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Rethinking Creativity: More Than a Talent

Creativity today is no longer limited to artistic expression or abstract thought. It is now recognised as a complex cognitive skill that involves the ability to define problems, think divergently, imagine alternatives, and evaluate solutions (Reiter-Palmon & Illies, 2004). This kind of thinking, termed ‘creative thinking’, is necessary for students to thrive in both their professional and personal lives in our twenty-first century world (Lucas & Spencer, 2017; OECD, 2022; Sternberg, 2003).

Research has highlighted that creativity requires a high level of cognitive processing, as it involves not only the generation of new ideas but also the ability to assess and refine those ideas effectively (Reiter-Palmon & Illies, 2004; OECD, 2022). Additionally, creativity is increasingly linked with essential 21st-century skills such as innovation, problem-solving, and critical thinking (Lucas & Venckutė, 2020; Beghetto & Kaufman, 2007). As Harris and Ammerman (2016) argue, creativity is not just a skill but a capacity that involves multiple cognitive functions, from constructing and defining problems to evaluating diverse solutions.

In the current educational and professional climate, creative thinking has become a key competitive edge. As businesses continue to evolve in response to technological advancements, organisations now prioritise hiring individuals who can think creatively to solve complex, unforeseen challenges (Haring-Smith, 2006; Oluwade & Oluwade, 2015; Van Knippenberg, 2017). This shift places a heavy responsibility on educational systems to nurture creative capacities in students (Ebneroumi & Rishehri, 2011; Robinson, 2011).

Education’s Role in Developing Creative Thinkers

Schools must step into a new role, not just as transmitters of knowledge, but as incubators for creative capacities. Doing so requires far more than isolated lessons in the Arts, haphazard professional development, or occasional group projects (Harris, 2016; Craft, 2005). It demands a systemic, intentional integration of creativity across curricula, pedagogies, and school culture (Hood, 2024; Lucas & Spencer, 2017; McWilliam & Haukka, 2008).

A growing body of research emphasises that creativity can be taught and nurtured through targeted practice and appropriate learning environments (Lucas & Spencer, 2017; OECD, 2022; PISA, 2022; Beghetto & Kaufman, 2007). De Bruin and Harris (2017) stress the importance of creating school cultures that actively foster creative thinking by allowing students to experiment, collaborate, and reflect. This approach mirrors Lucas and Spencer’s (2017) belief that creative thinking can be cultivated just like any other skill, with the right guidance and training (Harris, 2016).

Moreover, recent studies emphasise that creativity is not an isolated trait but a skill that spans disciplines. For instance, the OECD’s 2022 report on creative thinking highlights that creativity is not confined to the Arts but should be integrated across all subjects where problem-solving and idea generation are needed (OECD, 2022). In this regard, the role of educators is pivotal, as they must create environments that encourage risk-taking and experimentation (Shergold et al., 2020; New South Wales Government Joint Select Committee, 2024).

The Research Is Clear: Creative Learning Environments Matter

Extensive studies in Australia and internationally show that school environments and leadership directly impact students’ creative development (ACARA, 2015; De Bruin & Harris, 2017). For example, the Australian Curriculum Review (ACARA, 2015) emphasised the need for mandatory Arts education to nurture creativity from a foundational age. Similarly, research by De Bruin and Harris (2017) demonstrates that school leadership and the organisational structure of schools play significant roles in fostering creativity (De Bruin & Harris, 2017; Lucas et al., 2021).

When school leaders prioritise creativity, establish interdisciplinary learning, and empower students with autonomy, creativity flourishes. Conversely, environments dominated by rote learning, standardised testing, and top-down control suppress it (Harris & Ammerman, 2016; Shergold et al., 2020; New South Wales Government Joint Select Committee, 2024). As De Bruin & Harris (2017) argue, fostering creativity in schools requires an organisational shift, one that encourages collaborative learning, independent thinking, and removes rigid constraints on how students approach problems (De Bruin & Harris, 2017; PISA, 2022).

Bridging the Gap Between Policy and Practice

Despite the increasing recognition of creativity as a core competency for the twenty-first-century workforce, education systems continue to prioritise traditional metrics of academic success, such as standardised testing and ATAR scores, often at the expense of broader developmental outcomes (Shergold et al., 2020; New South Wales Government Joint Select Committee, 2024), underscoring the urgent need for curricula to reflect the complex skill sets students require, including adaptability, collaboration, entrepreneurial thinking, and creativity. Similarly, the OECD’s PISA 2022 report highlights a global shift towards positioning creativity as a foundational skill, noting that while Australian students demonstrate competence in generating creative ideas, they lag in the evaluation and refinement of those ideas; capacities essential for innovation and problem-solving (OECD, 2022; Lucas & Venckutė, 2020).

Addressing these gaps requires systemic transformation (Hood, 2024). McWilliam and Haukka (2008) argue that embedding creativity across all subjects, not just in the Arts, is fundamental to equipping students for an uncertain future. This integration necessitates cross-curricular collaboration, where teachers co-design units that blend disciplinary knowledge with creative problem-solving (Lucas & Spencer, 2017; OECD, 2022). Furthermore, teacher training programs must be restructured to include professional learning focused on creativity as a teachable and assessable skill, empowering educators across all domains to become facilitators of creative thinking (Harris et al., 2017; Hood, 2024; McWilliam & Haukka, 2008). Complementary to these efforts, assessment practices must be reformed to reward originality, risk-taking, and intellectual curiosity rather than rote memorisation (Shergold et al., 2020; McWilliam, 2015). Engaging with external creative practitioners; designers, entrepreneurs, engineers, can further enhance learning by bringing authentic, real-world innovation into the classroom (Harris & Ammerman, 2016; Lucas et al., 2021). Finally, leadership plays a pivotal role in driving this shift; school leaders must actively promote a culture of experimentation, reflection, and interdisciplinary collaboration that supports creativity at every level of the school ecosystem (De Bruin & Harris, 2017; Lucas et al., 2021). Only through a coordinated, whole-of-system approach can creativity move from the periphery to the centre of educational practice.

