EUROPEAN PEACE UNIVERSITY (PRIVATE UNIVERSITY)

Cultivating Creative

thinking and problem-

solving skills

for conflict resolution, peace building and other fields

Lorna Balie

Module Paper: 9 Supervisor: Ronald Tuschl

i

ii

Table of Contents

INTRODUCTION ..................................................................................................................................................... 1

NECESSITY OF CREATIVITY IN PEACE MAKING ........................................................................................................ 2

THE TRANSCEND METHOD ................................................................................................................................................ 2

APPLICATION OF TRANSCEND METHOD IN THE PERUVIAN AND ECUADORIAN BORDER DISPUTE ..................................................... 4

CULTIVATING CREATIVITY: THE CASE FOR CREATIVITY IN SCHOOLS ....................................................................... 5

ALTERNATIVE SCHOOLING AND THEIR EDUCATIONAL PHILOSOPHIES ......................................................................................... 7

CREATIVITY NECESSARY FOR THE CHANGING ECONOMY ....................................................................................... 8

SHIFTING TOWARDS A CREATIVE ECONOMY ......................................................................................................................... 8

CHALLENGES FOR THE WORKFORCE IN THE CHANGING WORLD ECONOMY ................................................................................ 10

PREPARING THE WORKFORCE FOR THE CHANGING ECONOMY ............................................................................................... 12

CRITIQUE AND RECOMMENDATIONS .................................................................................................................. 13

CONCLUSION ....................................................................................................................................................... 14

BIBLIOGRAPHY ..................................................................................................................................................... 16

1

Introduction

Creativity and problem-solving skills are essential for adaptation and change. Creativity is

defined as “*i+maginative activity fashioned so as to produce outcomes that are both original and

of value” by the National Advisory Committee on Creative and Cultural Education (1999, 30).

Creativity incorporates imagination, achieving a certain objective, originality and value (National

Advisory Committee on Creative and Cultural Education 1999, 30). Creativity in problem-solving

is vital in changing political and conflict ridden environments. Fast, proactive solutions to

problems must be sought within very short periods at times. Problem-solving on the other hand

may require creativity, but could also use routine solutions and logic (National Advisory

Committee on Creative and Cultural Education 1999, 37). Unfortunately, not enough people are

equipped or trained in such versatile and dynamic skills. In addition, there is a big lack in political

and moral imagination and often the last resort within international politics tends towards

military intervention (Wadlow 2004, 3).

There are, however, different approaches in dealing with crises, conflicts and problems

that tends towards more peaceful, rather than military means. One such approach, is the

transcend method, which encourages peace through peaceful means. Besides political conflict,

creativity and problem-solving is necessary in all fields and disciplines of work which are

confronted with problems (National Advisory Committee on Creative and Cultural Education

1999, 37). One platform useful to cultivate and develop creative and problem-solving skills is at

an early age through schools. “It has been argued that by fostering pupils’ creativity in the

classroom, they will be helped to identify and establish a framework for their lives (Annarella,

1999). The development of creative skills and attitudes across the curriculum may enable them

to ‘route-find’ in a range of contexts in their lives (Craft, 2000). Weaver (1999) describes the

social consequences of this as developing ‘an entrepreneurial culture’, which he argues is

essential if society is to contend with the various dimensions of change.” (Craft, An analysis of

2

research and literature on CREATIVITY IN EDUCATION 2001, 11 - 12) Creative skills are a tool that

will enable people to find unique, customized solutions to problems. ‘Creative thinking skills . .

.enable pupils to generate and extend ideas, to suggest hypotheses, to apply imagination, and to

look for alternative innovative outcomes.’ (National Curriculum Handbook for Primary and

Secondary Teachers, 1999) (Craft, An analysis of research and literature on CREATIVITY IN

EDUCATION 2001, 14 - 15).

This paper will therefore explore the application of creative skills in problem-solving

within the field of conflict resolution and peace building. I will therefore look at the transcend

method and an example of how it was applied, the use of schools as a platform to cultivate

creativity, the necessity of creativity in other fields especially in the midst of a changing world

economy, and some critique and recommendations will also be discussed. The change in the

education system should be based on the current needed skills and abilities of our time such as

creative and problem solving skills amongst others. It however is not just the political world that

seems like it faces gargantuan challenges, but other fields as well. Peace and conflict studies,

however, are in need of innovative and creative thought where no solutions can be found in

intractable and protracted conflicts.

