PLPG BANG KREATIVITAS
SUNARDI, PLB FIP UPI
..
Eeh… matanya ketinggalan
MENGAPA DI DUNIA INI TDK ADA YG ABADI, SELAIN PERUBAHAN?
KENAPA PERKEMBANGAN IPTEK SAAT INI SANGAT CEPAT?
KENAPA TIAP HARI ADA PRODUK BARU?
DAPATKAH KAKEK LAHIR BEKALANGAN, SETELAH CUCUNYA?
Benarkah kreativitas itu hanya milik seniman
dan orang-orang cerdas?
Benarkah hanya orang kreatif yg dapat maju?
Mengapa seorang guru SLB saja khoq harus kreatif?
Apa tujuan belajar
PENGEMBANGAN KREATIVITAS
ADA
PERUBAHAN
“If You don’t change You’ll die”
(C.K. Prahalad)
Film Polaroid berasal dari KELUHAN anak kecil
Pena highlighter, Stabilo Boss berawal - KESULITAn bosss repot
membaca banyak laporan.
Pada awalnya COCA COLA digunakan untuk menyembuhkan
Penyakit syaraf?
Kratingdaeng – minuman tradisional Thailand.
Kita dapat menemukan surat-surat di Al-Qur‟an yang menganDung
kata NAFSU dengan hanya dalam hitungan detik?
Di jln setiabudi, paling laris yang jualan SURABI.
Apa kreativitas itu?
.U.M.U.M.
KREATIF=
BANYAK IDE
BANYAK GAGASAN
BANYAK AKAL.
BANYAK KARYA BARU & UNIK
KEMAMPUAN MENGGABUNGKAN SESUATU YANG
BELUM PERNAH TERGABUNG SEBELUMNYA
KEMAMPUAN UTK MENEMUKAN/ MENDAPATKAN/
MELAHIRKAN SUATU YANG BARU (IDE, GAGASAN,
PEMECAHAN MASALAH/KARYA).
Def metaphora :
CREATIVITY IS LIKE A CAT CHASING ITS TAIL
DEFINISINYA BERBEDA-BEDA,
TERGANTUNG BGMN ORANG
MENDEF :
“CREATIVITY IS A MATTER OF
DEFINITION”
Alasan :
1. Sbg suatu “konstruk hipotesis”
kreativitas mrpk ranah psikologis
yg kompleks & multidimensional.
2. Definisi-2 kreat memberikan tekanan
yg berbeda-2, tergantung kpd dasar
teori yg menjadi acuan pembuat definisi.
definisi
• definisi
konsensual
Menekankan segi produk
(kualitas produk yg dinilai
oleh pengamat yg ahli).
Berdasar konsensus
Asumsi :
- produk manifestasi
puncak kreativitas.
- dpt dikenali oleh
pengamat luar utk
disepakati.
Sering digunakan utk studi
kreativitas (seni & keilmuan)
a/ terkait produk, orang,
proses, maupun lingk.
konseptual
Menekankan pd produk, tp bkn
berdasar kesepakatan, melainkan pd
kriteria ttt.
Bertolak dr konsep tertentu yg
dijabarkan dlm kriteria tertentu.
(Misal dr Amabile/Stein). Walau utk
penentuan akhir jg tergangtung pd
kesepakatan.
Def Stein : mewakili kedua def tsb.
The creative work is novel work that is
accepted as tenable or useful or satisfying
by group in some point in time”
Novel : sbg kriteria produk
Tenable, useful, & satisfying : sbg validasi
konsensual
… time : pd masanya mimesis kreat
Wikipedia /free encychlopedia
Creativity (or creativeness) is a mental process
involving the generation of new ideas or concepts, or
new associations between existing ideas or concepts.
Creativity is manifested in the production of a creative
work (for example, a new work of art or a scientific
hypothesis) that is both novel and useful.
Yunani
Latin
: "to create"
: “creatio“ "to make" : "facere" / "creare".
Common definition from Webster's - Creativity is
marked by the ability or power to create–to bring into
existence, to invest with a new form, to produce
through imaginative skill, to make or bring into
existence something new.
Carl Rodgers (psychologist an writer) -- The emergence
of a novel, relational product, growing out of the
uniqueness of the individual.
Henry Miller ( writer) -- The occurrence of a
composition which is both new and valuable.
John Haefele (CEO and entrepreneur) -- The ability to
make new combinations of social worth.
Newell, Simon, & Shaw (team of logic theorists) -- A
special class of problem solving characterized by
novelty.
H. H. Fox (scientist) -- Any thinking process in which
original patterns are formed and expressed.
E. Paul Torrance (educator, academic, creativity
investigator) --Fluency , flexibility, originality, and
sometimes elaboration.
Rollo May (writer, philosopher) - Creativity is the process of
bringing something new into being...
Roger von Oech - Creative thinking involves imagining
familiar things in a new light, digging below the surface to
find previously undetected patterns, and finding
connections among unrelated phenomena.
Carnevale, Gainer, Meltzer - ... the ability to use different
modes of thought to generate new and dynamic ideas and
solutions.
Perkin : Creativity is a messy and myth-ridden subject.
DimensI KreativitaS
RHODES (MUNANDAR, 1999) KREATIVITAS DPT DITINJAU DR KONDISI PRIBADI & LINGKUNGAN
YG DIGOLONGKAN MENJADI 4 DIMENSI YANG DISEBUT SEBAGAI
THE FOUR P’s OF CREATIVITY
Person
Process
Product
Press
PERSON
Guilford (1950) :
“Creativity refers the abilities that are characteristics of creative people”
GUILFORD
FLUENCY
(banyak gagasan)
REDEFINITION
(perspektif berbeda)
Orang kreatif melihat sesuatu
sama dengan orang lain, tetapi
cara berpikirnya beda
MAMPU LIHAT MASALAH DR
SGL ARAH
NAFSU INGIN TAHU BESAR
(curiosity)
ELABORATION
(mengurai scr rinci)
ORIGINALITY
(asli)
FLEXIBILITY
(banyak pemec/pendekatan)
CAMPBELL
TERBUKA THD PENGALAMAN
BARU
SUKA TGS MENANTANG
WAWASAN LUAS
MENGHARGAI KARYA ORANG
LAIN
Highly creative student may:
1. Have the ability to make unusual associations or
2.
3.
4.
5.
6.
7.
8.
connections between seemingly unrelated or remote
ideas.
Have the ability to rearrange elements of thought to create
new ideas or products.
Have a large number of ideas or solutions to problems.
Display intellectual playfulness, fantasize, imagine, and
daydream.
Are often concerned with adapting, improving, or
modifying existing ideas, thoughts or products or the
ideas or products of others.
Have a keen or unusual sense of humor and see humor
others do not see.
Do not fear being different, but may still be emotionally
hurt by non-acceptance. Often the importance of an idea
outweighs that of peer acceptance.
Ask many questions at an early age - this trend generally
continues past early childhood into adulthood. These are
the kids that surprise others with their wonderings.
9. Frequently challenge teachers, textbook authors, and those in
authority or "experts".
10.Sometimes come up with unexpected, futuristic, bizarre, even
"silly" answers or solutions.
11.Are sometimes resented by peers because of crazy or unusual
ideas and their forcefulness and passion in presenting them or for
pushing their ideas on others. In the context of cooperative
efforts or groupings, highly creative students may get along or
work better with younger or older students, or with adults.
12.When completing special or unusual projects or assignments,
often show a rare capacity for originality, intense concentration,
commitment to completion, and persistence. In essence may be
perceived as working hard to achieve personal goals.
13.Become obsessed with completing varied projects, or exhibit
unusual persistence in a completing tasks. It is this obsessive
need to complete a task that is so important in differentiating
folks with good ideas from those who are truly creative.
Synthesized and embellished by Leslie Owen Wilson 10/02/95 -- original sources
Klausmier; Renzulli; Torrance; Khatena; and Clark
PROCESS
MUNANDAR (1977) :
KRETIVITAS ADALAH PROSES YANG
DIMANIFESTASIKAN OLEH KELANCARAN,
FLEKSIBILITAS & ORIGINALITAS BERPIKIR
WALLAS, 4 tahap kreatif
1. TAHAP PERSIAPAN : KUMPUL INFORMASI
2. TAHAP INKUBASI : PENGERAMAN
3. TAHAP ILUMINASI : SAAT TIMBULNYA
INSPIRASI/GAGASAN PEMECAHAN MASALAH
4. TAHAP VERIFIKASI : TAHAP PENGUJIAN SCR
KLINIS BERDASAR REALITAS
PROCESS
Graham Wallas. in his work Art of Thought, published in 1926
5 stages:
1. Preparation (preparatory work on a problem that focuses the
individual's mind on the problem and explores the problem's
dimensions),
2. Incubation (where the problem is internalized into the
subconscious mind and nothing appears externally to be
happening),
3. intimation (the creative person gets a 'feeling' that a solution is on
its way),
4. Illumination or insight (where the creative idea bursts forth from
its subconscious processing into conscious awareness); and
5. Verification (where the idea is consciously verified, elaborated, and
then applied).
Baron (1976):
“Creativity is the ability to bring something new into existence”
Amabile :
“Creativity can be regarded as the quality of product or
judged to be creative by appropriate observers”
1.
2.
respon
Bersifat baru, unik, berguna, benar & bernilai
Bersifat heuristik, menampilkan metode yng msh blm
pernah/jarang dilakukan sebelumnya.
Stein
novel, tenable, usefull & satisfiyng
(BARU, DPT DIPERTAHANKAN, BERGUNA & MEMUASKAN).
Produk kriteria puncak kreativitas
(PRODUCT IS THE ULTIMATE CRITERIA OF CREATIVITY)
PRESS
Tekanan lingk : FAKTOR PENDORONG & PENGHAMBAT,
BAIK INTERNAL / EKSTERNAL
kepekaan dlm melihat
lingkungan
Kebebasan
berpikir/bertindak
Komitmen kuat utk maju &
berhasil
Optimis & berani ambil
resiko, termasuk resiko yg
paling buruk
Ketekunan utk berlatih
Hadapi masalah sbg
tantangan
Lingkungan yg kondusif.
Tdk kaku & otoriter.
Malas berpikir,
bertindak, berusaha,
lakukan sesuatu
Impulsif
Meremehkan karya orang
lain
Mdh putus asa, cpt bosan,
tdk tahan uji
Cepat puas
Tak berani tangung resiko
Tdk percaya diri
Tdk disiplin
Tdk tahan kritik
Creativity Killers
Hennessy & Amabile (1992)
Surveillance : Merasa diawasi terus menerus
Evaluation : Takut lakukan sesuatu / takut salah
Rewards : Bosan, hilangkan motif intrinsik
Competition : Hanya ada satu pemenang, abaikan kemajuan anak
Over-control : Diberi tahu terus takut salah
Restricting choice : Menghalangi keinginan, kebebasan
Pressure : menghalangi eksplorasi, inovasi, bereksperimen
The most powerful way to develop creativity in your students is to be a role
model. Children develop creativity not when you tell them to, but when you show
them. (Robert J. Sternberg)
Creativity Killers
The most powerful way to develop
creativity in your students is to be a
role model. Children develop creativity
not when you tell them to, but when
you show them. (Robert J. Sternberg)
Hennessy & Amabile (1992)
Surveillance (Pengawasan ) : Hovering over kids, making them feel
that they're constantly being watched while they are working, . . . under
constant observation, the risk-taking, creative urge goes underground and
hides . . .
Evaluation - When we constantly make kids worry about how they are
doing, they ignore satisfaction with their accomplishments. . . .
Rewards - The excessive use of prizes . . . deprives (menghilangkan) a
child of the intrinsic pleasure of creative activity.
Competition - Putting kids in a win-lose situation, where only one
person can come out on top, . . . negates (meniadakan) the process
children progress at their own rates.
The most powerful way to develop
creativity in your students is to be a
role model. Children develop creativity
not when you tell them to, but when
you show them. (Robert J. Sternberg)
Creativity Killers
Hennessy & Amabile (1992)
Over-control - Constantly telling kid how to do things, . . . often
leaves (MENGABAIKAN) children feeling like their originality is a
mistake and any exploration a waste (membuang-buang) of time.
Restricting choice - Telling children which activities they
should engage in instead of letting them follow where their
curiosity and passion lead . . . again restricts active exploration
and experimentation that might lead to creative discovery and
production.
