ISSN (Print) : 0974-6846

Indian Journal of Science and Technology, Vol 9(29), DOI: 10.17485/ijst/2016/v9i29/95393, August 2016 ISSN (Online) : 0974-5645

Modelling Students’ Creativity Development in

Practice of Higher Education in Russia
Olga M. Shentsova*, Nailya A. Kayumova, Tamara V. Krasnova, Tatyana V. Usataya,
Dmitriy U. Usatiy and Lyubov V. Deryabina
Nosov Magnitogorsk State Technical University, 38, Lenina Pr., Chelyabinsk Region, Magnitogorsk - 455000, Russia;
shenolga@yandex.ru, n.a.kayumova@mail.ru, toma.krasnova.70@mail.ru, usatayatv@gmail.com,
usatiydu@gmail.com, savochkinalv@rambler.ru

Abstract
Background/Objectives: Development of a model forstudents’ creativity development as a profession-specific personal
quality. Methods/Analysis: A toolkit for anascertaining experiment included observations, questionnaires, interviews,
discussions and an analysis. To introduce the integrated model of students’ creativity development in a learning process,
we used psychological support to students from professors; we had monitoring of transformations of students’ ­creativity
from the reproductive to the reproductive and creative one; we made an encouraging and emotionally comfortable
­environment at a class; there was a joint work of different-age students. At the end of each experiment stage, we had
check cross-­sections. The process of students’ creativity development was evaluated with the ratio method (before, ­during
and after the experiment), and with the method of indicators for time series. Findings: Three groups were formed for
the ­experiment: control group (CG) and experimental groups (EG 1 and EG 2). The findings from the experimental
activities show that in EG 2, where there had been a totally introducedset of teaching conditions, an average value for
students’ creativity has increased by 45%, while for other groups, the value has been 35%. Applications/Improvements:
The ­comprehensive model has been developed for students’ creativity development as profession-specific quality. This
model includes gradation of creativity levels, criteria and indicators, as well as the set of teaching conditions. There
is the author’s definition for the creativity term or the creative process that combines five significant components:
­motivational, orientational, activity-related, reflective and efficient.

Keywords: Creativity, Creative Process, Educational Process, Learning Process

1.  Introduction broad profession-specific outlook, a high level of person’s

technological and cultural training and his/her psycho-
With a change to the world’sideology and an educational logical readiness, an ability to use profession-specific
paradigm in Russia, there has been a recent revaluation
knowledge and skills in a creative way.1 Therefore,full
of reform conceptsin higher professional education. In
applications of specialists’ basic powers and capabilities
this regard, new federal state educational standards of
in professional activities depend on a number of factors,
the third generation have been in development, there
among which, on the one hand, there is natural human
have been also considerable changes to conditions to the
structure and functions of alearning process, based on a creativity, on the other hand, there is purposeful and sys-
competency-building approach, forms, teaching condi- tematic education. At the same time, it is assumed that a
tions, methods and training aids in higher professional success of such structured education dependson, firstly,
education. time of its start, and secondly, the way of its organization,
Within the system of modern economic relations, a thirdly, a level of the personal inherentpotential and a
profession needs such qualities, as a high competency, a degree of its awareness in the learning process.2

*Author for correspondence

 Modelling Students’ Creativity Development in Practice of Higher Education in Russia