Necessity of Creativity in peace making

The Transcend method

“Today, there is no such thing as a purely intra-or inter-state conflict. The nodes and

networks linking actors across state boundaries dictate that any conflict is likely to involve more

parties than those fighting directly on the ground. Thus, today’s challenge is not only to be able to

come up with mechanisms and institutions to prevent war, but to develop the creativity and

imagination necessary to come up with creative and viable alternatives.” (Wadlow 2004)

Transcend is a network for peace and development and a conflict mediation organisation

initiated by Johan Galtung, the founder and father of peace and conflict studies. It comprises of

3

peace builder professionals and researchers who develop multiple methods to resolve and

transform conflict (Wadlow 2004, Transcend 2001, 9). The network encourages a variety of

visions, opinions and ideas to seek creative and feasible alternatives to violence. It attempts to

combine the ideal with the real (Gavin 2006, 2). “[C}ollaboration, diversity, the exchange of

ideas, and building on other people's achievements are at the heart of the creative process. An

education that focuses only on the individual in isolation is bound to frustrate some of those

possibilities.” (Azzam 2009, 3) Transcend is therefore inclusive and accepts parties from all levels

of society. Inclusivity encourages support from the actors involved in the conflict which is

necessary to implement solutions. “Even the best peace agreement is insufficient to guarantee a

good peace process unless it is based upon widespread support and involvement by large

numbers of people at every level of society” (Wadlow 2004). Support from all levels of society is

needed in order for the solution to be successful.

The network depends highly on dialogue, creativity and imagination to find solutions to

pressing problems (Wadlow 2004, Robinson , et al. 2001, 24). Transcend means to create a new,

concrete reality from potential realities (Galtung and Mult 2000, 4). Also important to the

transcendent thinking which is not explicitly stated, is divergent thinking. Divergent thinking is

characterised by flexibility, originality in thought, the ability to think analogically, and

associatively (Csikszentmihalyi 1999, 14, S. K. Robinson 2005, 4). Divergent thinking is the ability

to think of multiple solutions to one problem. Studies show that this ability deteriorates over

time, and is optimal during childhood.

What Transcend does is to provide a diagnosis of the problem at hand as well as the

prognosis of probable events that might occur if the problem is not dealt with adequately.

Countless discussions and ideas are created to find solutions to peace, with a specific focus on

dialogue. Dialogue is necessary to understand the different values driving the conflict dynamic

and understand where it came from, why and where it could go, and how it can be changed. The

parties to the conflict need to come to a place of understanding the enemy and breaking down

4

the internal and external walls that drive the conflict further. Protracted and intractable conflict

may lead to the loss of empathy and hope (Wadlow 2004).

Wadlow (2004, 2 - 3) says that creativity, a vision for the future, and the conscious

awareness of deep psychological and cultural factors are important themes of Galtung’s work.

What is vital to be able to reach “transcendence” is creativity. The problem is however, that the

parties to the conflict often look to the past and indulge in negative emotions that trap and blind

them from seeing beyond the situation. These emotions destroy all creative potential for peace

and hope and creativity is unable to come to the fore. If participants believe there is a solution,

they are more likely to participate in discussing the root problem. If there is no hope for a

solution, the problem becomes so much more unbearable. “Newness” for resolving conflict is

necessary: new values, new relationships, and new institutions – newness that is acceptable and

appropriate (Wadlow 2004).

Wadlow (2004, 3) states that creativity and political imagination are rare to find. There

are libraries of research on creativity in other subjects such as the arts and music and elusive in

the field of peace and conflict studies. Creativity in politics is therefore greatly needed (Wadlow

2004, 3). Gavin (2006, 2) suggests that “successful conflict transformation and the achievement

of sustainable peace require constructive, creative and realistic proposals.”

Application of Transcend Method in the Peruvian and Ecuadorian Border

Dispute

Peru and Ecuador’s border dispute roots back to Spanish Colonisations when the region

was divided according to administrative units. After independence, each state gained their own

territory yet the territory in the Andes between Peru and Ecuador remained in dispute for about

30 years. Galtung proposed that the region become a binational area with parks and a peace

monument. This suggestion, once implemented put an end to the long-standing conflict. Galtung

said that “creativity was the missing dimension” (Gavin 2006, 1).