Pressure - Establishing grandiose (berlebihan?) expectations for
a child's performance . . . often ends up instilling aversion for a
subject or activity. . . .Unreasonably high expectations often
pressure children to perform and conform within strictly prescribed
guidelines, and, again, deter (menghalangi) experimentation,
exploration, and innovation. Grandiose expectations are often
beyond children's developmental capabilities
Clark, 1983:39-
Creativity : A
function of higher
levels of
consciousness
STOP CREATIVITY
Krippner (1967) list ten assumptions to stop creativity : (creativity killer)
Everything must be useful
Everything must be
succesful
Everything must be perfect
Everything must like you
You shall not prefer
solitude to togetherness
You must have concentrated
attention
You must not diverge from
culturally imposed sex norms
Do not express excessive
emotional feeling
Do not be ambigous
Do not rock the cultural boat
Orang-2/karya-2 kreatif terdahulu yg mengalami
penurunan nilai krn ditemukan hal-hal baru yg mampu
menjelaskan & memecahkan masalah.
(THOSE WHO HAVE BEEN SUCCESFUL INNOVATORS OF THE PAST,
TEND TO DISQUALIFY THEMSELVES FOR SUCCESFUL INNOVATION
IN THE FUTURE).
Mimesis dpt terjadi pd orang, intitusi, karya, atau teknik
pmch mslh.
KREATIVITAS TDK HANYA TERGANTUNG WAKTU,
TTP JUGA TEMPAT (FAKTOR SOSIAL & BUDAYA)
Kriteria kreatif
Menyangkut dimensi : PROCES, PERSON, & PRODUCT.
PROCES : proses berpikir kreatif merentang dr tahap
pengumpulan inform, inkubasi, iluminasi, & evaluasi/verifikasi.
PERSON : berkepribadian kreatif
PRODUCT : sejauh mana produk tsb memiliki nilai kebaruan
(newness, novelty), orisinalitas, bermanfaat, memuaskan, dan dapat
memecahkan masalah. Berdasar penilaian melalui analisa obyetif
ataupun pertimbangan subyektif.
Ghiselin (1963) & Shapiro (1973)
DPT DIBEDAKAN MENJADI 2 :
1. product CRITERIA : berdasar produk yg ditampilkan sesorang
selama hidupnya / hanya ketika ia menyelesaikan karya kreatif.
2. concurrent CRITERIA : Berdasar konsep /def yg dijabarkan dlm
indikator-indikator ttt.
Catatan : dedi – sama-2 concurrent, jadi perlu dicek lagi.
ASUMSI – ASUMSI KREATIVITAS
•
•
•
•
•
•
TIAP ORANG MEMILIKI POTENSI KREATIF, YG MEMBEDAKAN
TINGKATANNYA (& bersifat kontinum).
POTENSI KREATIF DPT DIKEMBANGKAN & DIPUPUK. (Devito)
KREATIVITAS DPT DINYATAKAN DLM IDE ATAU PRODUK, DGN
PRODUK SBG KRITERIA PUNCAK – “THE ULTIMATE CRITERIA”
KREATIVITAS LAHIR SBG HSL INTERAKSI ANT FAK PSIKOLOGIS
(internal) & LINGKUNGAN (eksternal).
KREATIVITAS TDK BERLANGSUNG DLM KEVAKUMAN (EX-NIHILO) :
TDK LHR TIBA-TIBA, TTP DIDAHULUI OLEH KARYA SEBELUMNYA
KREATIVITAS TDK LAHIR KRN KEBETULAN, TTP MENUNTUT
KECAKAPAN, KETERAMPILAN, KETEKUNAN & KERJA KERAS
PRODUK : 1% IDE, 99% KERINGAT.
•
DLM DIRI SESEORANG & LINGK-NYA TREDAPAT FAKTOR-2
PENUNJANG & PENGHAMBAT BANG KREATIVITAS.
•
KREATIVITAS DPT DIPELAJARI, DGN CIPTAKAN FAKTOR
PENDORONG & JAUHI FAKTOR PENGHAMBAT
KREATIVITAS
A. Taylor, (1959)
The first three levels of creativity can be attained by anyone who is motivated and who
has persistence enough to see projects and ideas through. : siapapun bisa
The last two levels may be unattainable to all but those who are highly gifted creatively,
or those who are naturally creative geniuses. : yang berbakat
1. Primitive and intuitive expression
Found in children and in adults who have not been trained in art. There is an innocent quality to
primitive art, but also directness and sensitivity.
2. Academic and technical level
At this level the artist learns skills and techniques, developing a proficiency that allows creative
expression in myriad ways (banyak cara). The academic artist adds power to expression through
the mastery of craft.
3.
Inventive level
Many artists experiment with their craft, exploring different ways of using familiar tools and
mediums. This heralds the level of invention. Breaking rules is the order of the day, challenging the
boundaries of academic tradition, becoming increasingly adventurous and experimental. Inventors
use academic tradition and skills as a stepping-stone into new frontiers.
4. Innovative level
At the level of innovation the artist, writer, musician, inventor, thinker is more original. Materials
and methods that are out of the ordinary are introduced. Now the creator breaks the boundaries.
The academic or inspirational foundation remains as a substructure of unconscious thought guiding
these creative efforts.
5. Genius level
The fifth level of creativity is characterized as genius. There are individuals whose ideas and
accomplishments in art and science defy explanation. Genius is arguably the one level that is
unexplainable and perhaps unattainable for most of us, something that an individual is born
with.
TEORI fungsi BELAHAN OTAK (CLARK)
• OTAK KIRI & KANAN DISAMBUNG OLEH SEGUMPAL SERABUT “CORPUS COLUSUM”
• RESPON, TUGAS & FUNGSI MASING-MASING BELAHAN BERBEDA.
BERPIKIR
RASIONAL
ANALITIS
LINIER
SCIENTIFIC
BERPIKIR
HOLISTIK
SPATIAL
METAPHORIK
INTEGRATIF
SINTESA, INTUITIF
ELABORASI
HUMANISTIK -MISTIK
(BELAJAR CALISTUNG)
KONVERGEN & VERTIKAL
MENILAI KEBENARAN SECARA KRITIS
DEVERGEN & LATeRAL
MENILAI KEBENARAN DR MAKNANYA
Kalau belahan kanan ditingkatkan :
HARGA DIRI & KINERJA KAT, MAMPU MENJELAJAHI MATERI
BERBAGAI BIDANG DGN LBH MENDALAM & TEKUN
Wittrock, 1980 (Clark, 1983)
FUNGSI BELAHAN
Wittrock (1980, Clark, 1983)
OTAK KIRI
FUNGSI BELAHAN
OTAK KANAN
MATH, HISTORY, LANGUAGE
SELF, ELOBORATES AND INCREASES
VARIABLE, INVENTIVE (DY CIPTA)
VERBAL, LIMIT SENSORY INPUT
NON VERBAL PERCEPTION AND
EXPRESSIVENESS
SEQUENTIAL, MEASURABLE
SPATIAL
ANALYTIC
INTUITIVE
COMPARATIVE
HOLISTIC
RELATIONAL
INTEGRATIVE
REFERENTIAL
NONREFERENTIAL
LINEAR
HOLISTIC
LOGICAL
IMAGERY
DIGITAL
BETTER AT DEPTH PERCEPTION, FACIAL
RECOGNITION
SCIENTIFIC, TECHNOLOGICAL
MYSTICAL, HUMANISTIC
ACADEMICIANS
BUSINESS MAN
Kreativitas & berpikir divergent
Creative production is often characterized by the divergent nature of
human thought and action.
Fluency – The ability to generate a number of ideas so that there is an
increase of possible solutions or related products.
Flexibility - The ability to produce different categories or perceptions
whereby there are a variety of different ideas about the same problem or
thing.
Elaboration – The ability to add to, embellish, or build off of an idea or
product.
Originality – The ability to create fresh, unique, unusual, totally new, or
extremely different ideas or products
Complexity – The ability to conceptualize difficult, intricate, many layered
or multifaceted ideas or products.
Risk-taking – The willingness to be courageous, adventuresome, daring -trying new things or taking risks in order to stand apart.
Imagination – The ability to dream up, invent, or to see, to think, to
conceptualize new ideas or products – to be ingenious.
Curiosity – The trait of exhibiting probing behaviors, asking and posing
questions, searching, being able to look deeper into ideas, and the wanting
to know more about something.
Koestlur
BERPIKIR BISOSIATIF : MENGAITKAN PASANG SURUT
AIR LAUT DENGAN POSISI BULAN.
Jung
FUNGSI JIWA :
BERPIKIR, MERASA, MENGINDRA, & INTUISI
KREATIVITAS FUNGSI INEGRATIF
PK
INT
CRE
RS
IND
MACKLER & SONTZ, 1970
TEORI
PSIKOANALISA
- Freud
PANDANGAN TTG KREATIVITAS
KREATIVITAS TERJADI KARENA KONDISI RILEK DARI EGO
YANG MENJADIKAN ALAM BAWAH SADAR BERFUNGSI BEBAS
MENGEMBANGKAN IDE. SEHINGGA TERJADI INTEGRASI
ANTARA MASALAH YANG DIHADAPI DENGAN IMAGINASI.
KREATIVITAS ADALAH PENGGALIAN ALAM BAWAH SADAR
PROSES KETIDAKSADARAN MELANDASI KREATIVITAS.
KREATIVITAS MERPK MANIFESTASI DR PSIKOPATHOLOGI
ASOSIASI
HASIL DR PROSES ASOSIASI & KOMBINASI ELEMEN-ELEMEN YG
TLH ADA SHG MENGHASILKAN SESUATU YG BARU.
GESTALT
MANIFESTASI PROSES TILIKAN IND THD LINGK SCR HOLISTIK.
EKSISTENSIAL
IS
KREATIVITAS MRPK PROSES UTK MELAHIRKAN SESUATU YG
BARU MELALUI PENJUMPAAN ANTARA MANUSIA DGN MANUSIA
& MANUSIA DGN ALAM.
INTERPERSON
AL
KREATIVITAS LAHIR DLM KONTEKS SOSIALNYA. KREATOR SBG
INOVATOR & LINGK SBG PIHAK YG MENGAKUI.
MENEKANKAN PENTINGNYA NILAI & MAKNA DR KARYA, KRN INI
YG AKAN MENGHASILKAN PENGAKUAN SOSIAL.
SIFAT
MENEKANKAN UPAYA UTK MENGIDENTIFIKASI CIRICIRI/KARAKTERISTIK KREATIVITAS. (MISAL : GUILFORD)
Jung (clark, 1983) : An integrated concept of creativity
Creativity involves of synthesis of all functioning, and yet it still more.
A state of higher
Consciuosness – not of the
councious, rational mind, available
from the uncouncious or during altered
counciousness. Enhanced by growth
toward enlightenment.
Intuitive
A thinking state –
Rational, measurable.
Creativity
Can be developed by
Deliberate, concious pratice.
Thinking
A feeling state –
Emotionally impactful requires selfawareness, process of self-actualization.
Releases emotional energy
from the creator, transfers
this energy to the viewer
or consumer, eliciting an
emotional response.
A state of talent –
Creating new products
seen or hard by others.
Requires high levels of physical
Or mental development, high level of
Skill in area of talent.
Sensing
Feeling
Clark, 1983:33
Creativity :
A rational
thinking
function
Torrance
(1962)
The process of sensing gaps or disturbing missing element;
forming new hypotheses and communicating the result, possibly,
modifying and retesting the hypotheses.
Parner
(1967)
Function of knowledge, imagination, and evaluation. The process
involved as fact finding, problem finding, idea finding, solution
finding, and acceptance finding. (etc)
Meassure / selecting & evaluating student :
MInisota Test of Creative Thinking (MTCT), TTCT, Remote Association
Test (RAT), test IQ
General characteristic :
Self discipline, independent, often anti-authoritarian, zany sense of
humor, able to resist group pressure, a strategy develop early. More
adaptable, more adventurous, greater tollerance for ambiquisity and
discomfort. Little tolerance for boredom, preference for complexity,
asymetry, open-endedness. High in devergent thinking ability. High in
memory, good attention to detail, broad knowledge background, need
think periods, need supportive climate, sensitive to environment, need
recognition, opportunity to share, high aesthetic values, good aesthetic
judgment. Freer in developing sex role integration; lack of stereotypical
male, female identification. Bgmn Pengembangannya?
Clark, 1983:33
Creativity :
A rational
thinking
function
characteristic
Female Male
Liked school, especiallly course Disliked school, dislike their teacher and
in science, music, and art.
thought yhey were uninteresting.