The potential as a research subject attracts attention Collier, Digby, Hay and Howe12; Smith and Smith13; Biggs
of scientists from different domains. However, a meaning and Nang14; Sweller15; Csikszentmihalyi and Wolfe16;
of the term potential (related to creativity as the creative Bazhenov and Luchaninov17 etc. In their view, the poten-
potential) is highly controversial and uncertain. One of tial has three levels of connections and relationships,
the major reasons for this is a lack of a single theoretical revealing its “depth.”
concept in science, in contrast to philosophy, sociology, Reflection of the past is the first level. The term of the
natural-science and other sources, the potentialis consid- potential is close to the concept of resources and under-
ered in a variety of aspects. As a scientific category, the stood as a set of properties, capabilities, opportunities,
term potential is used with the following meanings: for accumulated by the system in its genesis, evolvement and
instance, in physics, this is a value that describes a force ensuring its development. The second level gives us an
field at a given point; in economical and defence-oruented idea of the present.The term potential is close to the con-
sectors as a set of available resources and capabilities; the cept of reserves, as an individual has a chance to involve
concept that describes a wide class of physical force fields an unused “margin of safety”, reveal hidden abilities and
(electric, gravitational, etc); broadly,the potential is syn- apply them to practice. The third level is a focus on the
onymous to terms denoting sources, opportunities, aids, future. The potential serves as a basis for the future devel-
supplies, which can be used to solve a task, achieve a par- opment of an individual, when in the course of activities,
ticular purpose; modern German philosophers interpret the individual does not only use existing personal strength
the potential as a form of genesis, a stage in personal- and abilities, but also new ones.6
ity development.3 From the contents of the mentioned All the authors agree that in research on the human
meanings, it follows that the concept of the potential as a potential, it is necessary to take into account a dual nature
physical phenomenon, as reserves of the society and the of an individual as, according to Kagan, a person is, on
government and the human potential are not identical. the one hand, “the highest level of living organisms on
An analysis of definitions for the potential has shown the Earth”, and on the other hand, “a subject within socio-
that the concept refers to a number of general scientific historical activities and culture.”9 Therefore, Genisaretsky,
categories and is polysemantic. In this regard, interpreting Nosov and Yudin argue that the human potential is partly
the concept of the potential, we relied on such its common something given to an individual from birth, but it is
and the most important attributes, as the source, oppor- pretty much formed and develops in socialization.8 Kelly’s
tunities, a set of available funds, reserves, reserves of an view is quite representative here. He believes that “the
individual, in a certain domain, which may occur under concept of ”human potential”is holistic and integrative
certain conditions or be used to solve tasks. as it includes an anthropological component, reflecting
Among the works on the potential, the concept by Kelle acombinationin an individual of the biological and social
is methodologically important, according to which “the origin, the individual and social origin.”4
potential belongs to a realm of possible things.However, As a result of thecomparative analysis of research on
possibilities cannotbe accumulated in an endless way. he human potential we concluded that thehuman poten-
Fully or partially, they have to turn into the reality, that is tial is a holistic and integrative combinationof nature and
be implemented in activities - material, intellectual, eco- social originsin an individual and it is presented as one of
nomical, political, scientific, etc.”  4, “... as the potential, if default personality traits.
it is not implemented or supported in a state of ready (for The research we held allows us to derive a
example, the military potential), makes no sense, and its specific methodology to explore and develop the
implementation does not happen automatically.” 5 students’creativity and schedule a strategy to achieve a
The problem of the potential is a subject of numerous goal - training to future professionals.The essence of this
research in different domains, disclosing many sides of strategy depends on a development state of the problem
this phenomenon: intellectual, economical, heuristic, of the creative potential development in educationthe-
spiritual and creative, demographic, scientific and sci- ory and practice-oriented papers; a substantive content
ence-technical.6 Among them, we were interested in those of the concept “the creative potential of future special-
that were focused on research of a nature of the human’s ists as profession-specific personal quality”; a necessary
potential: Avdeeva, Stepanova and Ashmarin7,8, Kagan9, and sufficient set of teaching conditions to develop
Kelle4, Petrov10, Schadilova11, Davies, Jindal-Snape, students’ creativity in training.

2 Vol 9 (29) | August 2016 | www.indjst.org Indian Journal of Science and Technology
 Olga M. Shentsova, Nailya A. Kayumova, Tamara V. Krasnova, Tatyana V. Usataya, Dmitriy U. Usatiy and Lyubov V. Deryabina

