Abstract
For at least five decades, the field of creativity research was strongly rooted in psychometrics as well as extremely Westernized. Currently, both of these characteristics of creativity literature are vigorously criticized, but both are sources of important findings and continuously influential theoretical concepts. This chapter discusses the main consequences of the psychometric approach to creativity and culture. First, it addresses the question of whether and to what extent the most dominant and popular form of creativity measurements—that is, divergent thinking tests, insight problems, or personality questionnaires and inventories—are cross-culturally valid. It argues that implicit and especially explicit understandings of what creativity is strongly depend on culture and that cross-culturally valid creativity measurement is hardly possible. As the understanding of creativity differs across the world, cross-country differences in fluency, flexibility, or originality tell us little about differences in creativity. Therefore, this chapter calls for a more interactional and dynamic, but at the very same time local and emic measurement of creativity, and provides examples of such measurement.
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The preparation of this chapter was supported by the Polish Ministry of Science and Higher Education (Iuventus Plus Program). I thank Dorota M. Jankowska and Vlad Glăveanu for their assistance in preparing this chapter.
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Karwowski, M. (2016). Culture and Psychometric Studies of Creativity. In: Glăveanu, V. (eds) The Palgrave Handbook of Creativity and Culture Research. Palgrave Studies in Creativity and Culture. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-46344-9_8
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