Liked their teacher.
Did little homework.
Regularly read news
Dislike physical education and seldom
magazines …
engaged in team sports.
Were active in dramatics and
musical production
Wew regarde as radical or
unconventional.
Did not go out on dates as
often.
Often wanted to be alone to pursue
their own thoughts and interests.
Were daydreamers.
Clark, 1983:39Creativity :
A function
of feeling
Fromm
(1959)
Ability to see (or to aware) and to respond. He view it as an
attitude for living.
Khrisnam
urti
(1964)
.. Its roots in the initiative which comes into being only when there
is deep discontent … One most be wholley discontent, not
complainingly, but with joy, with gaiety, with love.
Hallman
(1963)
As a way of conducting one‟s life rather than in term of the number
and kind of objects which one may have oroduct.
Meassure / selecting & evaluating student : Personal Orientation Inventory (POI), elaboration
trait. Maslow : evaluating self-actualizing.
General characteristic :
Maslow :
common attribute in his population of self actualizing : A special kind of perception,
more spontanous and expressive, able to integrated, more self-accepting, less
afraid of what others would say, less need for other people, lack of fear of own
emotions, imulses, and thoughts. Etc.
Fromm:
capasity to be puzzled, ability to concentrate, ability to experoence self as creative,
as the originator of one‟s acts. Willingness to the born every day, ability to accept
conflict and tension from polarity rather than avoiding them. Courage to let go of
certainties, to different, to be concerned with trust, to be certain of one‟s own
feeling and thoughts and trust them.
Clark, 1983:39Creativity :
A function of
feeling
To develop (anderson, dkk)
Provide an environment rich and varied in stimulation.
Teach with materials & method harmonies with each other & with
teacher.
Deliniate clearly and repeatelly the aims of this type of program.
Allow free interplay of differences.
Make environment and materials frendly, nonthreatening, threreby
allowing disagreement and controversy without hostility.
Reduce anxiety in classroom, espicially that created by the teacher.
Handle difference as confrontations, not as conflicts.
Find integrative element in differences.
Emerge unifying concept.
Allow individuation and differentiation within the unity.
Foster positive change in directions congruent with student prediction
in cognitive and affective areas.
Clark, 1983:39-
Creativity :
The talent
aspect
The talent aspect of creativity include the product, the art
form, and the realm of the talented creator.
Maslow
(1959)
.. As production that result from activity,
control, and hard work.
Roger
(1954)
Emergence in action of novel rational product,
growing out of the uniqueness of the individual
on this one hand and the materials, events,
people or circumtances of his life on the other.
May
(1959)
Creativity is bringing something new into birt
… the expression normal man in the act of
actualizing himself … as the representation of
the highest degree of emoyional health.
Meassure / criteria for evaluating : how original, inventive, or
imaginative the product.
Clark, 1983:39Creativity :
The talent
aspect
to develop
Inner condition/characteristic
To facilitate creative and artistic production
externally:
Openess to experience, new idea;
an internal locus of evaluation;
an ability to toy with element and
concepts; perceiving fressly;
concern with outside and inside
worlds; ability to defer closure
and judgment; ability to accept
conflict and tension; skilled
performance of the traditional
arts; high theoritical and
aesthetic values.
Treat the child with respect and allow
freedom to explore the universe;
create the atmosphere with really good music,
books, and pictures as a natural part of the
child’s world;
treat ideas and question respectfully; respect
to the child privacy; value the unusual, the
divergent; help the child learn mistaake;
avoid sex role stereotyping; encourage self
expression; teach the child learn to trsust the
senses; and permit the child’s own creativity
to emerge.
Rogers : Safety psychological accepting
individual unconditional; providing a climate,
and by understanding empathetically.
Clark, 1983:39Creativity :
A function
of higher
levels of
consciousn
ess
Anderson
(1962)
indicated that a creative product is never completely a
product of one‟s rational, everyday state of maind.
Krippner
(1968)
Whitout acces to alternative levels of awareness, creative
behavior may be stilfed or blocked.
MacKinnon -gives being more intuitively perspective as one of the
major conditions for creativity.
(1985)
Characteristic
Have their energy field accescible; have ability to top and release
unconcious and preconcious thought; be able to withstand being thought
of as abnormal or eccentric; be more sensitive; have a richer fantacy life
and greater involvement to daydreamning; be more enthusiastic and
impulsif; often show abilities of synesthesia (e.g. tastibng color, seeing
sound, hearing smells); show different brain wave pattern than less
creative, especially during creative activity; when confront with novelty of
design, music, ideas, get excited and involved (less creative people get
suspicious and hostile), when given new solution to a problem, get
enthused, suggest other ideas, over look details and problem (less creative
student analyze the defect rather than explore potentials).
Clark, 1983:39-
Creativity : A
function of higher
levels of
consciousness
STOP CREATIVITY
Krippner (1967) list ten assumptions to stop creativity : (creativity killer)
Everything must be useful
Everything must be
succesful
Everything must be perfect
Everything must like you
You shall not prefer
solitude to togetherness
You must have concentrated
attention
You must not diverge from
culturally imposed sex norms
Do not express excessive
emotional feeling
Do not be ambigous
Do not rock the cultural boat
PENGUKURAN KREATIVITAS
TES :
TES TORRANCE : MENCERITERAKAN GAMBAR
TES PERBUATAN : BUAT KARYA/LAKUKAN SESUATU
NON TEST
OBSERVASI
WAWANCARA
nominasi
Baca clrak, 34
PENG
R
Uku
AN
Kr
Ea
TIVITAS
Isu kontroversi
Lima pendekatan
Pendekatan
Fokus penilaian
1. Analisis obyektif
Menilai produk berdasar wujud fisik
2. Pertimbangan subyektif
Pertimbangan subyektif pd “orang/produk”
3. Inventori kepribadian
Ident kecend-2 kepribadian kreatif
4. Inventori biografis
Ungkap aspek-2 kehid orang-2 kreatif
5. Tes kreatif
Ungkap puan berpikir kreatif
TEKNIK BANG KREATIVITAS
BERANDAI-ANDAI
PENGGUNAAN YG TDK
LAZIM
PERBAIKI PRODUK
MENGGABUNGKAN
BERPIKIR POLOS
MEMBUAT HAL2 YG LUCU
ANALISA KEBUTUHAN
MENGUBAH SESUATU
MENYESUAIKAN
MEMPERKECIL
MEMPERBESAR
PENGGUNAAN LAIN
MENYUSUN KEMBALI
BERPIKIR KEBALIKAN
SCAMMPERR
Substitute sepakbola, pager & HP
Combine kopi 3 in 1
Adapt bus way,
Magnify iklan ukuran besar, membuka kantor cabang
Modify celana cutbrai, rambut cepak, buku edisi ulang
Put to Other Uses transfer Beckham,
Eliminate restrukturisasi, roti unyil, debirokrasi
Reverse toko swalayan, pom bensin di usa
Rearrange utang indonesia, kursi ujian
PEMBELAJARAN KREATIF
IN-DEPT STUDY
(misal: sampai menemukan rumus)
Thinking, RESEARCH, and library skill
INDEPENDENT STUDY
Self–selected topics
AffecTIVE ACTIvitieS
Presentation
Pembelajaran kreativitas harus
menyenangkan bagi siswa
Keterlibatan siswa
Tidak menyalahkan siswa
Banyak cara yang dapat dilakukan
guru
Guru harus kreatiF
PAJANGAN - ABSESNSI MANDIRI – POHON ILMU – KERJA SAMA
MUSUH ABADI : PEMBELAJARAN TRADISIONAL
DEVELOPMENTAL APPROACH :
DIMENSI UMUR & BUT INDIVIDUAL
TEPAT METODE & MEDIA
FUNGSIONAL
LESSON STUDY
LINGKUNGAN YANG RAMAH
PENGHARGAAN
PERMAINAN
Asesibilitas
PAJANGAN
Pameran hasil karya anak yg ditempelkan di
tembok/diletakkan di rak, di atas meja/tempat
tertentu yg menarik & memberikan rangsangan
siswa utk bel.
rasional
Melihat adalah proses belajar, semakin sering dilihat
memperkuat proses belajar & kalau siswa mengerjakan
sendiri pajangan proses bel akan lebih terhayati.
Media utk menuangan ide, gagasan, konsep
merangsang karya imajinatif bang kreat.
Pajangan yg dibuat oleh guru blm tentu dimengerti oleh
anak, sekalipun bagus.
Bermanfaat utk membina kepercayaan diri &
memperdalam proses belajar.
Pajangan mrpk lingk bel yg menarik.
Dibuat kelompok merangsang diskusi, kerja
sama/kooperatif & kompetitif.
Hasil kerja masing-2 pok perlu diketahui pok lain.
Kapan direncanakan ?
Pajangan hrs selalu berubah / baru sesuai hsl
pekerjaan siswa yg selalu berkembang, atau topik
bahasan hanya beberapa yg dpt dipertahankan lbh
lama.
Pekerjaan siapa yg seharusnya dipajang?
Sebaiknya semua hsl karya anak dipajang. Tetapi
karena berbagai faktor (utamanya tempat), tidak
semua hasil karya anak harus dipajang.
Pemilihan hrs hati-hati : kalau hanya yg terbaik, dpt
turunkan semangat pok yg hsl pekerjaannya kurang
baik.
Apa yg perlu disiapkan guru?
Peralatan sederhana :
gunting, pensil, spidol, lem, penggaris, pisau.
Bahan :
mudah didapat barang-2 bekas (majalah, koran,
kaleng, kotak, kertas warna, kain perca, batubatuan/biji-bijian, dsb).
Kriteria pajangan yang baik
Pesannya jelas & mdh dimengerti
Menunjang proses belajar
Bagian-2 yang diperlihatkan mempunyai kaitan yg
jelas, rapi, menarik, & disusun menurut urutan yg
logis.
Diberi keterangan yg jelas shg mdh dibaca
Pojok pustaka & alat peraga
Indikator Proses PAKEM
GURU MENUNJUKKAN FLEKSIBILITAS DALAM PENGELOLAAN
MURID DALAM KBM
MEMBERIKAN TUGAS-TUGAS YANG LEBIH PRAKTIS, TERMASUK
TUGAS YANG MEMANFAATKAN LINGKUNGAN SOSIAL & ALAM
PEKERJAAN ANAK DITULIS DENGAN KATA-KATA MEREKA
SENDIRI.
KELAS MEMAJANGKAN PEKERJAAN ANAK & ALAT BANTU
PENGAJARAN.
ANAK DAPAT MENUNJUKKAN PERASAAN & MENGUTARAKAN
PENDAPAT MEREKA DENGAN BEBAS DI KELAS.
BERBAGAI JENIS PENILAIAN DITERAPKAN & UMPAN BALIK
DIBERIKAN KEPADA MURID UNTUK MENINGKATKAN HASIL
BELAJAR
PEMBUATAN & PEMANFAATAN SUDUT BACA/PERPUSTAKAAN
KELAS
PEMBELAJARAN YG BERKUALITAS
kualitas belajar yg harus dikembangkan kepada siswa oleh GURU :
BELAJAR UNTUK MENJADI (LEARNING TO BE)
yaitu kemampuan untuk mengembangkan diri ke arah terbentuknya
kepribadian yang utuh & mandiri.
BELAJAR UNTUK BELAJAR (LERANING TO LEARN)
yaitu kemampuan untuk secara terus menerus aktif belajar sesuai dengan
dinamika perkembangan Iptek serta tuntutan & kebutuhan lingkungan.
BELAJAR UNTUK BERBUAT (LEARNING TO DO)
Yaitu kemampuan untuk menghasilkan sesuatu yang fungsional
(keterampilan tertentu) agar dapat bekerja secara produktif dalam
menekuni profesinya.
BELAJAR UNTUK HIDUP BERSAMA (LEARNING TO LIVE TOGETHER)
Yaitu kemampuan untuk senantiasa mampu menyesuaikan diri sesuai
tatanan kehidupan berdasar nilai-nilai yang dianut lingkungannya.
Berdasar hal di atas peran utama GURU PROF :
INSTRUCTOR ATAU EDUCATOR, TETAPI LEBIH LUAS LAGI YAITU SEBAGAI
MOTIVATOR, DEVELOPER, INOVATOR, KONSELOR, & SEKALIGUS CHANGE
OF AGENT
Model Belajar Aktif
(L. Dee Fink, 1999)
Mengalami:
Berdialog dengan:
Melakukan
Orang lain
Mengamati
Diri sendiri
72
Model Belajar Aktif
(L. Dee Fink, 1999)
Melakukan
• Secara langsung:
Melakukan sesuatu.
