed, as it exists in some measure in everyone. Educational settings, particularly in language teaching, offer ample opportunities to nurture creativity. Key principles for fostering creativity in the classroom include:

• Respectful Approach to Questions: Teachers should respond respectfully to all student questions, regardless of how unusual they may seem, as questions are a means of self-expression.
• Encouraging Ideas: Student ideas expressed in the classroom should be encouraged.
• Valuing Student Contributions: Students should feel that their questions and ideas are valued by the teacher.
• Sufficient Time: Creative activities often require time for evaluation and may not yield immediate results; therefore, ample time should be allocated.
• Holistic Evaluation: Evaluation should consider both cause and effect.
• Stimulating Environment: Creating a democratic classroom atmosphere, where the teacher is also creative, and being patient with unconventional student responses are crucial.
• Encouraging Diversity: Providing opportunities for diverse experiences, both tangible and conceptual, is vital.
• Positive Reinforcement: Using rewards rather than punishment is more effective.
• Promoting Responsibility: Fostering a proactive approach to responsibility.

Creativity in Hindi Teaching:

The author specifically highlights the potential of Hindi language teachers to foster creativity. This can be achieved by:

• Maintaining a democratic classroom environment.
• The teacher being creative themselves.
• Showing patience with unusual or inconsistent student answers.
• Providing special guidance to highly creative students.
• Ensuring creativity is valued within the school environment.
• Collaborating with the principal and other teachers.
• Creating opportunities for diverse experiences.
• Using rewards over punishments.
• Encouraging a proactive attitude towards responsibility.

Practical Exercises for Creative Expression:

The book suggests various practical exercises to develop creative expression in students, including:

• Title Generation and Modification: Suggesting new titles for given texts or modifying existing ones.
• Summarization and Elaboration: Condensing or expanding upon written material.
• Genre Transformation: Converting stories into plays, poems into stories, etc.
• Figurative Language: Creating new similes and metaphors.
• Story Completion: Finishing incomplete narratives.
• Problem-Solving Questions: Posing questions that require students to imagine and respond to specific scenarios.
• Imaginative Questions: Asking questions involving impossible possibilities.
• Word Games: Engaging in word-based activities, especially for younger children.

The text provides examples of how these exercises can be applied in primary, upper primary, and secondary Hindi classes, using specific lesson materials to illustrate the process.

Conclusion:

The author concludes that by being aware and proactive in daily teaching, educators can achieve significant progress in developing creativity in students. They also suggest that textbook authors, editors, and examiners should consider fostering creativity. While providing diverse physical experiences might be challenging, enriching students' conceptual understanding through creative thought processes is both possible and essential.