Q Sometimes creativity is welcomed everywhere but in the classroom. Even when instructors value creativity, forces beyond their control may interfere with their ability to offer students creative spaces in which to thrive. Being creative has different meanings in different educational contexts. How can we cultivate our creativity, bearing in mind the ten most common beliefs found in Western countries? Prepare for your discussion by reviewing the required readings and videos described in each discussion topic. This activity aligns with module outcomes 1 and 2. Respond to one of the following questions. 1. After reviewing Table 21.1: "Contrasting Two Learning Approaches" on page 396 of Explaining Creativity, evaluate your experience thus far in HUM 306. Which assignments have helped you to learn knowledge deeply and which assignments resulted in an outcome that was more closely related to traditional classroom practices more commonly experienced outside the United States, today? How does the concept of mastery on page 395 of Explaining Creativity contrast with mastery as discussed by Sarah Elizabeth Lewis in Module 3 (Links to an external site.)? 2. Review the ten specific characteristics used to evaluate gifted and talented students on page 393 of the Explaining Creativity text and the section on "Quantifying Genius" in "Our Genius Problem (Links to an external site.)." How are these programs offered to students? Should the special benefits be made available to all students, regardless of perceived ability to benefit? If you were evaluated for a gifted and talented program as a child or have a child who has been evaluated, what test was used? How did it compare with the ten characteristics listed on page 393? 3. Review the “Find Your Private Domain (Links to an external site.)” video and the ten beliefs about creativity that are commonly found in Western countries, such as the United States, in Explaining Creativity. How have your attitudes to the ten beliefs shifted since you first encountered these in Chapter 1? Which bits of advice were the easiest for you to accept and which were the most difficult? Why do you think so? 4. After reviewing the specific interdisciplinary advice on creativity on pages 421 through 424 of Explaining Creativity, which areas are your strongest and which would you like to work on strengthening in the future? How has your race, gender, class, sexual orientation, or religion affected your development of creativity? Which aspects of the advice would you modify? What advice would you add? How might Sarah Elizabeth Lewis argue for allowing space for turning your gaze inward (in the “Find Your Private Domain (Links to an external site.)” video) before turning it outward (as discussed on page 422)?