• Secara tak langsung:
Bermain peran, simulasi.
73
Model Belajar Aktif
(L. Dee Fink, 1999)
Mengamati
• Secara langsung:
mengamati suatu
kejadian/benda
• Secara tak langsung:
mengamati tiruan benda atau
film tentang suatu kejadian.
74
Model Belajar Aktif
(L. Dee Fink, 1999)
Berdialog dengan orang
lain
• Interaksi. Berdialog
dengan guru dan/atau
siswa lain/nara sumber
lain memperbincangkan
apa yang dipelajari.
75
Model Belajar Aktif
(L. Dee Fink, 1999)
Berdialog dengan diri
sendiri
• Refleksi.
Si pebelajar berpikir reflektif
tentang apa yang mereka
pelajari dan bagaimana
perasaan mereka sewaktu
belajar.
76
Contoh pertanyaan guru untuk refleksi siswa
Apa saja yang telah kamu pelajari?
(Kamu jadi tahu atau bisa apa?)
Apa yang masih membingungkan?
Apa saja yang menyenangkan?
Apa saja yang tidak menyenangkan?
77
Mengapa
Belajar Aktif?
78
Mengapa
Belajar
Aktif?
Sifat apakah yang ditunjukkan oleh mereka?
79
Kiri:
• mulut besar = banyak
ceramah
• mata sipit = kurang
memperhatikan siswa
• telinga kecil = kurang
mendengarkan siswa
• telunjuk jentik = sering
„mengancam‟ siswa
Kanan:
• mulut kecil = sedikit ceramah
• mata besar = sering mengamati
siswa
• telinga besar = selalu
mendengarkan siswa
• tangan terbuka = „welcome‟ thp
kekeliruan siswa
Perilaku Guru
80
Sikap dan Perilaku Guru
Mendengarkan siswa
Menghargai siswa
Mengembangkan
rasa percaya diri siswa
memberikan tantangan
mendorong ungkap
gagasan
menciptakan rasa
tidak takut salah
81
• Tulisan siapakah ini?
• Apakah ahli menghasilkan karya yang benar secara langsung ?
82
Tentang anak …
“Fakta yang mudah dilihat adalah anak secara gigih ingin mengetahui
sebanyak mungkin tentang dunia di sekelilingnya dengan cara
menciptakan pengetahuan tentang apa yang telah dialaminya. Hal itu
sangatlah baik karena ilmuwan pun seperti itu. Anak melakukan
pengamatan, berpikir, merumuskan, kemudian menguji jawaban dari
pertanyaan yang mereka ajukan sendiri. Bila tidak ada yang menghalangi,
mereka akan terus melakukannya sehingga pengetahuannya menjadi
lebih baik"
(Holt, 1991, p 152 dalam Craft A. 1997)
83
Mengapa Belajar Aktif? –
Dasar Hukum (1)
Proses pembelajaran pada satuan pendidikan
diselenggarakan secara interaktif,
inspiratif, menyenangkan, menantang,
memotivasi peserta didik untuk
berpartisipasi aktif, serta memberikan
ruang yang cukup bagi prakarsa,
kreativitas, dan kemandirian sesuai
dengan bakat, minat, dan perkembangan fisik
serta psikologis peserta didik (PP 19/2005:
Standar Nasional Pendidikan, ps 19, ayat 1)
84
Mengapa Belajar Aktif? –
Dasar Hukum (2)
Pendidikan diselenggarakan sebagai suatu
proses pembudayaan dan
pemberdayaan peserta didik yang
berlangsung sepanjang hayat (UU no
20/2003: Sisdiknas, ps 4, ayat 3)
Pendidikan diselenggarakan dengan memberi
keteladanan, membangun kemauan, dan
mengembangkan kreativitas peserta
didik dalam proses pembelajaran (UU no
20/2003: Sisdiknas, ps 4, ayat 4)
85
Mengapa Belajar Aktif? Kesimpulan
a.l.:
Sifat dasar/alamiah anak
UU: Sisdiknas & PP: SNP
86
Tugas / latihan
Identifikasi kebutuhan anak berdasar kelainannya.
Identifikasi karakteristik pembelajaran berdasar
dimensi pakem
Pembuatan pajangan / media, dimana letak
pakemnya?
ALASAN
ADANYA MASALAH-MASALAH DGN TEMAN
SEBAYA, GURU, ORANG TUA, DLM PENGAMBILAN
KEPUTUSAN, KERJASAMA, & MASALAH
PERASAAN.
Terlalu percaya diri / sebaliknya
Beban mental – harapan lingungan
SASARAN
Pemenuhan BUT KOG/AKADEMIK/nafsu intelektual
Pemenuhan BUT PerSONAL- so.SIAL
Pemenuhan BUT PENGALAMAN
Pemenuhan BUT SOSIO-EMOSIONAL
PERAN GURU SBG TNG KONSELING
MENYEDIAKAN AKTIVITAS UTK BANG
PSIKOSOSIAL POSITIF
IMPLEM KUR SCR EFEKTIF
MENYEDIAKAN NARA SUMBER DI KELAS YG
DPT JADI MODEL ANAK
MENYIAPKAN BIBLIOGRAFI
MENGGUNAKAN KONSULTASI KELOMPOK
KECIL SBG USAHA KAT PEMAHAMAN SOSIAL
& DIRI ANAK
PENYELENGGARAAN & PEMBENTUKAN POK
DISKUSI
KONSULT & KOOR DENGAN ORANG TUA
BIDANG LAYANAN
BIMBINGAN AKADEMIK
MONITOR PRESTASI ANAK
BANTU PILIH AKTIVITAS
BELAJAR
MEMOTIVASI DISIPLIN
DLM BELAJAR
BIMBINGAN KEPRIBADIAN
BANTU RENCANAKAN
AKTIVITAS SEHARI2
MONITOR AKTIVITAS
SOSIAL & PRIBADI ANAK
BANTU PILIH TEMAN, DSB
BIMBINGAN KARIR
INFORMASI KARIR
PERENCANAAN KARIR
KEPUTUSAN KARIR
Contoh-contoh
hasil kreativitas
&
bagaimana
latihan kreatvitas
9X2=18
1+9 =9
9X11=99
9+9 =18
9X3=27
2+7 =9
9X15=135
1+3+5=9
9X4=36
3+6 =9
9X22=198
1+9+8 =18
9X5=45
4+5 =9
9X6=54
5+4 =9
9 DIKALIKAN
BERAPAPUN.
9X7=63
6+3 =9
HASILNYA KALAU
DIJUMLAH = 9
9X9=81
8+1 =9
1+8=9
1+8=9
What do you see?
Looks like President Clinton and Vice President Gore,
right?
What do you see?
Is the left center circle bigger?
It's a spiral, right?
Keep staring at the black dot. After a while
the gray haze around it will appear to
shrink.
Can you find the dog?
Stare at the black lightbulb for at least 30 seconds.
Then immediately stare at a white area on the screen
or at a sheet of paper. You should see a glowing light bulb!
How many colors do you see?
Do you see a couple or a skull?
Count the black dots! :o)
Are the horizontal lines parallel or do they slope?
How many legs does this elephant have?
Do you see the three faces?
What does the sign say? Are you
sure?
Do you see the face? Or an Eskimo?
Do you see a cube missing a corner?
Or do you see a small cube in a big
one?
Is the blue on the inner left back or the outer left front?
Do you see a musician or a girl's face?
Do you see an old man's face or two lovers kissing?
PERANAN HUKUM DALAM PEMBANGUNAN EKONOMI
DI NEGARA POLISI DAN NEGARA KESEJAHTERAAN
DIGUNAKAN SCR
BERLEBIHAN
(MAKSIMALIS)
PEMBANGUNAN
EKONOMI
KETERLIBATAN NEGARA
MINIMALIS
NEGARA
POLISI
TDK ADA
KEBEBASAN
USAHA &
PERSAINGAN
BEBAS
UNTUK JAMIN
KELANGSUNGAN
PENGUASA
HAMBAT
INDUSTRALISASI
PERANAN
HUKUM
HUKUM
NEGARA
KESEJAH
TERAAN
SARANA :
KAMTIBMAS
BANG
GAKKUM
BIMB &
DIKMAS
AGAR TDK
SAING BEBAS
SESUAI HK EKONOM
KETERLIBATAN NEGARA
TERUKUR - SEIMBANG
FAKTOR
TERTENTU
KENDALI
KEADILAN
KESIMBANGAN
KESEJAH
TERAAN MASY
KENDALI
F PENENTU
EKONOMI
DINAMIS,
TERTIB, SEIMBANG
LINDUNG & KAT
NATIONAL INCOME
GAKKUM
JAHTERA YG
MERATA & ADIL
PEMBANGUNA
EKONOMI
BERHASIL
SESUAI
CITA-CITA
ARAH KEBIJAKAN HUKUM NASIONAL
DENGAN KELUARNYA KEPOLISIAN DARI LINGKUNGAN ABRI
PP No 11 D/1946
Penetapan Dewan
Pertahanan Negara
No 112/1947
UU No 20/1982
UU No 28/1997
ARAH KEBIJAKAN
HUKUM NASIONAL
TAP MPR No. VI/MPR/2000
TAP MPR No VII/MPR/2000
Keppres No 89/ 2000
UU No. 2/2002.
TAP KEDUDUKAN, FUNGSI,
PERAN & TUGAS POLRI
TAP PROFESIONALISME
POLRI
MANDIRI
BAGIAN
ABRI
POLRI
TAP JATI DIRI POLRI
MANDIRI
TAP KEMANDIRIAN
Dibawah
Depdagri Menteri
Dibawah
Kendali
Militer
Dibawah
Presiden
JADI BAG MASY MADANI
PUS BUD MILITERISTIK
HILANG JATI DIRI, PROF, KEMANDIRIAN,
MILITERISTIK
MERDEKA
ORBA
ERA REFORMASI
Lengkapilah gambar ini !
Nama:
BERFIKIR DIVERGEN
Fluency – The ability to generate a number of ideas so that there is
an increase of possible solutions or related products.
Flexibility - The ability to produce different categories or perceptions
whereby there are a variety of different ideas about the same
problem or thing.
Elaboration – The ability to add to, embellish, or build off of an idea
or product.
Originality – The ability to create fresh, unique, unusual, totally new,
or extremely different ideas or products
Complexity – The ability to conceptualize difficult, intricate, many
layered or multifaceted ideas or products.
Risk-taking – The willingness to be courageous, adventuresome,
daring -- trying new things or taking risks in order to stand apart.
Imagination – The ability to dream up, invent, or to see, to think, to
conceptualize new ideas or products – to be ingenious.
Curiosity – The trait of exhibiting probing behaviors, asking and
posing questions, searching, being able to look deeper into ideas, and
the wanting to know more about something.
Kelancaran– Kemampuan untuk menghasilkan sejumlah gagasan
sedemikian sehingga ada suatu peningkatan kemungkinan
pemecahan atau berhubungan produk.
Fleksibilitas- Kemampuan untuk menghasilkan persepsi atau
kategori berbeda dengan mana ada berbagai gagasan berbeda
tentang hal atau masalah yang sama.
Pengembangan– Kemampuan untuk menambah, menghias, atau
membangun batal/mulai dari suatu gagasan atau produk.
Keaslian– Kemampuan untuk menciptakan segar, unik, tidak
biasa, secara total baru, atau produk atau gagasan sangat berbeda
Kompleksitas-Kemampuan ke conceptualize sulit, ruwet, banyak
orang yang layered atau produk atau gagasan bersegi banyak.
Risk-taking– Kesediaan untuk berani, adventuresome, keberanian- berusaha berbagai hal baru atau mengambil resiko dalam rangka
menyendiri.
Imajinasi– Kemampuan untuk menemukan, menemukan, atau
untuk lihat, untuk berpikir, ke conceptualize produk atau gagasan
baru– untuk;menjadi ingenious.
RASA INGIN TAHU– Ciri memperlihatkan menyelidiki perilaku,
[minta;tanyakan] dan bersikap pertanyaan, pencarian, menjadi
mampu lihat lebih dalam ke dalam gagasan, dan yang kurang
untuk mengetahui lebih banyak tentang sesuatu (yang).Fluency –
The ability to generate a number of ideas so that there is an
increase of possible solutions or related products.