Leading for Creativity

Leadership is vital. Creative leadership doesn’t just support creative students; it builds creative ecosystems within schools. This means leaders must not only value creativity but plan for it, structure it into the school’s operations, and nurture it in both staff and students (Harris et al., 2017; Lucas et al., 2021). According to Lucas et al., (2021), a creative school is one where everyone, from principal to student, is empowered to think differently and take intellectual risks (Lucas et al., 2021).

Unfortunately, leadership for creativity is still an under-researched and underdeveloped area in education. We need leaders who see themselves as change agents, who are willing to disrupt outdated systems, and who understand that creativity is a collective process, not an individual spark (Harris et al., 2017; Lucas et al., 2021; Robinson, 2011). As Nissley (2010) emphasises; look for creative individuals in an organisation to drive innovation.

Final Thoughts: A 21st-Century Imperative

The 21st century demands more than academic knowledge. It calls for a generation of flexible, inventive thinkers who can respond to complexity with imagination and insight. Creativity, when nurtured, leads not only to personal fulfillment and career success but to a more adaptable, empathetic, and innovative society (Harris & Ammerman, 2016; Lucas et al., 2021).

It is no longer enough to treat creativity as the domain of the Arts. Every student deserves the chance to develop their creative potential, and every educator, regardless of subject, must value creativity and see themselves as a creativity teacher (De Bruin & Harris, 2017).

If we truly want to prepare young people for the challenges and opportunities of the future, then fostering creativity must move from the sidelines to the spotlight of education. Now is the time for leaders, policymakers, and teachers to act, and to lead creativity as the cornerstone of learning (OECD, 2022). There is an immediate need to empower our teachers and leaders to effect change in support for creativity as the only way schools can move forward (Mumford, 2017). In a world defined by change, it is not knowledge alone, but imagination and creative courage that will shape the future.

References

• ACARA. (2015). The Australian Curriculum Review.
• Beghetto, R.A., & Kaufman, J.C. (2007). Towards a broader conception of creativity in education. In R.J. Sternberg (Ed.), The nature of creativity (pp. 31–53). Cambridge University Press.
• De Bruin, L., & Harris, R. (2017). Creative thinking in education: Insights and strategies. Routledge.
• De Bruin, L. R., & Harris, A. (2017). Fostering creative ecologies in Australasian secondary schools. Australian Journal of Teacher Education, 42(9), 23–43. http://dx.doi.org/10.14221/ajte.2017v42n9.2
• Ebneroumi, M., & Rishehri, M. (2011). Creativity in education: Towards a conceptual framework. Springer.
• Harris, R. (2016). The role of creativity in education: A global perspective. Education and Society.
• Harris, R., & Ammerman, B. (2016). Creativity in education: Theory and practice. Routledge.
• Harris, A. M. (2016). Creativity and education (Ser. Creativity, education and the arts). Palgrave Macmillan. https://doi.org/10.1057/978-1-137-57224-0
• Harris, A., & Ammermann, M. (2016). The changing face of creativity in Australian education. Teaching Education, 27(1), 103–103.
• Haring-Smith, T. (2006). Creativity and critical thinking: Foundations for a dynamic future. Innovation Journal: The Public Sector Innovation Journal, 11(4), 1-16.
• Hood, M. K. (2024). Improvisation and Creativity in Educational Leadership (Doctoral dissertation, Gwynedd Mercy University).
• Lucas, B., & Spencer, E. (2017). Teaching for creativity: An introduction to creativity in education. SAGE Publications.
• Lucas, B., Venckutė, A., & others. (2020). Creative thinking and 21st century skills. OECD Education Working Paper No. 223.
• Lucas, B. & Venckutė, M. (2020). Creativity – A Transversal Skill for Lifelong Learning. An overview of existing concepts and practices. Literature review report. Luxembourg, Publications Office of the European Union.
• Lucas, B. (2021). Creative School Leadership. Perth FORM. DOI:10.13140/RG.2.2.24572.87687
• McWilliam, E., & Haukka, S. (2008). Creative and critical thinking: A transdisciplinary perspective. Springer.
• New South Wales. Parliament. Legislative Council. Joint Select Committee on Arts and Music Edcuation and Training in New South Wales. Report no. 1. https://www.parliament.nsw.gov.au/tp/files/190148/Report%20No.%201%20-%20Joint%20Select%20Committee%20on%20Arts%20and%20Music%20Education%20and%20Training%20in%20New%20South%20Wales.pdf
• Mumford, M. D., & Hemlin, S. (Eds.). (2017). Handbook of research on leadership and creativity. Eeward Elgar Publishing.
• Nissley, N. (2010). Arts-based learning at work: economic downturns, innovation upturns, and the eminent practicality of arts in business. Journal of Business Strategy, 31, 8-20.https://www-emerald-com.ezproxy.ecu.edu.au/insight/content/doi/10.
• OECD. (2022). Creative thinking in education: A global perspective. OECD Publishing.
• PISA. (2022). Creative thinking and innovation. OECD.
• Robinson, K. (2011). Out of our minds: Learning to be creative. Capstone Publishing.
• Shergold, P., et al. (2020). The National School Reform Agreement: A blueprint for the future. Australian Government.
• Van Knippenberg, D. (2017). Leadership and creativity in education. Oxford University Press.

Krystal McKnight
ACEL WA Branch Executive Member