Revisiting the Effects of Gender Diversity in Small Groups on Divergent Thinking: A Large-Scale Study Using Synchronous Electronic Brainstorming

Numerous studies have examined the effects of gender diversity in groups on creative performance, and no clear effect has been identified. Findings depend on situational cues making gender diversity more or less salient in groups. A large-scale study on two cohorts (N = 2,261) was conducted among business students to examine the impact of the gender diversity in small groups on divergent thinking in an idea-generation task performed by synchronous electronic brainstorming. Participants were automatically randomized in three- or four-member groups to generate ideas during 10 min on a gendered or neutral task. Then, five categories of groups where the proportion of men/women in groups varied from three/four men to three/four women were compared to examine creative performance on three divergent thinking measures (fluency, flexibility, and originality). A Multivariate Generalized Linear Mixed Model (mGLMM) showed greater fluency in all-women groups than in other groups (except mixed-gender groups composed of two men and two women), and more specifically "solo" groups composed of a single woman/man among a majority of men/women. For flexibility and originality, the superiority of all-women groups was found only in comparison to "solo" groups composed of a single woman. As gender differences are more salient in "solo" groups than in other groups faultlines may appear in groups, leading to a deleterious impact on creative performance.

Creative Collaboration and Collaborative Creativity: A Systematic Literature Review

Studies of creativity emerging from cultural psychology and social psychology perspectives challenge individualist conceptions of creativity to argue that social interaction, communication, and collaboration are key elements in creativity. In recent work creative collaboration has been proposed to be “distributed” between audiences, materials, embodied actions, and the historico-socio-cultural affordances of the creative activity and environment, thus expanding the potentialities of creative collaboration beyond instances of direct human interaction and engagement. Music performance, improvisation and composition may be viewed as exemplary “laboratories” of creative collaboration through the combined elements of audiences, materials, embodied actions and historico-socio-cultural affordances and constraints. This article reports the findings of a systematic literature review of creative collaboration and collaborative creativity in music. We sought to identify what has been currently investigated in relation to these terms and concepts in music, with what methodologies and in what settings. Findings indicate that studies were undertaken in higher education, professional development and professional practice predominantly, leading to an emergent phenomenon of interest, collaborative creative learning. Musical genres were jazz, popular, western classical, contemporary and world musics across the musical processes of composing, improvising and performing. Studies in higher education and professional development settings focused on identifying those practices that supported learning rather than the nature of collaborative creative approaches or the outcomes of creative collaboration. Participants were primarily male, with small sample sizes. Methodologies were largely qualitative with an emphasis on case study using observation, interview and reflective diary methods. Further areas for research include: the investigation of gendered approaches to creative collaboration, collaborative creativity, and collaborative creative learning; the use of more diverse research methodologies and methods and techniques including large-scale quantitative studies and arts-based and arts-led approaches; and the investigation of more diverse music settings.

A Space for Collaborative Creativity. How Collective Improvising Shapes 'a Sense of Belonging'

In this contribution, we draw on findings from a non-formal, community music project to elaborate on the relationship between the concept of eudaimonia, as defined by Seligman, the interactive dimensions of collective free improvisation, and the concept of collaborative creativity. The project revolves around The Ostend Street Orkestra (TOSO), a music ensemble within which homeless adults and individuals with a psychiatric or alcohol/drug related background engage in collective musical improvisation. Between 2017 and 2019 data was collected through open interviews and video recordings of rehearsals and performances. Participant data was analyzed through inductive analysis based on the principles of grounded theory. One interesting finding was the discrepancy in the participant interviews between social relationships indicative of a negative affect about social group interaction versus strong feelings of group coherence and belonging. Video recordings of performances and rehearsals showed clear enjoyment and pleasure while playing music. Alongside verbal reflection through one-on-one interviews video recordings and analysis of moment-to moment observations should be used, in order to capture the complexity of community music projects with homeless people. The initial open coding was aligned with the five elements of the PERMA model. Overall, we observed more focus on Relationship (sense of belonging), Engagement (flow in rehearsals and performances) and Meaning (belonging to something greater than yourself) and less on Positive Emotion and Accomplishment (goal setting).

Developing Geographical Narratives: Pupils Create Digital Text Adventures with Twine

Applying geographical knowledge in new contexts is a creative and difficult task for school pupils. However, creating text adventures with the open-source tool Twine may be one way to apply geographic knowledge, but there is currently no research that confirms this. We attempted to determine how pupils in small groups constructed text adventures in geography lessons, focused on the topic "Tourism in Myanmar: threat or opportunity". We recorded the construction processes of 14 pupils audibly, organized into six teams, and analyzed their games. We found that the different text adventure construction activities between the groups had minimal differences. The groups predominantly asked questions and expressed ideas that used meta-conversation for organization and used agreements. These and other text adventure construction activities can help to specify a model of collaborative creativity. In addition, successful groups wrote geographical narratives with adverbs to emphasize the psychological proximity, rhetorical questions and feelings in their stories, and used more words than the others. The results suggest a focus of future research should be on developing a model for integrating geographical narrative skills into geography lessons and intensifying research about collaborative creativity.