..
Eeh… matanya ketinggalan
MENGAPA DI DUNIA INI TDK ADA YG ABADI, SELAIN PERUBAHAN?
KENAPA PERKEMBANGAN IPTEK SAAT INI SANGAT CEPAT?
KENAPA TIAP HARI ADA PRODUK BARU?
DAPATKAH KAKEK LAHIR BEKALANGAN, SETELAH CUCUNYA?
Benarkah kreativitas itu hanya milik seniman
dan orang-orang cerdas?
Benarkah hanya orang kreatif yg dapat maju?
Mengapa seorang guru SLB saja khoq harus kreatif?
Apa tujuan belajar
PENGEMBANGAN KREATIVITAS
ADA
PERUBAHAN
“If You don’t change You’ll die”
(C.K. Prahalad)
Film Polaroid berasal dari KELUHAN anak kecil
Pena highlighter, Stabilo Boss berawal - KESULITAn bosss repot
membaca banyak laporan.
Pada awalnya COCA COLA digunakan untuk menyembuhkan
Penyakit syaraf?
Kratingdaeng – minuman tradisional Thailand.
Kita dapat menemukan surat-surat di Al-Qur‟an yang menganDung
kata NAFSU dengan hanya dalam hitungan detik?
Di jln setiabudi, paling laris yang jualan SURABI.
Apa kreativitas itu?
.U.M.U.M.
KREATIF=
BANYAK IDE
BANYAK GAGASAN
BANYAK AKAL.
BANYAK KARYA BARU & UNIK
KEMAMPUAN MENGGABUNGKAN SESUATU YANG
BELUM PERNAH TERGABUNG SEBELUMNYA
KEMAMPUAN UTK MENEMUKAN/ MENDAPATKAN/
MELAHIRKAN SUATU YANG BARU (IDE, GAGASAN,
PEMECAHAN MASALAH/KARYA).
Def metaphora :
CREATIVITY IS LIKE A CAT CHASING ITS TAIL
DEFINISINYA BERBEDA-BEDA,
TERGANTUNG BGMN ORANG
MENDEF :
“CREATIVITY IS A MATTER OF
DEFINITION”
Alasan :
1. Sbg suatu “konstruk hipotesis”
kreativitas mrpk ranah psikologis
yg kompleks & multidimensional.
2. Definisi-2 kreat memberikan tekanan
yg berbeda-2, tergantung kpd dasar
teori yg menjadi acuan pembuat definisi.
definisi
• definisi
konsensual
Menekankan segi produk
(kualitas produk yg dinilai
oleh pengamat yg ahli).
Berdasar konsensus
Asumsi :
- produk manifestasi
puncak kreativitas.
- dpt dikenali oleh
pengamat luar utk
disepakati.
Sering digunakan utk studi
kreativitas (seni & keilmuan)
a/ terkait produk, orang,
proses, maupun lingk.
konseptual
Menekankan pd produk, tp bkn
berdasar kesepakatan, melainkan pd
kriteria ttt.
Bertolak dr konsep tertentu yg
dijabarkan dlm kriteria tertentu.
(Misal dr Amabile/Stein). Walau utk
penentuan akhir jg tergangtung pd
kesepakatan.
Def Stein : mewakili kedua def tsb.
The creative work is novel work that is
accepted as tenable or useful or satisfying
by group in some point in time”
Novel : sbg kriteria produk
Tenable, useful, & satisfying : sbg validasi
konsensual
… time : pd masanya mimesis kreat
Wikipedia /free encychlopedia
Creativity (or creativeness) is a mental process
involving the generation of new ideas or concepts, or
new associations between existing ideas or concepts.
Creativity is manifested in the production of a creative
work (for example, a new work of art or a scientific
hypothesis) that is both novel and useful.
Yunani
Latin
: "to create"
: “creatio“ "to make" : "facere" / "creare".
Common definition from Webster's - Creativity is
marked by the ability or power to create–to bring into
existence, to invest with a new form, to produce
through imaginative skill, to make or bring into
existence something new.
Carl Rodgers (psychologist an writer) -- The emergence
of a novel, relational product, growing out of the
uniqueness of the individual.
Henry Miller ( writer) -- The occurrence of a
composition which is both new and valuable.
John Haefele (CEO and entrepreneur) -- The ability to
make new combinations of social worth.
Newell, Simon, & Shaw (team of logic theorists) -- A
special class of problem solving characterized by
novelty.
H. H. Fox (scientist) -- Any thinking process in which
original patterns are formed and expressed.
E. Paul Torrance (educator, academic, creativity
investigator) --Fluency , flexibility, originality, and
sometimes elaboration.
Rollo May (writer, philosopher) - Creativity is the process of
bringing something new into being...
Roger von Oech - Creative thinking involves imagining
familiar things in a new light, digging below the surface to
find previously undetected patterns, and finding
connections among unrelated phenomena.
Carnevale, Gainer, Meltzer - ... the ability to use different
modes of thought to generate new and dynamic ideas and
solutions.
Perkin : Creativity is a messy and myth-ridden subject.
DimensI KreativitaS
RHODES (MUNANDAR, 1999) KREATIVITAS DPT DITINJAU DR KONDISI PRIBADI & LINGKUNGAN
YG DIGOLONGKAN MENJADI 4 DIMENSI YANG DISEBUT SEBAGAI
THE FOUR P’s OF CREATIVITY
Person
Process
Product
Press
PERSON
Guilford (1950) :
“Creativity refers the abilities that are characteristics of creative people”
GUILFORD
FLUENCY
(banyak gagasan)
REDEFINITION
(perspektif berbeda)
Orang kreatif melihat sesuatu
sama dengan orang lain, tetapi
cara berpikirnya beda
MAMPU LIHAT MASALAH DR
SGL ARAH
NAFSU INGIN TAHU BESAR
(curiosity)
ELABORATION
(mengurai scr rinci)
ORIGINALITY
(asli)
FLEXIBILITY
(banyak pemec/pendekatan)
CAMPBELL
TERBUKA THD PENGALAMAN
BARU
SUKA TGS MENANTANG
WAWASAN LUAS
MENGHARGAI KARYA ORANG
LAIN
Highly creative student may:
1. Have the ability to make unusual associations or
2.
3.
4.
5.
6.
7.
8.
connections between seemingly unrelated or remote
ideas.
Have the ability to rearrange elements of thought to create
new ideas or products.
Have a large number of ideas or solutions to problems.
Display intellectual playfulness, fantasize, imagine, and
daydream.
Are often concerned with adapting, improving, or
modifying existing ideas, thoughts or products or the
ideas or products of others.
Have a keen or unusual sense of humor and see humor
others do not see.
Do not fear being different, but may still be emotionally
hurt by non-acceptance. Often the importance of an idea
outweighs that of peer acceptance.
Ask many questions at an early age - this trend generally
continues past early childhood into adulthood. These are
the kids that surprise others with their wonderings.
9. Frequently challenge teachers, textbook authors, and those in
authority or "experts".
10.Sometimes come up with unexpected, futuristic, bizarre, even
"silly" answers or solutions.
11.Are sometimes resented by peers because of crazy or unusual
ideas and their forcefulness and passion in presenting them or for
pushing their ideas on others. In the context of cooperative
efforts or groupings, highly creative students may get along or
work better with younger or older students, or with adults.
12.When completing special or unusual projects or assignments,
often show a rare capacity for originality, intense concentration,
commitment to completion, and persistence. In essence may be
perceived as working hard to achieve personal goals.
13.Become obsessed with completing varied projects, or exhibit
unusual persistence in a completing tasks. It is this obsessive
need to complete a task that is so important in differentiating
folks with good ideas from those who are truly creative.
Synthesized and embellished by Leslie Owen Wilson 10/02/95 -- original sources
Klausmier; Renzulli; Torrance; Khatena; and Clark
PROCESS
MUNANDAR (1977) :
KRETIVITAS ADALAH PROSES YANG
DIMANIFESTASIKAN OLEH KELANCARAN,
FLEKSIBILITAS & ORIGINALITAS BERPIKIR
WALLAS, 4 tahap kreatif
1. TAHAP PERSIAPAN : KUMPUL INFORMASI
2. TAHAP INKUBASI : PENGERAMAN
3. TAHAP ILUMINASI : SAAT TIMBULNYA
INSPIRASI/GAGASAN PEMECAHAN MASALAH
4. TAHAP VERIFIKASI : TAHAP PENGUJIAN SCR
KLINIS BERDASAR REALITAS
PROCESS
Graham Wallas. in his work Art of Thought, published in 1926
5 stages:
1. Preparation (preparatory work on a problem that focuses the
individual's mind on the problem and explores the problem's
dimensions),
2. Incubation (where the problem is internalized into the
subconscious mind and nothing appears externally to be
happening),
3. intimation (the creative person gets a 'feeling' that a solution is on
its way),
4. Illumination or insight (where the creative idea bursts forth from
its subconscious processing into conscious awareness); and
5. Verification (where the idea is consciously verified, elaborated, and
then applied).
Baron (1976):
“Creativity is the ability to bring something new into existence”
Amabile :
“Creativity can be regarded as the quality of product or
judged to be creative by appropriate observers”
1.
2.
respon
Bersifat baru, unik, berguna, benar & bernilai
Bersifat heuristik, menampilkan metode yng msh blm
pernah/jarang dilakukan sebelumnya.
Stein
novel, tenable, usefull & satisfiyng
(BARU, DPT DIPERTAHANKAN, BERGUNA & MEMUASKAN).
Produk kriteria puncak kreativitas
(PRODUCT IS THE ULTIMATE CRITERIA OF CREATIVITY)
PRESS
Tekanan lingk : FAKTOR PENDORONG & PENGHAMBAT,
BAIK INTERNAL / EKSTERNAL
kepekaan dlm melihat
lingkungan
Kebebasan
berpikir/bertindak
Komitmen kuat utk maju &
berhasil
Optimis & berani ambil
resiko, termasuk resiko yg
paling buruk
Ketekunan utk berlatih
Hadapi masalah sbg
tantangan
Lingkungan yg kondusif.
Tdk kaku & otoriter.
Malas berpikir,
bertindak, berusaha,
lakukan sesuatu
Impulsif
Meremehkan karya orang
lain
Mdh putus asa, cpt bosan,
tdk tahan uji
Cepat puas
Tak berani tangung resiko
Tdk percaya diri
Tdk disiplin
Tdk tahan kritik
Creativity Killers
Hennessy & Amabile (1992)
Surveillance : Merasa diawasi terus menerus
Evaluation : Takut lakukan sesuatu / takut salah
Rewards : Bosan, hilangkan motif intrinsik
Competition : Hanya ada satu pemenang, abaikan kemajuan anak
Over-control : Diberi tahu terus takut salah
Restricting choice : Menghalangi keinginan, kebebasan
Pressure : menghalangi eksplorasi, inovasi, bereksperimen
The most powerful way to develop creativity in your students is to be a role
model. Children develop creativity not when you tell them to, but when you show
them. (Robert J. Sternberg)
Creativity Killers
The most powerful way to develop
creativity in your students is to be a
role model. Children develop creativity
not when you tell them to, but when
you show them. (Robert J. Sternberg)
Hennessy & Amabile (1992)
Surveillance (Pengawasan ) : Hovering over kids, making them feel
that they're constantly being watched while they are working, . . . under
constant observation, the risk-taking, creative urge goes underground and
hides . . .
Evaluation - When we constantly make kids worry about how they are
doing, they ignore satisfaction with their accomplishments. . . .
Rewards - The excessive use of prizes . . . deprives (menghilangkan) a
child of the intrinsic pleasure of creative activity.
Competition - Putting kids in a win-lose situation, where only one
person can come out on top, . . . negates (meniadakan) the process
children progress at their own rates.
The most powerful way to develop
creativity in your students is to be a
role model. Children develop creativity
not when you tell them to, but when
you show them. (Robert J. Sternberg)
Creativity Killers
Hennessy & Amabile (1992)
Over-control - Constantly telling kid how to do things, . . . often
leaves (MENGABAIKAN) children feeling like their originality is a
mistake and any exploration a waste (membuang-buang) of time.
Restricting choice - Telling children which activities they
should engage in instead of letting them follow where their
curiosity and passion lead . . . again restricts active exploration
and experimentation that might lead to creative discovery and
production.