The second component in the basic concept is fession-specific personal quality, including an amount
a­ djective creativethatrepresentsa qualitative characteristic of individual creative resources given by nature, and
of the human potential. The problem of creative avtivity is psychological developments, acquired in society and cul-
one of the most explored in science, as people believethat ture-related development and vocational training.
creativity is an immanent for a person.Representatives A spontaneous manifestation or unawareness of its
from different domains explore an essence and a nature coming is acharacteristic of natural creativity. It is a kind
of creativity in various aspects: they are experts in phi- of an act of “inspiration”.Knowledge, skills, a creative
losophy, psychology and education, aesthetics, etc; they focus and a career focusunderstood by a person act as
are devoted to aspects of the creativity phenomenon, psychological new developments in a person. Therefore,
focused on a disclosure of individual personality traits creativity is both a prerequisite and a result of a creative
that define its psychological specifics in creative works6; activity. Thus, we are entitled to conclude that, on the one
focused on an attitude towards creativity not so much hand, creativity is a natural (immanent) quality of each
as a sign of solectness, but as mandatory feature of any student; on the other hand, it can and should be purpose-
person, although inherent for everyone to various degree fully developed insociety amd culture-related education
(Merzlyakovand Fazeli)18,19; on formation of creativity to the person. The literature review helped us to identify
experience as a basic component of the education con- the components that make up the person’s creativity:
tent in schools of any level (Lerner, Ushachev and their
followers)20,21; specifics of the creative experience and 1) The motivational component is a backbone component
personal qualities of students (Kolesnikova, Ponomarev, in human creativity structure, which will integrate
Yakovleva etc)22-25; socially pronounced specifics of activ- external conditions (substantive work) with internal
ity, in which creative self-realization of an individual takes conditions (needs: creative purposes and meanings).
place26,27; artistic, scientific and other types of creativity This component contributes into human activity and
(Gilman, Goncharenko, Savochkina, Shentsova, Yusov, determines a direction of his/hercreative work. A
Yakovlev etc.).27-32 Thus, these authors, almost in all their success of an activity is impossible without available
papers on creativity, share a belief inhuman creativity say- corresponding interests available in a person, his/her
ing that an individual is a creator by nature, that human’s needs, motives and an individual’s focus.
creativity can and should be developed. 2) Theorientational component is next component in
Based on this assumption, we considerstudents’ creativity development that puts tasks for a student:
­creativity development as a process of teaching “control develop inherent creative resources and carreer.
over socialisation for each of them, both as aprofessional, Student’sfocus on the future professional activity
and a citizen, who is developing and implementing his/ might be presented as follows: focus of himself/herself
her potential in a socially acceptable manner.”8 Therefore, associated with a need in self-determination, self-de-
a problem of reforms inhigher education, improvements velopment, self-cultivation in the professional field33;
of forms, teaching conditions and methods of students focus on a substantive side of the profession associated
training in any domain, requiring from them new, non- with mastered content of the principal professional
standard creative approaches to solving professional educational program.
problems, is pressing today. 3) Motivational and orientational components of
creativity are implemented through the activity-re-
2.  Materials and Methods lated component, leading componentin the creative
and professional development of students as human
Methodological reference pointsgiven in the works of the and professional values ​​onlybecome the propertyof an
above-mentioned researchers, formed the basis for devel- individualif they are got in cognitive and transforma-
opment and refinement of the categorical framework, tive activities.Therefore, in various activities, students
as well as for the development of the structure-content master techniquesto implement these activities with a
model of students’ creativity development as profession- consistentlygrowing difficulty degree.
specific personal quality in a process of organizing their 4) Thereflective component is formed on the basis of
profession-centered training.We define students’ (future motivational, orientational and activity-related com-
professionals’) creativity as an integrative dynamic pro- ponents of creativity. The content of the reflective

Vol 9 (29) | August 2016 | www.indjst.org Indian Journal of Science and Technology 3
 Modelling Students’ Creativity Development in Practice of Higher Education in Russia