5

Cultivating Creativity: the case for creativity in schools

Sir Ken Robinson, an educationist advocates for a resurgence of creative thought and the

platform to do so in schools. His work first stood out when he presented his views at TED Talk

where his talk received the over 20 million views - the highest amount any talk has received. He

stated that what the economy needs today are creative thinkers who can adapt, find creative

solutions to problems and innovate. He says that creativity is what is needed to solve the world’s

pressing problems (Azzam 2009). Misson and Sumara (2006, 3) says that the most relevant

features of creativity in the English classroom “the first is about creativity as problem-solving, the

second is about creativity as making connections, the third is about creativity as intuitive and

non-rational. The three things shade into each other – the problems are solved by making

connections that are frequently intuitive – and most of the articles at some point touch on all

three elements, although they may be concentrating on one or the other.”

Robinson points out that what is common in education systems all over the world are the

hierarchy of subjects in which some obtain a stigma of higher importance than others. The

languages and mathematics are viewed as the most important subjects, followed by sciences and

lower down are the art subjects such as music and art, which is then also prioritized as more

important than all the other arts such as drama, sculpting etc. What this means is that creativity

is only privy to exclusive subjects such as art, dance, drama and music. Rather, Robinson

suggests that there should be an equal standing for all subjects regarding each as equally

important (Kitchen 2010, 6). The ranking of the importance of subjects is a misperception

according to Robinson. Robinson is a strong advocate of creativity and argues that it is

fundamental.

Creative subjects are given the least focus, investment and attention. There is a

perception that the ability to be creative is only found in practising these subjects. However,

6

every subject, including mathematics has a creative element to it which is either suppressed or

ignored in schools. Creativity can be expressed in any subject and also in any area of work.

Scholars in mathematics and engineering need the ability to think creatively in order to expand

and understand their field and to find new innovations and breakthroughs. Robinson says that it

seems the focus of education is aimed at producing university professors. Researcher also finds

that students are best engaged in an activity when they create, design and invent (Kitchen 2010,

6).

There are also perceptions that only certain people are creative. “There is, it seems, a

dearth of conclusive research evidence suggesting that creativity can be developed or that

progression can be identified in creativity“ (Craft, An analysis of research and literature on

CREATIVITY IN EDUCATION 2001, 16). This means that everybody has the capacity to develop the

skills necessary to be creative. “Creativity, after all, requires a tolerance of mistakes. Creativity

requires an acceptance of risk. Creativity requires a commitment of time and resources.

Creativity requires the acceptance of possible failure. Creativity must be thought of as an

investment. You don't start it and stop it. The organization must have a long term commitment

to being creative.” (Herrmann 1999) People often stop at being creative after a few failures, and

any further possibility of creative practise. “If you’re not prepared to be wrong, you’ll never

come up with anything original” (S. K. Robinson 2012). Space for mistakes and failure is needed

for the freedom to be creative. Freedom to fail and make mistakes could encourage developing

creative skills. “From all the articles one gets a sense that creativity is important because it both

produces and thrives on a kind of liberation. It encourages different ways of thinking; it

encourages students to see things from different and multiple perspectives. It is not afraid to

cope with complexity…” (Misson and Sumara 2006, 5) Labelling certain children at schools as

creative and others as more “academic” is therefore a common misperception of the function

and purpose of creativity. Robinson (2005, 2) believes that everyone has the potential to be

creative.

Robinson summarises three points of intelligence: it’s diverse, dynamic and distinct. For

this reason, a platform should be made for these different types of intelligence such as

7

mathematical, interpersonal, musical, intrapersonal, spatial, linguistically, kinaesthetically

(National Advisory Committee on Creative and Cultural Education 1999, 38 - 39). Schools should

be designed in a fashion for different types of intelligence and learning abilities to develop and

grow. There should be enough space for interaction as well as individual learning opportunities

(S. K. Robinson, How Creativity, Education and the Arts Shape a Modern Economy 2005, 2)

“Creativity cannot be recognized except as it operates within a system of cultural

rules, and it cannot bring forth anything new unless it can enlist the support of peers. It

follows that the occurrence of creativity is not simply a function of how many gifted

individuals there are, but also of how accessible the various symbolic systems are and how

responsive the social system is to novel ideas. Instead of focusing exclusively on

individuals, it will make more sense to focus on communities that may or may not nurture

genius. In the last analysis, it is the community and not the individual who makes

creativity manifest.” (Csikszentmihalyi 1999, 16)