Pressure - Establishing grandiose (berlebihan?) expectations for
a child's performance . . . often ends up instilling aversion for a
subject or activity. . . .Unreasonably high expectations often
pressure children to perform and conform within strictly prescribed
guidelines, and, again, deter (menghalangi) experimentation,
exploration, and innovation. Grandiose expectations are often
beyond children's developmental capabilities
Clark, 1983:39-
Creativity : A
function of higher
levels of
consciousness
STOP CREATIVITY
Krippner (1967) list ten assumptions to stop creativity : (creativity killer)
Everything must be useful
Everything must be
succesful
Everything must be perfect
Everything must like you
You shall not prefer
solitude to togetherness
You must have concentrated
attention
You must not diverge from
culturally imposed sex norms
Do not express excessive
emotional feeling
Do not be ambigous
Do not rock the cultural boat
Orang-2/karya-2 kreatif terdahulu yg mengalami
penurunan nilai krn ditemukan hal-hal baru yg mampu
menjelaskan & memecahkan masalah.
(THOSE WHO HAVE BEEN SUCCESFUL INNOVATORS OF THE PAST,
TEND TO DISQUALIFY THEMSELVES FOR SUCCESFUL INNOVATION
IN THE FUTURE).
Mimesis dpt terjadi pd orang, intitusi, karya, atau teknik
pmch mslh.
KREATIVITAS TDK HANYA TERGANTUNG WAKTU,
TTP JUGA TEMPAT (FAKTOR SOSIAL & BUDAYA)
Kriteria kreatif
Menyangkut dimensi : PROCES, PERSON, & PRODUCT.
PROCES : proses berpikir kreatif merentang dr tahap
pengumpulan inform, inkubasi, iluminasi, & evaluasi/verifikasi.
PERSON : berkepribadian kreatif
PRODUCT : sejauh mana produk tsb memiliki nilai kebaruan
(newness, novelty), orisinalitas, bermanfaat, memuaskan, dan dapat
memecahkan masalah. Berdasar penilaian melalui analisa obyetif
ataupun pertimbangan subyektif.
Ghiselin (1963) & Shapiro (1973)
DPT DIBEDAKAN MENJADI 2 :
1. product CRITERIA : berdasar produk yg ditampilkan sesorang
selama hidupnya / hanya ketika ia menyelesaikan karya kreatif.
2. concurrent CRITERIA : Berdasar konsep /def yg dijabarkan dlm
indikator-indikator ttt.
Catatan : dedi – sama-2 concurrent, jadi perlu dicek lagi.
ASUMSI – ASUMSI KREATIVITAS
•
•
•
•
•
•
TIAP ORANG MEMILIKI POTENSI KREATIF, YG MEMBEDAKAN
TINGKATANNYA (& bersifat kontinum).
POTENSI KREATIF DPT DIKEMBANGKAN & DIPUPUK. (Devito)
KREATIVITAS DPT DINYATAKAN DLM IDE ATAU PRODUK, DGN
PRODUK SBG KRITERIA PUNCAK – “THE ULTIMATE CRITERIA”
KREATIVITAS LAHIR SBG HSL INTERAKSI ANT FAK PSIKOLOGIS
(internal) & LINGKUNGAN (eksternal).
KREATIVITAS TDK BERLANGSUNG DLM KEVAKUMAN (EX-NIHILO) :
TDK LHR TIBA-TIBA, TTP DIDAHULUI OLEH KARYA SEBELUMNYA
KREATIVITAS TDK LAHIR KRN KEBETULAN, TTP MENUNTUT
KECAKAPAN, KETERAMPILAN, KETEKUNAN & KERJA KERAS
PRODUK : 1% IDE, 99% KERINGAT.
•
DLM DIRI SESEORANG & LINGK-NYA TREDAPAT FAKTOR-2
PENUNJANG & PENGHAMBAT BANG KREATIVITAS.
•
KREATIVITAS DPT DIPELAJARI, DGN CIPTAKAN FAKTOR
PENDORONG & JAUHI FAKTOR PENGHAMBAT
KREATIVITAS
A. Taylor, (1959)
The first three levels of creativity can be attained by anyone who is motivated and who
has persistence enough to see projects and ideas through. : siapapun bisa
The last two levels may be unattainable to all but those who are highly gifted creatively,
or those who are naturally creative geniuses. : yang berbakat
1. Primitive and intuitive expression
Found in children and in adults who have not been trained in art. There is an innocent quality to
primitive art, but also directness and sensitivity.
2. Academic and technical level
At this level the artist learns skills and techniques, developing a proficiency that allows creative
expression in myriad ways (banyak cara). The academic artist adds power to expression through
the mastery of craft.
3.
Inventive level
Many artists experiment with their craft, exploring different ways of using familiar tools and
mediums. This heralds the level of invention. Breaking rules is the order of the day, challenging the
boundaries of academic tradition, becoming increasingly adventurous and experimental. Inventors
use academic tradition and skills as a stepping-stone into new frontiers.
4. Innovative level
At the level of innovation the artist, writer, musician, inventor, thinker is more original. Materials
and methods that are out of the ordinary are introduced. Now the creator breaks the boundaries.
The academic or inspirational foundation remains as a substructure of unconscious thought guiding
these creative efforts.
5. Genius level
The fifth level of creativity is characterized as genius. There are individuals whose ideas and
accomplishments in art and science defy explanation. Genius is arguably the one level that is
unexplainable and perhaps unattainable for most of us, something that an individual is born
with.
TEORI fungsi BELAHAN OTAK (CLARK)
• OTAK KIRI & KANAN DISAMBUNG OLEH SEGUMPAL SERABUT “CORPUS COLUSUM”
• RESPON, TUGAS & FUNGSI MASING-MASING BELAHAN BERBEDA.
BERPIKIR
RASIONAL
ANALITIS
LINIER
SCIENTIFIC
BERPIKIR
HOLISTIK
SPATIAL
METAPHORIK
INTEGRATIF
SINTESA, INTUITIF
ELABORASI
HUMANISTIK -MISTIK
(BELAJAR CALISTUNG)
KONVERGEN & VERTIKAL
MENILAI KEBENARAN SECARA KRITIS
DEVERGEN & LATeRAL
MENILAI KEBENARAN DR MAKNANYA
Kalau belahan kanan ditingkatkan :
HARGA DIRI & KINERJA KAT, MAMPU MENJELAJAHI MATERI
BERBAGAI BIDANG DGN LBH MENDALAM & TEKUN
Wittrock, 1980 (Clark, 1983)
FUNGSI BELAHAN
Wittrock (1980, Clark, 1983)
OTAK KIRI
FUNGSI BELAHAN
OTAK KANAN
MATH, HISTORY, LANGUAGE
SELF, ELOBORATES AND INCREASES
VARIABLE, INVENTIVE (DY CIPTA)
VERBAL, LIMIT SENSORY INPUT
NON VERBAL PERCEPTION AND
EXPRESSIVENESS
SEQUENTIAL, MEASURABLE
SPATIAL
ANALYTIC
INTUITIVE
COMPARATIVE
HOLISTIC
RELATIONAL
INTEGRATIVE
REFERENTIAL
NONREFERENTIAL
LINEAR
HOLISTIC
LOGICAL
IMAGERY
DIGITAL
BETTER AT DEPTH PERCEPTION, FACIAL
RECOGNITION
SCIENTIFIC, TECHNOLOGICAL
MYSTICAL, HUMANISTIC
ACADEMICIANS
BUSINESS MAN
Kreativitas & berpikir divergent
Creative production is often characterized by the divergent nature of
human thought and action.
Fluency – The ability to generate a number of ideas so that there is an
increase of possible solutions or related products.
Flexibility - The ability to produce different categories or perceptions
whereby there are a variety of different ideas about the same problem or
thing.
Elaboration – The ability to add to, embellish, or build off of an idea or
product.
Originality – The ability to create fresh, unique, unusual, totally new, or
extremely different ideas or products
Complexity – The ability to conceptualize difficult, intricate, many layered
or multifaceted ideas or products.
Risk-taking – The willingness to be courageous, adventuresome, daring -trying new things or taking risks in order to stand apart.
Imagination – The ability to dream up, invent, or to see, to think, to
conceptualize new ideas or products – to be ingenious.
Curiosity – The trait of exhibiting probing behaviors, asking and posing
questions, searching, being able to look deeper into ideas, and the wanting
to know more about something.
Koestlur
BERPIKIR BISOSIATIF : MENGAITKAN PASANG SURUT
AIR LAUT DENGAN POSISI BULAN.
Jung
FUNGSI JIWA :
BERPIKIR, MERASA, MENGINDRA, & INTUISI
KREATIVITAS FUNGSI INEGRATIF
PK
INT
CRE
RS
IND
MACKLER & SONTZ, 1970
TEORI
PSIKOANALISA
- Freud
PANDANGAN TTG KREATIVITAS
KREATIVITAS TERJADI KARENA KONDISI RILEK DARI EGO
YANG MENJADIKAN ALAM BAWAH SADAR BERFUNGSI BEBAS
MENGEMBANGKAN IDE. SEHINGGA TERJADI INTEGRASI
ANTARA MASALAH YANG DIHADAPI DENGAN IMAGINASI.
KREATIVITAS ADALAH PENGGALIAN ALAM BAWAH SADAR
PROSES KETIDAKSADARAN MELANDASI KREATIVITAS.
KREATIVITAS MERPK MANIFESTASI DR PSIKOPATHOLOGI
ASOSIASI
HASIL DR PROSES ASOSIASI & KOMBINASI ELEMEN-ELEMEN YG
TLH ADA SHG MENGHASILKAN SESUATU YG BARU.
GESTALT
MANIFESTASI PROSES TILIKAN IND THD LINGK SCR HOLISTIK.
EKSISTENSIAL
IS
KREATIVITAS MRPK PROSES UTK MELAHIRKAN SESUATU YG
BARU MELALUI PENJUMPAAN ANTARA MANUSIA DGN MANUSIA
& MANUSIA DGN ALAM.
INTERPERSON
AL
KREATIVITAS LAHIR DLM KONTEKS SOSIALNYA. KREATOR SBG
INOVATOR & LINGK SBG PIHAK YG MENGAKUI.
MENEKANKAN PENTINGNYA NILAI & MAKNA DR KARYA, KRN INI
YG AKAN MENGHASILKAN PENGAKUAN SOSIAL.
SIFAT
MENEKANKAN UPAYA UTK MENGIDENTIFIKASI CIRICIRI/KARAKTERISTIK KREATIVITAS. (MISAL : GUILFORD)
Jung (clark, 1983) : An integrated concept of creativity
Creativity involves of synthesis of all functioning, and yet it still more.
A state of higher
Consciuosness – not of the
councious, rational mind, available
from the uncouncious or during altered
counciousness. Enhanced by growth
toward enlightenment.
Intuitive
A thinking state –
Rational, measurable.
Creativity
Can be developed by
Deliberate, concious pratice.
Thinking
A feeling state –
Emotionally impactful requires selfawareness, process of self-actualization.
Releases emotional energy
from the creator, transfers
this energy to the viewer
or consumer, eliciting an
emotional response.
A state of talent –
Creating new products
seen or hard by others.
Requires high levels of physical
Or mental development, high level of
Skill in area of talent.
Sensing
Feeling
Clark, 1983:33
Creativity :
A rational
thinking
function
Torrance
(1962)
The process of sensing gaps or disturbing missing element;
forming new hypotheses and communicating the result, possibly,
modifying and retesting the hypotheses.
Parner
(1967)
Function of knowledge, imagination, and evaluation. The process
involved as fact finding, problem finding, idea finding, solution
finding, and acceptance finding. (etc)
Meassure / selecting & evaluating student :
MInisota Test of Creative Thinking (MTCT), TTCT, Remote Association
Test (RAT), test IQ
General characteristic :
Self discipline, independent, often anti-authoritarian, zany sense of
humor, able to resist group pressure, a strategy develop early. More
adaptable, more adventurous, greater tollerance for ambiquisity and
discomfort. Little tolerance for boredom, preference for complexity,
asymetry, open-endedness. High in devergent thinking ability. High in
memory, good attention to detail, broad knowledge background, need
think periods, need supportive climate, sensitive to environment, need
recognition, opportunity to share, high aesthetic values, good aesthetic
judgment. Freer in developing sex role integration; lack of stereotypical
male, female identification. Bgmn Pengembangannya?
Clark, 1983:33
Creativity :
A rational
thinking
function
characteristic
Female Male
Liked school, especiallly course Disliked school, dislike their teacher and
in science, music, and art.
thought yhey were uninteresting.