component of students’ creativity includes specific We have identified the following levels of creativity
skills: analyze your own feelings (creative state), monitor development:
the slightest progress in creativity development and Level one (low) – reproductive;
emerging personal and ­psychological achievements Level two (middle) – reproduction-creative;
(achieved results). Level three (high) –structurally-creative.
5) The resulting component is a summerizing ­component We have developed themodel of students’ creativity
of individual’s creativityasan outcome, an index of development, for which a determining basement is social
achieved mastery level.The resulting component of service commissioning for a creative individual (Figure
creativity allows estimating fisibility of the set goal, 1).The basis for such model included the findings from
a quality of a training program, validity of criteria to the ascertaining experiment held by us. They show that
evaluate a level of students’ creativity development.6 every student upon enrolment to a college has already
had a certain level of creativity and that creativity devel-
Everyday professional training and the made review of
opment like personal development in general depends on
­literature has given us an opportunity to state a hypothesis
learning, in a form of academic and employment training
for the research: efficiency of students’ creativity devel-
for students.
opment as profession-specific personal quality will be
ensuredwith the introduced integrated model of students’
creativity ­development as profession-specific personal
3.  Experiment
quality (Figure 1). 3.1  Principles and Data
In the teaching experiment, implemented in the
Social service commissioning to train a creative framework of our research, 1-5-year studentstook
and competitive professional
part from G.I. Nosov Magnitogorsk State Technical
Purpose: choice of a methodology to increase a level of creativity development
among students as a professional-specific personal quality
University (Russia) and Magnitogorsk State University in
Magnitogorsk (Russia).
Theoretical instruction

Creativity components
Motivational Orientational Activity-related Reflective Effective
Pilot works were arranged and carried out in vivo,
adhering to the requirements that ensure getting the
Methodological approaches accurate data: homogeneity of the research subjects; the
Systematic Culturological Professionally-oriented and Person-centered
activity-related same experimental conditions; a necessary and suffi-
cient number of observations; appropriate methods for
Regulation-related instruction

Principles to develop students' creativity

Conformity to
natural laws
Cultural
conformity
Complementation
Reflexive
control
Integrated-
personal impact
mathematical processing of the experimental findings.
The leading principles of the experimental work were
Objectives to develop creativity
Developing Giving to students Organizing theoretical Creating the holistic research for the phenomenon under inves-
motivation for knowledge, and practical project conditions
continuous corresponding to their activity of students, for tigation, continuity, phased development of students’
creativity creativity vector contributing into their continuous
development creativity development reflective creativity and a success of activities. The experiment
activity of
students
toolkit included the following resesarch methods: lesson
Instruction in technical

observation, questioning, talk and interview, analysis, etc.

disciplines

Informative basis for development of students’ creativity -

principal program of professional education Three groups were formed for the experiment: one
Training conditions for creativity development control (CG) and two experimental groups (EG 1 and EG
Profession-oriented
motivation for creativity
Creating communicative
artistic environment
Creative
professor-
Students'
solving
2).In CG, the creativity development was carried out in
student creative a usual learning process. In EG 1, the creativity develop-
interaction project cases
ment was carried out with partially introduced teaching
Result of students' creativity development
conditions within the developed model. In EG 2, the
instructionблок

Creativity levels creativity development was carried out with totally intro-
Resulting

Reproductive reproductive and creative structure-creative

duced set of teaching conditions for the developed model
New developments
Ego present Ego in development Ego as future professional to develop students’ creativity as profession-specific
Figure 1. Model of students’ creativity development as profession-specific personal quality.
personal quality.
Figure 1.  Model of students’ creativity development as Thus, having compared the findings got from the
profession-specific personal quality. control and experimental groups, we verified the research

4 Vol 9 (29) | August 2016 | www.indjst.org Indian Journal of Science and Technology
 Olga M. Shentsova, Nailya A. Kayumova, Tamara V. Krasnova, Tatyana V. Usataya, Dmitriy U. Usatiy and Lyubov V. Deryabina

