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)
ELABORATION (mengurai scr rinci)
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)
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.
Creativity Killers Hennessy & Amabile (1992)
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)
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
3.
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.
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 (BELAJAR CALISTUNG) KONVERGEN & VERTIKAL MENILAI KEBENARAN SECARA KRITIS
BERPIKIR HOLISTIK SPATIAL METAPHORIK INTEGRATIF SINTESA, INTUITIF ELABORASI HUMANISTIK -MISTIK
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 Did not go out on dates as often. Were daydreamers.
Wew regarde as radical or unconventional. Often wanted to be alone to pursue their own thoughts and interests.
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.