Csikszentmihalyi argues that creative thought and work is most likely to succeed within a

social system. Creativity will therefore function much stronger if developed not only within

schools but also in broader communities. The white paper, excellence of schools in 1997 stated

that education should instead be broad and flexible, motivating individuals. This new realisation

of the current misleading direction of education was pointed out, namely the main focus on

numeracy and literacy. It stated that the British society and economy depends on this shift. In

the report by the National Advisory Committee on Creative and Cultural Education argues that a

shift in focus to culture and creativity is essential. Which means education should be designed in

such a way as to encourage creative thinking and originality. Therefore schools are gradually

changing their education systems (National Advisory committee on creative and cultural

education 1999, 5).

Alternative Schooling and their Educational Philosophies

8

Alternative schools create different conditions and use innovative methodologies to help

student, “learn, grow and thrive” (Davis 2013). Knowledge in these alternative systems are not

viewed as a commodity, but rather knowledge is gained through self-directed learning emerging

from the students’ personal curiosities and desire to explore. “Teachers provide prompts, not

answers, and then they step aside so students can teach themselves and one another. They are

creating ways for children to discover their passion—and uncovering a generation of geniuses in

the process.” (Davis 2013). These prompts provide the guidance needed and freedom to make

mistakes.

“[T]eaching for creativity is more likely to emerge from contexts in which teachers are

teaching creatively notwithstanding some evidence of creative reactions to constraining

situations (Fryer, 1996). Learners model themselves on their teacher’s approach, find themselves

in situations where they are able to take ownership and control and are more likely to be

innovative even if the teacher was not overtly planning to teach for creativity.” (Jeffrey and Craft

2004, 14) Educational theorists such as Jean Piaget and Maria Montessori believe that children

learn best through play and following their own curiosity (Davis 2013). Schools such as the

Montessori School encourage learning through play, creativity and independence and the

Waldorf School encourage self-motivated learning. These schools create platforms for creative

skills development and problem-solving skills. These schools are examples of schools that

prepare students much more adequately for the changing economy.

Creativity necessary for the changing economy

Shifting towards a Creative Economy

Education systems are designed around the economic need of the time. However, formal

schooling in its content and form is mostly based on the industrial era. Formal schooling has

originally been designed in the eighteenth and nineteenth century around the industrial era. Its

aim was to create members of society that would fit into the economic system of its time and for

them to function within an industrial environment. For example, the British education act of

1944 was constructed around the post-war reconstruction and designed to create a workforce

9

for the after-war period. Whether professionally or manually, this was to increase worker

productivity and consequently increase economic growth. Education was therefore framed

around the thinking and demands of the industrial period. This thinking moulded the schooling

system and made it difficult to imagine alternative systems of education post industrialisation.

Influences from this economic period include a quick way to measure results such standardized

testing and grouping students according to age (S. K. Robinson, How Creativity, Education and

the Arts Shape a Modern Economy 2005, 5). They predicted that 80% of the workforce would

consist of manual labour while 20% consists of professionals. Today, this looks completely

different as the nature of work has changed completely and is much less predictable. The

education systems are finding it hard to adapt to the changing economic system. This means

schools do not prepare students to deal with change effectively enough. People are often

resistant to change, however, if they see the value in it the response will be much more positive.

Fullan (2006) argues that change is much easier if there is a basis for collaboration and sufficient

resources are given (Kitchen 2010, 4).

“Success in the future – for individuals, for communities, for companies, for

nations as a whole – will be based not on what we know or how much we know, but on

our ability to think and act creatively. In the 21st century, we are moving towards the

Creative Society.” (Resnick 2008, 12).

The continuous change of economic environment has led to changes in the nature of

work. The future workforce has to adapt to technological advancements, more knowledge

based- economies, increase in labour, and more migration which lead to changes in

demography, a greater need for innovation, productivity and cost containment. The current

workforce is not on par or qualified enough to keep up with the rapid changing work

environment (Workforce for the future - preparing for the workforce for the future n.d., 1). In

the 1980s and 1990s the world moved to an Information society from an industrial society. Later

it moved to a knowledge society after having access to so much information. Mitch Resnick

opines that we what need now is a paradigm shift to a creative society (Kitchen 2010, 3). Resnick

10

argues that stagnating at a knowledge society is not enough, as knowledge needs to be used

creatively.