hypothesis, i.e. implementation of the integrated model − transfer of students’ experience exchangesinto the
ensures the efficient development of students’ creativity as Internet as a way to share experiences in a convenient
profession-specific personal qualiy. way and expande a circle of friends with the same
interests.30,34,35
3.2 Methods to Implement the Set of
Teaching Conditions 3.2.3  The Third Condition
To implement the third teaching condition “creative inter-
3.2.1  The first condition action between professors and students”, the following
To implementthe first teaching condition methods were used:
of “profession-oriented motivation for creativity”, the
− co-creationbetween aprofessor and astudent (imple-
following methods were used:
menting joint creative projects);
− psychological and practice-oriented support to a − participation of students together with professors in
student by aprofessor to resolve his/her internal con- cultural events (organizing and visiting exhibitions,
flicts between “I want”and “I can”; recitals, master classes, etc.);
− teaching psychological and emotional assistance to − participationof students and teachers(as an object to
studentsto overcome a “barrier of failure”; be followed) in creative competitions and exhibitions.
− harmonization of a student’s personality through
development of his/hercapacities for self-expression 3.2.4  The Fourth Condition
and self-knowledge in creative work, objectifying in To implement the fourth teaching condition saying,
themselves their feelings, experiences and a creativity “­students’ solving problematic creative cases”, the ­following
state; methods were used:
− monitoring a consequent qualitative transformation
of the level of students’ creativity from reproduc- − in the learning process, students do assignments aimed
tive to reproductive and creative, and then to at formation and development of independent creative
constructive-creative, describing three stages in work skills36;
theirincreasing awareness of qualitative changes to − activation of creativity to search for innovative
knowledge, skills and their creative focus from “Ego ­solutions, creating conditions for self-actualization,
present” to “Ego in development” and “Ego as future − self-development of student’s personality.37
professional”.6,20
Table 1. Criteria and indicators of students’ creativity
development as a profession-specific personal quality
3.2.2  The Second Condition
Criterion Indicator
To implement the second teaching condition (making
the communicative creative environment), the following 1) knowledge of creativity specifics
Focus on creativity
methods were used: 2) attitude towards creativity

− making an appropriate environment, interior, encour- 3) involvement in creativity

aging a students’ attitude for imagination, fantasy Proactive approach to 4) enthusiasm for creativity
(object-thing aids and well-considered interior at a master creativity
5) independence in mastering
classroom); creativity
− emotional appeal of a class (verbal means of 6) teamwork skills,team role
communication: discussion, debate, talk, visual aids
7) ambition for creative search and
(watching movies, slides, presentations, insight); prac-
research
tice-oriented aids (entertaining art, project tasks and Readyness for
exercises, such as the creative time or the competition creativity 8) ambition for solving problematic
situations
of ideas);
− joint work of different age-students as a prerequisite to 9) desire for a positive outcome of
make the professional community; creativity

Vol 9 (29) | August 2016 | www.indjst.org Indian Journal of Science and Technology 5
 Modelling Students’ Creativity Development in Practice of Higher Education in Russia

3.3  Criteria and Indicators I1 + I 2 + I 3 + I 4 + ... + I 9

S= , (4)
In the experiment, we developed and piloted a ­diagnostic 9
apparatus that includes a group of developed criteria and where I1, I2, I3, I4, ..., I9 –are estimates that match ­valuesof
indicators for creativity, as well as efficiency levels for creativity indices 1,2,3,4, ..., 9.
­proposed teaching conditions (Table 1). Creativity development levels and matching scores:
1stlevel (high) = S≥2.5
4.  Results 2nd level (middle) = 1.5≤S <2.49
3dlevel (low) = S≤1.49
Diagnostics of qualitative and quantitative changes The ascertaining experiment shows the following
tostudents’ creativity development wasperformedin a findings intended to identify an initial value of students’
form of checkcross-sections held at an end of each stage. creativity (Figure 2)
Results of students’ creativity development were assessed Table 2 shows the method to determine an efficiency
using the following methods: level for creativity development. Following this method,
1. Ratio method (students’ creativity development by the calculation of results has shown the higher value of
quality of research subjects that are at one or another the efficiency factor at the experiment end, saying of the
development level at the beginning and during the efficient impact of highlighted teaching conditions on
experiment); students’ creativity development.
2. To define development dynamics for each criterion in Figure 2 says that the analysis of findings from the
experimental work, we used the method of indiсes for survey and the observation have shown that the major-
time series: ity of students (CG-80%, EG1-80%, EG2-55%) are at
the average (reproductive and creative) level of creativ-
Average index Avg, reflecting a quantitative estimation ity development. The minority (CG-15%, EG1-20%,
(in%) for a value of the highlighted indices was calculated EG2-35%) is at the low (reproductive) level and the least
by formula: part of students (CG-5%, EG1-0%, EG2-10%) is at the
qi high (constructive-creative) level.
k
Cp = ∑ n × 100%  (1)
i =1 k
Table 2. Values of performance factor
where qi – number of research subjects, who are at a Value of performance factor
Performance levels
certain level of creativity development; n – total number (Pf)
of research subjects; k – number of indices. 0.9≤P<1.0 Ideally efficient (high)
The index of absolute growth rate G, representing a
0.8≤P<0.9 Efficient (middle)
difference between the initial and the final valuefor the
criterion, indicator in question, was calculated by: 0.7≤P<0.8 Minimally efficient (low)
Less than 0.7 Inefficient (very low)
G = I (init.) − I ( fin.)  (2)
where I (init.) – is initial index value; I (fin.) – is final
index value.
We defined effeciency with the field research by
performance factor, calculated by:
m
P
f = , (3)
n
where m – is actual score; n –is the highest possible.
The rule to define the performance is shown in
Table 2.7
The level of creativity development for each research Figure 2.  Findings from research to define initial students’
subject was defined by formula: creativity.

