Imagination and Creativity in Young Adults


Imaginationand Creativity in Young Adults


Theuse of creativity has been a fundamental aspect to living in an erathat is conceptual. Many researchers have taken creativity as a topicwhich has since become an ever-increasing interest to academicsettings. Teachers have become imperative resources at their owndisposal to facilitate maximum students learning experience as wellas to release the potentials of the students in classrooms (Warner&amp Myers, 2009).It is clear that the ultimate goal of education is to assist learnersdevelop their capabilities and thereafter to maximize their potentialinto practical uses in their daily life. When looking at youngchildren, it is suitable to adopt a wide and democratic definition ofcreativity and imagination (Warner&amp Myers, 2009).In this way every young person can be considered to have a potentialof creativity and be capable of an expression that is creative innature. It is there imperative to consider what might entailoriginality in the work of a young adult. Imagination and creativitycontributes to the initial context within which children respond toeach other and may become a powerful agent in the mingling processand the development of the sense of self of the child.


Inthis research, we shall test two hypotheses stated below:

H0:External factors greatly influence imagination and creativity inyoung adults.

H1:A young adult’s imagination and creativity does not depend onexternal factors.

Literaturereview Vygotsky (2004) hypothesized the link that bindscreativity and imagination. In his study, he found that theimagination functions as a domineering incentive of all humancreative activity. The idea that such a creative behavior that isexistent in human beings makes people be oriented to creativity inquest of future purposes and creating forming the future hencealtering their own present (Vygotsky, 2004). Consequently, Vygotsky(2004) claims that the process of imagination is a function which isvery essential to life. In his view, the supreme principle thatframes the process of the imagination is dependent on theproductivity and extent of the experience of an individual sinceimagination always builds by means of materials supplied throughreality (Vygotsky, 2004). Therefore, the scholar argues that a youngadult has less rich imagination than an adult as projected. Moreover,the interaction between the emotion factor and imagination, whichVygotsky calls the “emotional reality of the imagination” alsoplays an imperative role to form the imagination. The imagination infact involves feelings that manifest a person truly experiences. Russ (2003) came up with a model which explains theconnection between creativity and psychological processes. The modelproposes three elements that are involved in the process. The threeare: 1. personalities, such as confidence, tolerance of ambiguity,curiosity and motivation 2. emotional processes, such as pleasure inchallenge, emotional fantasy in play, tolerance of anxiety andinvolvement in tasks 3. cognitive abilities, such as ability to‘transform’ thinking, divergent thinking, sensitivity to problemsand judgment. Russ’s model implies that in order for a child toexpress creativity, they need a blend of attributes. Even though somechildren already have the essential components, others may requirehelp inspiration and skill expansion in order to get involved increative activity. Play offers an arena for activities andprocesses that are creative in nature (Saracho, 2002). Someobservations of imaginative adults exposed that their work proceduresbranch from some features of child’s play (Root-Bernstein &ampRoot-Bernstein, 2006). Hypothetically, imaginary play and creativityare interrelated under the arrangement of cognitive and affectiveprocesses (Russ, 2003). To some degree, play and imagination mayshare the identical prime formation (Saracho, 2002). Vygotsky (2004)defined a progressive view of teenage creativity that highlights theconnections flanked by imagination and cognitive which lead to moredeveloped and fruitful forms of creative thinking in old age.According to Vygotsky, the evolution from imagination and fictionalof childhood to teenage years, is altered into content and nature.With the growth of social familiarities and development of bothemotion and intelligence, adults adore creativity with deepness andcomplexity.


Participants Theparticipants of this survey will include a total of 50 high schoolstudents aged between 14 to 18 years attending public school in Ohio. The students will consist of 25 most creative students, 12 averagestudents and 13 students perceived to not be most imaginative.Informed agreement will be acquired from parents or legal guardians,and an inducement will be used so that learners will be inspired toget their informed creativeness as well as imaginativeness.

Design This study can be considered a 2 (gender of theadolescent) X 3 (Young adult imaginative condition) flanked bysubjects factorial design. The reason behind this is the presence oftwo independent variables. The gender of the adolescents has twolevels, male or female, and the young adult imaginative condition hasthree levels: most imaginative, averagely imaginative, and the poorimaginative condition. Thefocus of creativity will remain on process: the generation of ideas.Adult approval of multiple thoughts in a non-evaluative atmospherewill assist children to come up with more ideas. As they develop thecapacity for self-evaluation, matters of quality as well as thegeneration of products become more significant. The focus at this agewill be on self-evaluation, for the young adults are discoveringtheir potential to produce and evaluate theories, and revise theirconcepts based on that assessment.

Results Preliminaryanalyses will be performed to confirm creativity and imaginationacross young adult groups and to ensure that traits of the measuresdo not disrupt statistical test conventions. Additional analyses willassess the influence of external factors that are the focus of thestudy which include parent education, cultural practices and genderof the participant. Where necessary, these variables will be involvedas covariates or control variables in the analyses. As some abrasionis anticipated between dialogues, prior to data analysis, evaluationswill be made of reserved and non-reserved children, to decide whetherthere are any methodical differences. The hypothesis is that externalfactors have a great impact to the level of creativity andimaginativeness of the young adult. Multiple regression analyses willbe used to analyze the results. The criteria for these analyses willbe the level of generated ideas of the children under differentcircumstances. Predictors will include the age of the participant andthe level of ideas generated. More terms will be entered into eachanalysis to assess for interactions of external conditions by age, todetermine whether the effect of these external features vary by theage of the participant.

Discussion Theplanned project will make substantial influences, both to ahypothetical understanding of support procedures as they impactoutcomes of imaginations and creativity, and to providing requiredinformation to social and informative planners coping with the poorstate of imagination and creativity in young adults. Throughthe process of socialization, young adults move toward conformismduring the basic school years. The proportion of original replies inthe fluency tasks of ideas drops from about 50% among four-year-oldsto 25% during elementary school, then goes back to 50% amonguniversity students (Moran et al., 1983). It is imperative thatyoungsters be given the chance to rapid deviating thought and to getmore than one way to the solution.


Moran,J. D., Roberta M., Janet K. S., and Victoria R. F. (2000) &quotOriginalThinking in Preschool Children.&quot ChildDevelopment54: 921-926.

Root-Bernstein,M., &amp Root-Bernstein, R. (2006). Imaginary worldplay in childhoodand maturity and its impact on adult creativity. Creativity ResearchJournal, 18, 405-425.

Russ,S.W. (2003). ‘Play and creativity: developmental issues’,Scandinavian Journal of Educational Research, 47, 3, 291–303.

Saracho,O. N. (2002). Young children`s creativity and pretend play. EarlyChild Development &amp Care, 172

Vygotsky,L. S. (2004). Imagination and creativity in childhood. Journal ofRussian and East European Psychology, 42, 7-97.

Warner,S. A., &amp Myers, K. L. (2009). The creative classroom: The role ofspace and place toward facilitating creativity. Technology Teacher,69, 28-34.