Challenges for the workforce in the changing world economy

The S&P (Standard and Poor’s) which provides “multi-asset class and real-time data,

research and analytics” (Standard and Poor 2014) first published the fortune five-hundred list in

1957. The list consists of the top five-hundred corporations of America in terms of market size,

liquidity and sector (Investor Words 2014). They own about 75% of the equity market. In 1997,

forty years later, only seventy-four of the five-hundred corporations remained on the list. It is

predicted that the list will continue to change and in the next twenty years will consist of

companies that do not yet exist. Ken Robinson argues that if corporations like these wish to

remain on the top, creativity is a necessity for the competitive edge. He states that America’s

education system should prepare every person to be flexible, adaptable and very creative. He

works often with the fortune five-hundred companies and says that what they need are people

who think differently and are innovative, since the market often changes. Linda Darling-

Hammond, a professor of education at Stanford and founding director of the National

Commission on Teaching and America’s Future says “*i+n 1970 the top three skills required by

the Fortune 500 were the three Rs: reading, writing, and arithmetic. In 1999 the top three skills

in demand were teamwork, problem-solving, and interpersonal skills. We need schools that are

developing these skills.” (Davis 2013) Many countries, such as China are realising this, and their

main priority is thinking of how to educate their people to be creative.

“The key challenge in the 21st Century is the rate of change. Creativity is central to the

ability of all business disciplines, including managers, accountants and marketeers, to react to

and indeed anticipate new situations with imagination, ambition and flair, and to see each new

challenge as an opportunity. Unlocking Creativity must promote new approaches to business and

industry and champion that which is truly innovative.” (Robinson , et al. 2001, 25) Currently,

11

companies are finding it hard to find employees with these qualities. McKinsey published a

report in 2001 where six-thousand executives from four-hundred companies were interviewed

and asked about their biggest challenge. Their biggest challenge were finding people who could

make good decisions under pressure and uncertainty, people who can adapt easily, think

independently and respond creatively to change. These companies recruit the best people, yet

those who come from the best education systems still cannot meet the demands of the

economy (Robinson 2005, 1-2)

It is uncertain whether people are equipped enough to face the unforeseen challenges

of the future. This means that the composition of the workforce is more difficult to predict than

it was in the eighteenth and nineteenth century. “Our education system has been largely shaped

by the needs of an industrial economy and by particular views of ability and intelligence. In our

view the result has been that many areas of young people’s potential of their real resources are

untapped and neglected. Among them are powers and talents that will be of fundamental

importance to them and to society in meeting the challenges we have described.” (National

Advisory Committee on Creative and Cultural Education 1999, 27) Schools still conform to an old

era of functioning. This has become problematic for the current economic system as students

are not taught how to adapt and resolve the current pressing issues. This means that most

schools’ content and methodologies are not relevant or meeting the current economic needs.

The hope of the current education system is to produce economically self-sufficient individuals

who are tolerant and adaptable and can function within a rapidly changing and diverse society.

This system, however, still does not meet the needs of the current economic system that is

rapidly changing. The world is facing challenges that it has never faced in history before and it is

hard to keep up.

David Blunkett, a British Member of Parliament and secretary of state for education and

employment has stated, “[i]n the workforce of the future, I have always recognised that

creativity, adaptability, and communication skills will also be vital.” Policymakers are realising

that lots of changes need to take place within the education system in order to adapt. They are

12

therefore reorganising their schooling systems. But how will this be done and what does this

type of education to suit the unpredictable economy look like? Firstly, rethinking the basic

assumptions of the current education systems is a vital step (National Advisory committee on

creative and cultural education 1999, 18). In the past, the formula was simple, if you study hard,

you will get a degree, secure job for life and eventually retire. Now, it isn’t that simple or even

true. Many don’t believe this to be true for them anymore for example the drop-out rate

amongst African American and Latino students in America is relatively high (S. K. Robinson 2012).

Those who are educated and possess a degree aren’t able to find a job they are qualified in. That

means the value of degrees have declined and not even able to secure a job. Twenty years ago a

university degree was enough for a professional career. Today, jobs that required university

degrees now require a Master degree. Those degrees that required Master degrees now require

Phd’s (S. K. Robinson 2012). Previously, more people were employed as manual labourers.