6 Vol 9 (29) | August 2016 | www.indjst.org Indian Journal of Science and Technology
 Olga M. Shentsova, Nailya A. Kayumova, Tamara V. Krasnova, Tatyana V. Usataya, Dmitriy U. Usatiy and Lyubov V. Deryabina

Figure 3 shows the findings from the introduction shown a need in a targeted development of ­students’ cre-
process for the model to develop creativity, according to ativity as a profession-specific personal q
­ uality.
which an absolute growth for the index at the high level The structure-conceptual model proposed by the
of creativity development among students from CG was authors to develop students’ creativityas a profession-
35%, among students from EG1, it was 35%, among stu- specific personal quality might be successfully applied in
dents from EG2, it was 45%. various fields of occupational training program at a col-
The average development dynamics for each indicator lege level. The research findings are of practical relevance
of creativity development by experimental group is given and can be used in practic of professional education.
in Table 3, which shows a relative gain at the high level The further research might be in the following areas:
and a decline in indices values at the low level. make a model to develop thestudents’ scientific capability,
make a model to manage the process of creativity develop-
ment, developa package of today’s diagnostic techniques
5.  Discussion to identify a level of further development of the students’
The problem of students’ creativity development as a creativity at each stage of occupational training.
profession-specific personal quality is pressingin higher
education in view of qualitative changes to the education 6.  Conclusion
system, caused by social service commissioning and an
insufficient theoretical and practical development of the The findings from the experimental work showthat in
issue. A review of available information and scientific devel- EG 2, in which the developed model had been applied in
opment of the mentioned problem in teaching ­practice full together with the setof teaching conditions, the stu-
dents’ average creativity development index has increased
by 45%, while in other groups;its value has been 35%.
Therefore, we conclude that the completed research in
general has confirmed the hypothesis put forward earlier.
A many-side analysis of the content and the structure
of creative and occupational training for students has
revealed a possibility and a need in creativity develop-
ment as a profession-specific personal quality. Therefore,
the learning process modelling was based on the struc-
ture-conceptual model, which allowed us to design a
consistent gradual qualitative transformation of students’
Figure 3.  Findings from research to define students’
creativity at experiment’s end.
creativity from reproductive to reproductive and ­creative,

Table 3. Students’ creativity development index at experiment’s start andend, %

Experiment’s start
Indicator levels Indicators
Avg
#1 #2 #3 #4 #5 #6 #7 #8 #9
High 43 22 14 28 15 6 0 0 15 15.9
Middle 51 27 65 37 60 55 60 10 75 48.9
Low 6 51 20 35 25 39 40 90 10 35.2
Experiment’s end
Indicator levels Indicators
Avg
#1 #2 #3 #4 #5 #6 #7 #8 #9
High 82 46 67 67 45 43 28 17 75 52.2
Middle 18 54 32 30 55 50 72 83 25 46.6
Low 0 0 1 3 0 7 0 0 0 1.2

Vol 9 (29) | August 2016 | www.indjst.org Indian Journal of Science and Technology 7
 Modelling Students’ Creativity Development in Practice of Higher Education in Russia

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