Liked their teacher.
Did little homework.
Regularly read news
Dislike physical education and seldom
magazines …
engaged in team sports.
Were active in dramatics and
musical production
Wew regarde as radical or
unconventional.
Did not go out on dates as
often.
Often wanted to be alone to pursue
their own thoughts and interests.
Were daydreamers.
Clark, 1983:39Creativity :
A function
of feeling
Fromm
(1959)
Ability to see (or to aware) and to respond. He view it as an
attitude for living.
Khrisnam
urti
(1964)
.. Its roots in the initiative which comes into being only when there
is deep discontent … One most be wholley discontent, not
complainingly, but with joy, with gaiety, with love.
Hallman
(1963)
As a way of conducting one‟s life rather than in term of the number
and kind of objects which one may have oroduct.
Meassure / selecting & evaluating student : Personal Orientation Inventory (POI), elaboration
trait. Maslow : evaluating self-actualizing.
General characteristic :
Maslow :
common attribute in his population of self actualizing : A special kind of perception,
more spontanous and expressive, able to integrated, more self-accepting, less
afraid of what others would say, less need for other people, lack of fear of own
emotions, imulses, and thoughts. Etc.
Fromm:
capasity to be puzzled, ability to concentrate, ability to experoence self as creative,
as the originator of one‟s acts. Willingness to the born every day, ability to accept
conflict and tension from polarity rather than avoiding them. Courage to let go of
certainties, to different, to be concerned with trust, to be certain of one‟s own
feeling and thoughts and trust them.
Clark, 1983:39Creativity :
A function of
feeling
To develop (anderson, dkk)
Provide an environment rich and varied in stimulation.
Teach with materials & method harmonies with each other & with
teacher.
Deliniate clearly and repeatelly the aims of this type of program.
Allow free interplay of differences.
Make environment and materials frendly, nonthreatening, threreby
allowing disagreement and controversy without hostility.
Reduce anxiety in classroom, espicially that created by the teacher.
Handle difference as confrontations, not as conflicts.
Find integrative element in differences.
Emerge unifying concept.
Allow individuation and differentiation within the unity.
Foster positive change in directions congruent with student prediction
in cognitive and affective areas.
Clark, 1983:39-
Creativity :
The talent
aspect
The talent aspect of creativity include the product, the art
form, and the realm of the talented creator.
Maslow
(1959)
.. As production that result from activity,
control, and hard work.
Roger
(1954)
Emergence in action of novel rational product,
growing out of the uniqueness of the individual
on this one hand and the materials, events,
people or circumtances of his life on the other.
May
(1959)
Creativity is bringing something new into birt
… the expression normal man in the act of
actualizing himself … as the representation of
the highest degree of emoyional health.
Meassure / criteria for evaluating : how original, inventive, or
imaginative the product.
Clark, 1983:39Creativity :
The talent
aspect
to develop
Inner condition/characteristic
To facilitate creative and artistic production
externally:
Openess to experience, new idea;
an internal locus of evaluation;
an ability to toy with element and
concepts; perceiving fressly;
concern with outside and inside
worlds; ability to defer closure
and judgment; ability to accept
conflict and tension; skilled
performance of the traditional
arts; high theoritical and
aesthetic values.
Treat the child with respect and allow
freedom to explore the universe;
create the atmosphere with really good music,
books, and pictures as a natural part of the
child’s world;
treat ideas and question respectfully; respect
to the child privacy; value the unusual, the
divergent; help the child learn mistaake;
avoid sex role stereotyping; encourage self
expression; teach the child learn to trsust the
senses; and permit the child’s own creativity
to emerge.
Rogers : Safety psychological accepting
individual unconditional; providing a climate,
and by understanding empathetically.
Clark, 1983:39Creativity :
A function
of higher
levels of
consciousn
ess
Anderson
(1962)
indicated that a creative product is never completely a
product of one‟s rational, everyday state of maind.
Krippner
(1968)
Whitout acces to alternative levels of awareness, creative
behavior may be stilfed or blocked.
MacKinnon -gives being more intuitively perspective as one of the
major conditions for creativity.
(1985)
Characteristic
Have their energy field accescible; have ability to top and release
unconcious and preconcious thought; be able to withstand being thought
of as abnormal or eccentric; be more sensitive; have a richer fantacy life
and greater involvement to daydreamning; be more enthusiastic and
impulsif; often show abilities of synesthesia (e.g. tastibng color, seeing
sound, hearing smells); show different brain wave pattern than less
creative, especially during creative activity; when confront with novelty of
design, music, ideas, get excited and involved (less creative people get
suspicious and hostile), when given new solution to a problem, get
enthused, suggest other ideas, over look details and problem (less creative
student analyze the defect rather than explore potentials).
Clark, 1983:39-
Creativity : A
function of higher
levels of
consciousness
STOP CREATIVITY
Krippner (1967) list ten assumptions to stop creativity : (creativity killer)
Everything must be useful
Everything must be
succesful
Everything must be perfect
Everything must like you
You shall not prefer
solitude to togetherness
You must have concentrated
attention
You must not diverge from
culturally imposed sex norms
Do not express excessive
emotional feeling
Do not be ambigous
Do not rock the cultural boat
PENGUKURAN KREATIVITAS
TES :
TES TORRANCE : MENCERITERAKAN GAMBAR
TES PERBUATAN : BUAT KARYA/LAKUKAN SESUATU
NON TEST
OBSERVASI
WAWANCARA
nominasi
Baca clrak, 34
PENG
R
Uku
AN
Kr
Ea
TIVITAS
Isu kontroversi
Lima pendekatan
Pendekatan
Fokus penilaian
1. Analisis obyektif
Menilai produk berdasar wujud fisik
2. Pertimbangan subyektif
Pertimbangan subyektif pd “orang/produk”
3. Inventori kepribadian
Ident kecend-2 kepribadian kreatif
4. Inventori biografis
Ungkap aspek-2 kehid orang-2 kreatif
5. Tes kreatif
Ungkap puan berpikir kreatif
TEKNIK BANG KREATIVITAS
BERANDAI-ANDAI
PENGGUNAAN YG TDK
LAZIM
PERBAIKI PRODUK
MENGGABUNGKAN
BERPIKIR POLOS
MEMBUAT HAL2 YG LUCU
ANALISA KEBUTUHAN
MENGUBAH SESUATU
MENYESUAIKAN
MEMPERKECIL
MEMPERBESAR
PENGGUNAAN LAIN
MENYUSUN KEMBALI
BERPIKIR KEBALIKAN
SCAMMPERR
Substitute sepakbola, pager & HP
Combine kopi 3 in 1
Adapt bus way,
Magnify iklan ukuran besar, membuka kantor cabang
Modify celana cutbrai, rambut cepak, buku edisi ulang
Put to Other Uses transfer Beckham,
Eliminate restrukturisasi, roti unyil, debirokrasi
Reverse toko swalayan, pom bensin di usa
Rearrange utang indonesia, kursi ujian
PEMBELAJARAN KREATIF
IN-DEPT STUDY
(misal: sampai menemukan rumus)
Thinking, RESEARCH, and library skill
INDEPENDENT STUDY
Self–selected topics
AffecTIVE ACTIvitieS
Presentation
Pembelajaran kreativitas harus
menyenangkan bagi siswa
Keterlibatan siswa
Tidak menyalahkan siswa
Banyak cara yang dapat dilakukan
guru
Guru harus kreatiF
PAJANGAN - ABSESNSI MANDIRI – POHON ILMU – KERJA SAMA
MUSUH ABADI : PEMBELAJARAN TRADISIONAL
DEVELOPMENTAL APPROACH :
DIMENSI UMUR & BUT INDIVIDUAL
TEPAT METODE & MEDIA
FUNGSIONAL
LESSON STUDY
LINGKUNGAN YANG RAMAH
PENGHARGAAN
PERMAINAN
Asesibilitas
PAJANGAN
Pameran hasil karya anak yg ditempelkan di
tembok/diletakkan di rak, di atas meja/tempat
tertentu yg menarik & memberikan rangsangan
siswa utk bel.
rasional
Melihat adalah proses belajar, semakin sering dilihat
memperkuat proses belajar & kalau siswa mengerjakan
sendiri pajangan proses bel akan lebih terhayati.
Media utk menuangan ide, gagasan, konsep
merangsang karya imajinatif bang kreat.
Pajangan yg dibuat oleh guru blm tentu dimengerti oleh
anak, sekalipun bagus.
Bermanfaat utk membina kepercayaan diri &
memperdalam proses belajar.
Pajangan mrpk lingk bel yg menarik.
Dibuat kelompok merangsang diskusi, kerja
sama/kooperatif & kompetitif.
Hasil kerja masing-2 pok perlu diketahui pok lain.
Kapan direncanakan ?
Pajangan hrs selalu berubah / baru sesuai hsl
pekerjaan siswa yg selalu berkembang, atau topik
bahasan hanya beberapa yg dpt dipertahankan lbh
lama.
Pekerjaan siapa yg seharusnya dipajang?
Sebaiknya semua hsl karya anak dipajang. Tetapi
karena berbagai faktor (utamanya tempat), tidak
semua hasil karya anak harus dipajang.
Pemilihan hrs hati-hati : kalau hanya yg terbaik, dpt
turunkan semangat pok yg hsl pekerjaannya kurang
baik.
Apa yg perlu disiapkan guru?
Peralatan sederhana :
gunting, pensil, spidol, lem, penggaris, pisau.
Bahan :
mudah didapat barang-2 bekas (majalah, koran,
kaleng, kotak, kertas warna, kain perca, batubatuan/biji-bijian, dsb).
Kriteria pajangan yang baik
Pesannya jelas & mdh dimengerti
Menunjang proses belajar
Bagian-2 yang diperlihatkan mempunyai kaitan yg
jelas, rapi, menarik, & disusun menurut urutan yg
logis.
Diberi keterangan yg jelas shg mdh dibaca
Pojok pustaka & alat peraga
Indikator Proses PAKEM
GURU MENUNJUKKAN FLEKSIBILITAS DALAM PENGELOLAAN
MURID DALAM KBM
MEMBERIKAN TUGAS-TUGAS YANG LEBIH PRAKTIS, TERMASUK
TUGAS YANG MEMANFAATKAN LINGKUNGAN SOSIAL & ALAM
PEKERJAAN ANAK DITULIS DENGAN KATA-KATA MEREKA
SENDIRI.
KELAS MEMAJANGKAN PEKERJAAN ANAK & ALAT BANTU
PENGAJARAN.
ANAK DAPAT MENUNJUKKAN PERASAAN & MENGUTARAKAN
PENDAPAT MEREKA DENGAN BEBAS DI KELAS.
BERBAGAI JENIS PENILAIAN DITERAPKAN & UMPAN BALIK
DIBERIKAN KEPADA MURID UNTUK MENINGKATKAN HASIL
BELAJAR
PEMBUATAN & PEMANFAATAN SUDUT BACA/PERPUSTAKAAN
KELAS
PEMBELAJARAN YG BERKUALITAS
kualitas belajar yg harus dikembangkan kepada siswa oleh GURU :
BELAJAR UNTUK MENJADI (LEARNING TO BE)
yaitu kemampuan untuk mengembangkan diri ke arah terbentuknya
kepribadian yang utuh & mandiri.
BELAJAR UNTUK BELAJAR (LERANING TO LEARN)
yaitu kemampuan untuk secara terus menerus aktif belajar sesuai dengan
dinamika perkembangan Iptek serta tuntutan & kebutuhan lingkungan.
BELAJAR UNTUK BERBUAT (LEARNING TO DO)
Yaitu kemampuan untuk menghasilkan sesuatu yang fungsional
(keterampilan tertentu) agar dapat bekerja secara produktif dalam
menekuni profesinya.
BELAJAR UNTUK HIDUP BERSAMA (LEARNING TO LIVE TOGETHER)
Yaitu kemampuan untuk senantiasa mampu menyesuaikan diri sesuai
tatanan kehidupan berdasar nilai-nilai yang dianut lingkungannya.
Berdasar hal di atas peran utama GURU PROF :
INSTRUCTOR ATAU EDUCATOR, TETAPI LEBIH LUAS LAGI YAITU SEBAGAI
MOTIVATOR, DEVELOPER, INOVATOR, KONSELOR, & SEKALIGUS CHANGE
OF AGENT
Model Belajar Aktif
(L. Dee Fink, 1999)
Mengalami:
Berdialog dengan:
Melakukan
Orang lain
Mengamati
Diri sendiri
72
Model Belajar Aktif
(L. Dee Fink, 1999)
Melakukan
• Secara langsung:
Melakukan sesuatu.