Gradually more people became educated and previously acceptable qualifications are not

enough (Robinson 2005, 2). The shift to a knowledge economy has increased the number of

people studying further. So it’s either dropping out early or staying in school for as long as

possible. This is due to the doubling of the population as well as the shift to and the demand for

intellectual labour in the knowledge economy (Robinson 2005, 2).

Preparing the Workforce for the Changing Economy

There are many misconceptions about creativity as previously discussed such as only

some people are more creative, and they are the ones in the creative fields of work, with

exceptional ability such as Picasso and Einstein. In fact, everyone has extreme creative potential

(Robinson 2005, 2) and it is developed by doing a creative activity (National Advisory Committee

on Creative and Cultural Education 1999, 34). These qualities are needed more now than ever in

our economic history. Creativity can be found where intelligence is applied. It can be applied to

any field, such as architecture, mathematics, language, science, business, conflict resolution and

peace-making etc. (Robinson 2005, 2). Intelligence is used in all spheres of life including

relationships, business and love. It is a fallacy to exclude any field from creative thought. It’s

13

useful in all areas that comprise human civilisation and its development (Robinson 2005, 2).

Robinson says America should invest in developing creativity in its entire population. He states

that standardization is the enemy of innovation. Standardization is too narrowly focused, and

cultivates a culture of risk-aversive students. The outcome is lower standards and students

performing below their true potential (Robinson 2005, 2).

“[T]he growing demand in businesses world-wide is for forms of education and training that

develop human resources and in particular the powers of communication, innovation and

creativity. This is because of the incessant need for businesses to develop new products and

services and to adapt management styles and systems of operation to keep pace with rapidly

changing market conditions. Creative abilities are needed in all forms of business and in all types

of work including traditional manufacturing and trades. They are also at the centre of some of

the most dynamic and rapidly expanding areas of the world economies.” (National Advisory

Committee on Creative and Cultural Education 1999, 19) Employers are also seeking individuals

who can adapt, innovate and communicate well. Employers are even sending employees to

courses to promote such skills which are essential to function in the knowledge-based economy

(National Advisory Committee on Creative and Cultural Education 1999, 14).

Critique and Recommendations

Creative think and problem solving skills is not only vital in conflict resolution and peace-

building but is necessary in pressing world problems experienced in all fields. These problems

also, however, lead to conflict and therefore spill over to the multi-disciplinary field of peace and

conflict. Alternative schooling can be used as a model of what formal and traditional schooling

could look like in the future. Not many agree with such models, which are not always perfect,

but many lessons can be learnt from their successes. Another critique on alternative schooling is

that they are expensive and not accessible to poor people. Financial exclusion would privilege

some and the rest might be left behind. The poor would then again not be able to access the

14

economy successfully as the privileged would. This would perpetuate economic inequality and is

not ideal. Ways to provide access for all to such schooling should be thought of creatively.

Existing schools could also create spaces for children to feel emotional safe and accepted,

remove judgement which could hinder creativity and intellectual development (Elsbach and

Hargadon 2006, 476). Studies have also shown that increased cognitive capacity leads to more

creative output (Elsbach and Hargadon 2006, 476 - 477). Ways in order improve cognitive

capacity should be sought and implemented in the classroom. Teachers should also reignite their

unique passions and teach their children to do the same. Teachers are in need of support and

collaboration between different organisations, business and government is needed to make sure

children are capacitated to fulfil their passions and make a meaningful contribution in society in

the future.

It is important to take into account the limits to developing creativity and creativity itself

such as social limits, environmental limits and ethical limits (Craft 2003, 120 -122). Social

limitations could be constructed by a culture, and social norms and restrict autonomy and

creativity. Some aspects of creative endeavours could be appreciated more than other types of

creativity (Craft 2003, 120). Environmental limits could arise from the global economy of what is

needed and what is disposable (Craft 2003, 120). Creative activity could therefore only be useful

under certain conditions and wasted under different conditions. Creativity should be practiced

under all conditions as it’s a part of humanity rather than serve a particular purpose in a certain

time in history. Ethical limitations refers to creativity being used for destructive purposes, and

being conscious of the impact of certain creative actions. There is the possibility that creativity

could be used for evil (Craft 2003, 121- 122). The ethics of creativity should also be understood

in creative skills development.

