PART B Creativity in the classroom.The concept of creative teaching has been around for quite some time. Academics such as E.Paul Torrance dedicated an entire lifetime to the advancement of creativity in education.Torrance faced much opposition in his day about the nature of creativity. Creativity !as animmeasurable natural ability. "t is also #no!n as e$plicit teaching of creativity s#ill%specificthat require intentional instruction. A &''( TE) tal# by *ir +en Robinson discussing thissub,ect reachedover -millionvie!ers. "t discusses onho!our current school systemssuppress creativity. .eproposes that our current model leaves little roomfor divergentthin#ing."nnovation is an essential s#ill for our global economy. Tal#ing about creativity in schoolsmuch of theblame for a lac# of creativity andthereforeinnovationcanbetracedto ourtraditional educational systems. /ost ofthecreativemethods arebeingdoneoutsidethetraditional educational institutions by consulting firms and by persons in companies !ho havebeen trained in creative problem solving methods. To ensure student to be creative teachers should be the best model of the creativity. Pupilslearn from others that they li#e and teachers have to ma#e sure that students love them. Therearemany!aysandideastocreate creativityamong students.Classroomsastheir secondhome should be enhanced !ith ideas and creativity to arouse their interest to come and learn. Teachershouldembracecreativityaspart of learning. Createa classroomthatrecogni0escreativity. Teachers can design a!ards or bulletin boards to sho!different !ays ofappreciations or creative solutions to a real !orld scenario. *tudents can be re!arded !ithstars in a stars chart or maybe pencils or fancy and colourful pens !hen they able to achievethe learning ob,ectives. *tudents !ill feel e$cited to come to school. Teacher should use the most effective strategies.Teachers should thin# of creativity as a s#ill.There are thousands of approaches to be chosen but the most successful approaches are to usecreative arts or media%oriented programs. Those are much li#e resourcefulness andinventiveness. "t is less a trait and more a proficiency that can be taught. Therefore our ,ob aseducators becomes to find !ays to encourage its use and brea# it do!n into smaller s#ill sets. Teachers also may motivate students to participate in a competition organised by the school orpanels. Teachers may create a program to develop creative s#ills among students.There aremany programs to be organised such as the /ind and Think questthat bring together studentsfrom around the !orld to design creative solutions and bring them to competition.Teachersmayuseemotional connectionstoarrangearesearchandsuggeststhat thebestcreativity instruction ties in the emotions of the learner. *tudents can devise a solution to helptheir local community such as helping homeless youth.A blog post by fello! blogger 1ulie)e2een gives some valuable information about this type of teaching.Research suggests that the best creativity instruction ties in the emotions of the learner.Teachers also may use a creativity model. "t is often used in education and businessimprovement.Each step involves a divergent thin#ing pattern to challenge ideas and thenconvergentthin#ingto narro!do!ne$ploration.Thereare si$ steps regardingthemodel!hich are 3 Mess-finding. "dentify a goal or ob,ective. Fact-finding. 4athering data. Problem-finding. Clarifying the problem Idea-finding. 4enerating ideas Solution-finding. *trengthening 5 evaluating ideas cce!tance-finding. Plan of action for "mplementing ideasTeachers also may consider ho!classroomassignments use divergent and convergentthin#ing. Teachers can carried out a standardi0ed tests as a great ,ob of measuring convergentthin#ingthat includes analytical thin#ingor logical ans!ers !ithone correct response.)ivergent thin#ing considers ho! a learner can use different !ays to approach a problem. "trequires the use of association and multiplicity of thought. 6e should design assignments thatconsider both types of thin#ing models.Creative thin#ing needs to be shared and validated by others in a socially supportiveatmosphere. Researchers coined this term to e$plain the importance of reception from othersconsider ho! to create communities that foster social creativity to solve problems. Teachershavetobea!areduringdiscussion. *tudent !hooftenas#sthequestionmaygoesabitoutside the lecture. /aybe teacher should engage him and give intentionally address thosequestions. 6rite them do!n on an assigned space in the board to go bac# to later. This is ho!teachers validate their creativity.Teachers should see creativity ina positivelight. Eric 1affe !rote inhisblogPsychologyToday tal#s about research that suggests see creativity in a negative light. 6e as teachers needto embrace the creativity if !e are teaching to!ards creativity.Re!ard students for thin#ingof problems in varied !ays by recogni0ing their efforts. Teachers also may try the "ncubation/odel !hich !as designed by E. Paul Torrance. This model involves ( stages3i7 .eightening Anticipation3 /a#e connections bet!een the classroom and student8s reallives. 9Create the desire to #no!:.ii7 )eepenE$pectations3 Engagethecurriculuminne!!ays. Brainstormandcreateopportunities to solve a novel problem.iii7 +eeps it going3 Continue the thin#ing beyond the lesson or classroom;