• Secara tak langsung:
Bermain peran, simulasi.
73
Model Belajar Aktif
(L. Dee Fink, 1999)
Mengamati
• Secara langsung:
mengamati suatu
kejadian/benda
• Secara tak langsung:
mengamati tiruan benda atau
film tentang suatu kejadian.
74
Model Belajar Aktif
(L. Dee Fink, 1999)
Berdialog dengan orang
lain
• Interaksi. Berdialog
dengan guru dan/atau
siswa lain/nara sumber
lain memperbincangkan
apa yang dipelajari.
75
Model Belajar Aktif
(L. Dee Fink, 1999)
Berdialog dengan diri
sendiri
• Refleksi.
Si pebelajar berpikir reflektif
tentang apa yang mereka
pelajari dan bagaimana
perasaan mereka sewaktu
belajar.
76
Contoh pertanyaan guru untuk refleksi siswa
Apa saja yang telah kamu pelajari?
(Kamu jadi tahu atau bisa apa?)
Apa yang masih membingungkan?
Apa saja yang menyenangkan?
Apa saja yang tidak menyenangkan?
77
Mengapa
Belajar Aktif?
78
Mengapa
Belajar
Aktif?
Sifat apakah yang ditunjukkan oleh mereka?
79
Kiri:
• mulut besar = banyak
ceramah
• mata sipit = kurang
memperhatikan siswa
• telinga kecil = kurang
mendengarkan siswa
• telunjuk jentik = sering
„mengancam‟ siswa
Kanan:
• mulut kecil = sedikit ceramah
• mata besar = sering mengamati
siswa
• telinga besar = selalu
mendengarkan siswa
• tangan terbuka = „welcome‟ thp
kekeliruan siswa
Perilaku Guru
80
Sikap dan Perilaku Guru
Mendengarkan siswa
Menghargai siswa
Mengembangkan
rasa percaya diri siswa
memberikan tantangan
mendorong ungkap
gagasan
menciptakan rasa
tidak takut salah
81
• Tulisan siapakah ini?
• Apakah ahli menghasilkan karya yang benar secara langsung ?
82
Tentang anak …
“Fakta yang mudah dilihat adalah anak secara gigih ingin mengetahui
sebanyak mungkin tentang dunia di sekelilingnya dengan cara
menciptakan pengetahuan tentang apa yang telah dialaminya. Hal itu
sangatlah baik karena ilmuwan pun seperti itu. Anak melakukan
pengamatan, berpikir, merumuskan, kemudian menguji jawaban dari
pertanyaan yang mereka ajukan sendiri. Bila tidak ada yang menghalangi,
mereka akan terus melakukannya sehingga pengetahuannya menjadi
lebih baik"
(Holt, 1991, p 152 dalam Craft A. 1997)
83
Mengapa Belajar Aktif? –
Dasar Hukum (1)
Proses pembelajaran pada satuan pendidikan
diselenggarakan secara interaktif,
inspiratif, menyenangkan, menantang,
memotivasi peserta didik untuk
berpartisipasi aktif, serta memberikan
ruang yang cukup bagi prakarsa,
kreativitas, dan kemandirian sesuai
dengan bakat, minat, dan perkembangan fisik
serta psikologis peserta didik (PP 19/2005:
Standar Nasional Pendidikan, ps 19, ayat 1)
84
Mengapa Belajar Aktif? –
Dasar Hukum (2)
Pendidikan diselenggarakan sebagai suatu
proses pembudayaan dan
pemberdayaan peserta didik yang
berlangsung sepanjang hayat (UU no
20/2003: Sisdiknas, ps 4, ayat 3)
Pendidikan diselenggarakan dengan memberi
keteladanan, membangun kemauan, dan
mengembangkan kreativitas peserta
didik dalam proses pembelajaran (UU no
20/2003: Sisdiknas, ps 4, ayat 4)
85
Mengapa Belajar Aktif? Kesimpulan
a.l.:
Sifat dasar/alamiah anak
UU: Sisdiknas & PP: SNP
86
Tugas / latihan
Identifikasi kebutuhan anak berdasar kelainannya.
Identifikasi karakteristik pembelajaran berdasar
dimensi pakem
Pembuatan pajangan / media, dimana letak
pakemnya?
ALASAN
ADANYA MASALAH-MASALAH DGN TEMAN
SEBAYA, GURU, ORANG TUA, DLM PENGAMBILAN
KEPUTUSAN, KERJASAMA, & MASALAH
PERASAAN.
Terlalu percaya diri / sebaliknya
Beban mental – harapan lingungan
SASARAN
Pemenuhan BUT KOG/AKADEMIK/nafsu intelektual
Pemenuhan BUT PerSONAL- so.SIAL
Pemenuhan BUT PENGALAMAN
Pemenuhan BUT SOSIO-EMOSIONAL
PERAN GURU SBG TNG KONSELING
MENYEDIAKAN AKTIVITAS UTK BANG
PSIKOSOSIAL POSITIF
IMPLEM KUR SCR EFEKTIF
MENYEDIAKAN NARA SUMBER DI KELAS YG
DPT JADI MODEL ANAK
MENYIAPKAN BIBLIOGRAFI
MENGGUNAKAN KONSULTASI KELOMPOK
KECIL SBG USAHA KAT PEMAHAMAN SOSIAL
& DIRI ANAK
PENYELENGGARAAN & PEMBENTUKAN POK
DISKUSI
KONSULT & KOOR DENGAN ORANG TUA
BIDANG LAYANAN
BIMBINGAN AKADEMIK
MONITOR PRESTASI ANAK
BANTU PILIH AKTIVITAS
BELAJAR
MEMOTIVASI DISIPLIN
DLM BELAJAR
BIMBINGAN KEPRIBADIAN
BANTU RENCANAKAN
AKTIVITAS SEHARI2
MONITOR AKTIVITAS
SOSIAL & PRIBADI ANAK
BANTU PILIH TEMAN, DSB
BIMBINGAN KARIR
INFORMASI KARIR
PERENCANAAN KARIR
KEPUTUSAN KARIR
Contoh-contoh
hasil kreativitas
&
bagaimana
latihan kreatvitas
9X2=18
1+9 =9
9X11=99
9+9 =18
9X3=27
2+7 =9
9X15=135
1+3+5=9
9X4=36
3+6 =9
9X22=198
1+9+8 =18
9X5=45
4+5 =9
9X6=54
5+4 =9
9 DIKALIKAN
BERAPAPUN.
9X7=63
6+3 =9
HASILNYA KALAU
DIJUMLAH = 9
9X9=81
8+1 =9
1+8=9
1+8=9
What do you see?
Looks like President Clinton and Vice President Gore,
right?
What do you see?
Is the left center circle bigger?
It's a spiral, right?
Keep staring at the black dot. After a while
the gray haze around it will appear to
shrink.
Can you find the dog?
Stare at the black lightbulb for at least 30 seconds.
Then immediately stare at a white area on the screen
or at a sheet of paper. You should see a glowing light bulb!
How many colors do you see?
Do you see a couple or a skull?
Count the black dots! :o)
Are the horizontal lines parallel or do they slope?
How many legs does this elephant have?
Do you see the three faces?
What does the sign say? Are you
sure?
Do you see the face? Or an Eskimo?
Do you see a cube missing a corner?
Or do you see a small cube in a big
one?
Is the blue on the inner left back or the outer left front?
Do you see a musician or a girl's face?
Do you see an old man's face or two lovers kissing?
PERANAN HUKUM DALAM PEMBANGUNAN EKONOMI
DI NEGARA POLISI DAN NEGARA KESEJAHTERAAN
DIGUNAKAN SCR
BERLEBIHAN
(MAKSIMALIS)
PEMBANGUNAN
EKONOMI
KETERLIBATAN NEGARA
MINIMALIS
NEGARA
POLISI
TDK ADA
KEBEBASAN
USAHA &
PERSAINGAN
BEBAS
UNTUK JAMIN
KELANGSUNGAN
PENGUASA
HAMBAT
INDUSTRALISASI
PERANAN
HUKUM
HUKUM
NEGARA
KESEJAH
TERAAN
SARANA :
KAMTIBMAS
BANG
GAKKUM
BIMB &
DIKMAS
AGAR TDK
SAING BEBAS
SESUAI HK EKONOM
KETERLIBATAN NEGARA
TERUKUR - SEIMBANG
FAKTOR
TERTENTU
KENDALI
KEADILAN
KESIMBANGAN
KESEJAH
TERAAN MASY
KENDALI
F PENENTU
EKONOMI
DINAMIS,
TERTIB, SEIMBANG
LINDUNG & KAT
NATIONAL INCOME
GAKKUM
JAHTERA YG
MERATA & ADIL
PEMBANGUNA
EKONOMI
BERHASIL
SESUAI
CITA-CITA
ARAH KEBIJAKAN HUKUM NASIONAL
DENGAN KELUARNYA KEPOLISIAN DARI LINGKUNGAN ABRI
PP No 11 D/1946
Penetapan Dewan
Pertahanan Negara
No 112/1947
UU No 20/1982
UU No 28/1997
ARAH KEBIJAKAN
HUKUM NASIONAL
TAP MPR No. VI/MPR/2000
TAP MPR No VII/MPR/2000
Keppres No 89/ 2000
UU No. 2/2002.
TAP KEDUDUKAN, FUNGSI,
PERAN & TUGAS POLRI
TAP PROFESIONALISME
POLRI
MANDIRI
BAGIAN
ABRI
POLRI
TAP JATI DIRI POLRI
MANDIRI
TAP KEMANDIRIAN
Dibawah
Depdagri Menteri
Dibawah
Kendali
Militer
Dibawah
Presiden
JADI BAG MASY MADANI
PUS BUD MILITERISTIK
HILANG JATI DIRI, PROF, KEMANDIRIAN,
MILITERISTIK
MERDEKA
ORBA
ERA REFORMASI
Lengkapilah gambar ini !
Nama:
BERFIKIR DIVERGEN
Fluency – The ability to generate a number of ideas so that there is
an increase of possible solutions or related products.
Flexibility - The ability to produce different categories or perceptions
whereby there are a variety of different ideas about the same
problem or thing.
Elaboration – The ability to add to, embellish, or build off of an idea
or product.
Originality – The ability to create fresh, unique, unusual, totally new,
or extremely different ideas or products
Complexity – The ability to conceptualize difficult, intricate, many
layered or multifaceted ideas or products.
Risk-taking – The willingness to be courageous, adventuresome,
daring -- trying new things or taking risks in order to stand apart.
Imagination – The ability to dream up, invent, or to see, to think, to
conceptualize new ideas or products – to be ingenious.
Curiosity – The trait of exhibiting probing behaviors, asking and
posing questions, searching, being able to look deeper into ideas, and
the wanting to know more about something.
Kelancaran– Kemampuan untuk menghasilkan sejumlah gagasan
sedemikian sehingga ada suatu peningkatan kemungkinan
pemecahan atau berhubungan produk.
Fleksibilitas- Kemampuan untuk menghasilkan persepsi atau
kategori berbeda dengan mana ada berbagai gagasan berbeda
tentang hal atau masalah yang sama.
Pengembangan– Kemampuan untuk menambah, menghias, atau
membangun batal/mulai dari suatu gagasan atau produk.
Keaslian– Kemampuan untuk menciptakan segar, unik, tidak
biasa, secara total baru, atau produk atau gagasan sangat berbeda
Kompleksitas-Kemampuan ke conceptualize sulit, ruwet, banyak
orang yang layered atau produk atau gagasan bersegi banyak.
Risk-taking– Kesediaan untuk berani, adventuresome, keberanian- berusaha berbagai hal baru atau mengambil resiko dalam rangka
menyendiri.
Imajinasi– Kemampuan untuk menemukan, menemukan, atau
untuk lihat, untuk berpikir, ke conceptualize produk atau gagasan
baru– untuk;menjadi ingenious.
RASA INGIN TAHU– Ciri memperlihatkan menyelidiki perilaku,
[minta;tanyakan] dan bersikap pertanyaan, pencarian, menjadi
mampu lihat lebih dalam ke dalam gagasan, dan yang kurang
untuk mengetahui lebih banyak tentang sesuatu (yang).Fluency –
The ability to generate a number of ideas so that there is an
increase of possible solutions or related products.