Conclusion

It seems that there are many crises in the world and a deficit of solutions. People are

shifting the blame and not many are taking responsibility. This is not constructive or productive.

15

What we need now, are people who can find solutions to urgent problems through creative

thinking and problem solving skills. It seems that these skills are what the world urgently needs.

School could provide the platform for such skills to be developed. Lead thinkers and practitioners

in peace and conflict studies make use of the transcend method yet are still not able to find

solutions to conflict related problems and the needed buy-in from stakeholders. Despite

solutions to pressing problems being rare, every human being has a creative ability which may or

may not be well developed. The potential of each human being in creative thinking and problem

solving should therefore provide some optimism amidst crises and wars. Peace and conflict

practitioners should therefore focus on that possibility and use the ability to think divergently in

order to see new possibilities.

16

Bibliography

Azzam, Amy M. “Why Creativity Now? A Conversation with Sir Ken Robinson.” Educational Leadership,

September 2009 | Volume 67 | Number 1, 2009: 22 - 26.

Craft, Anna. “An analysis of research and literature on CREATIVITY IN EDUCATION.” Report prepared for

the Qualifications and Curriculum Authority, 2001.

Craft, Anna. “The Limits to Creativity in Education: Dilemmas for the Educator.” British Journal of

Educational Studies, Vol. 51, No. 2, 2003: 113-127.

Csikszentmihalyi, Mihaly. “A Systems Perspective on Creativity.” In Handbook of, by R. Sternberg (Ed),

313–35. Cambridge: Cambridge University Press, 1999.

Davis, Joshua. How a Radical New Teaching Method Could Unleash a Generation of Geniuses. 15 October

2013. http://www.wired.com/2013/10/free-thinkers/# (accessed September 2, 2014).

Elsbach, Kimberley, and Andrew Hargadon. “Enhancing Creativity Through “Mindless” Work:A

Framework of Workday Design Vol. 17, No. 4.” Organization Science, 2006: 470–483.

Galtung, Johan, and H C Mult. Conflict Tranformation by Peaceful Means (The Transcend Method). 2000.

Gavin, Alice. “Conflict Transformation in the Middle East: Dr. Johan Galtung on Confederation in Iraq and

a Middle East Community for Israel/Palestine.” PeacePower, 2006.

Herrmann, Ned. “Creativity? Innovation? Are They Different? Do We Need Both?” Focus, Volume 10,

Number 3, 1999.

Investor Words. Investor Words. 2014. http://www.investorwords.com/4378/SP_500.html.

Jeffrey, Bob, and Anna Craft. “Teaching creatively and teaching for creativity: distinctions and

relationships.” Educational Studies,, 2004: 77 - 87.

Kitchen, Dr Tim. “Encouraging Creativity with ICT in Education.” DIGITAL DIVERSITY CONFERENCE.

Melbourne, 2010.

Misson, Ray, and Dennis Sumara. “Reclaiming the “creative” in the English/literacy classroom.” English

Teaching: Practice and Critique September, 2006, Volume 5, Number 2, 2006: 1-5.

National Advisory Committee on Creative and Cultural Education. “All our Futures: Creativity, Culture

and Education.” White Paper, 1999.

17

Robinson , Ken, Michael McGlimpsey, Reg Empey, Martin McGulnness, and Sean Farren. “Unlocking

Creativity - making it happen.” 2001.

Robinson, K. Ken Robinson says schools kill creativity . 2006.

http://www.ted.com/talks/ken_robinson_says_schools_kill_creativity.htm.

Robinson, Sir Ken. How Creativity, Education and the Arts Shape a Modern Economy. Education

Commission of the States, 2005.

—. “Why Schools kill Creativity?” Our Future: Education and Creativity. 2012.

Standard and Poor. Standard and Poor's Ratings Service - McGraw Hill Financial. 2014.

http://www.standardandpoors.com/en_US/web/guest/home (accessed September 3, 2014).

Transcend. Transcend: Conflict Transformation Model. 2001.

Wadlow, Rene. Transcend and Transform : An Introduction to Conflict Work. London: Pluto Press, 2004.

“Workforce for the future - preparing for the workforce for the future.” n.d.