Month: May 2011

We want to change people’s minds, influence their attitudes, and pass on some new ideas.

Is it even possible to train someone to be more creative? Are we talking about minds in general. Or, vision? We are all creative in our own way. Generally if you look at programs that seek to train leaders, they focus on creativity because that results in vision. A truly creative vision can be a moneymaker for profit or nonprofit organizations. That leadership vision we are always looking for to take our company far into the 21st century.

Most of us make creative decisions everyday and don’t realize it. Every time we are willing to risk the conflict by exposing our new ideas, willing to keep at developing these new ideas until we get a good feeling, and we indulge our hidden creative urges to experiment just for fun. We draw, we sing, we act. In business, when we take unrelated experiences and re-apply them in other ways or circumstances that make them unique, we are being creative.

How do you train to bring those creative results? That’s going to be our main focus, but we need to know first how to “spark” creativity before we figure out ways to train people to do it.

BNET’s Laura Vanderkam puts forth a good summary in her article, Four Ways to Spark Your Creativity, base on research on Julie Burstein’s book, Spark: How Creativity Works.

Vanderkam, quoting Burstein, says:

Embrace creativity’s “R&D” phase. “Creative people hold themselves open to the world around them,” Burstein says. “Many of the artists in Spark tell of an unexpected experience that had profound impact on their work.” Filmmaker Mira Nair decided to become an actress and later a director after seeing a performance of folk theater on a soccer field in her hometown in India. Star Wars sound designer Ben Burtt created the signature sound of the light saber from recordings he made of his television set in his living room. “Spending time observing and listening before getting to work is crucial to creativity in any field, not just in the arts,” Burstein says. “Being open to the new and the unexpected, as well as paying new attention to the familiar, is the R&D phase of creativity, and is something we all can do!”

Don’t shy from conflict. “As all of us know who work with teams, conflict can be painful and can sometimes threaten to derail our work,” says Burstein. “This is true in art, too.” In Spark, playwright Tony Kushner describes the struggles he and the team behind the musical Caroline or Change went through to finish one of the key songs in the show. This actually involved seventeen different versions and a huge group meltdown. But ultimately, Kushner told Studio 360 that the struggle to write it was as great a source of pride as the song itself. “In creative work, perhaps in all work, it’s essential to look at the conflicts as an opportunity for growth, a place where change must happen – which leads to new work,” says Burstein.

Get moving. “Too often, when faced with an intractable problem, we just keep hammering at it,” Burstein says. “But many of the artists in Spark emphasize the need to let go of the problem for a while and do something that refreshes their imagination, in order to approach a problem with new insights.” You can run, walk, go outdoors, take a shower. All increase the likelihood you’ll get unstuck.

Indulge your “amateur spirit.” Part of creativity is learning to approach problems with a fresh eye. You can replenish yourself by seeking out challenges in other aspects of life. “I feel tremendously fortunate to have found a profession where I’m expected to learn something new all the time,” Burstein says. “But I find if I focus entirely on words, my imagination can run dry, so I feed my creativity by doing something entirely different – I make pots. I’ve studied ceramics for many years, but took a long break while my kids were small. Last year, as I was writing Spark, I took a class again. It’s fantastic to have physical work which requires a very different kind of attention from writing. And such a pleasure to be able to sit down at my computer with a cup of tea in a mug that I’ve made!”

How do you put yourself in a creative state of mind?

It seems that place is important. As in state of mind, so place meaning, where I feel free to experiment, apply the old in a new way, take risks without possible ridicule. Sounds a bit like brainstorming but without others present. We can do that–a retreat with quiet time, quiet spaces, or a place we can play our favorite music, dance around the room if need be; whatever it takes to bring us to a state of pure freedom of thought.

Do we treat introverts or extroverts differently? Is any one going to be more receptive to feeling the urge to create. Maybe the introvert needs the time alone for energy, while the extrovert needs people and stimili to energize. It makes sense since these characteristics also, in part, define introversion and extroversion. Not so much inward and outward going, but rather the place where they find their best. And we want their best.

Most problem-solving courses use a variety of techniques to allow for the variety of individual differences that make up the pool of trainees. Problem-solving offers the chance to look at different ways we process information. I referred in my last article to a psychology professor who suggested problem-solving was a matter of letting information roll around in our mind one way or another through concentration, meditation, or even prayer, allowing the brain’s creative function move it around in a creative way.

Think of dreaming as information, situations, various stimili entering your mind at a time when you are not trying to control it–your unconscious and subconscious mind reconstructs the inputs from your life and turns it into something else, something perhaps even brand new. Maybe it’s a nightmare, maybe insight or maybe a solution. That’s why any training exercise, someone can take with them and repeat it, like meditation, works to let the ideas form unique juxtapositions that, in turn, may offer a creative solution or spark new ideas totally.

Vision building is a way of looking at the status quo and finding a unique way of building upon it. So, the retreats may have hit on something there. How about opening up the retreat environment to give and encourage the participants to be most comfortable and free. Provide training in relaxation and meditation techniques to help free their mind of other pervasive thoughts. Providing meetings and informal gatherings to spur on those who thrive and derive energy in that environment.

I like what Burstein says here about her friend,Tibor Kalman, the graphic designer and multifarious auteur, who seems to have a remarkable insight into creativity.

“You don’t want to do too many projects of a similar type,” he told me. “I did two of a number of things. The first one, you fuck it up in an interesting way. The second one, you get it right. And then you’re out of there. I have sought to move into as many other fields as possible, anything that could be a step away from ‘graphic design,’ just to keep from getting bored. As long as I don’t completely know how to do something, I can do it well. And as soon as I have [completely] learned how to do something, I will do it less well, because what I do will become more obvious.”

Less is more. Filling all the gaps with information leaves us full of where we are now with little room for questions. We hire leadership from outside the company because they have a fresh eye; maybe they just have gaps that allow them fill in them with new or even unique information.

This gave me an idea for training. What about exercises look at twisting a standard, modifying a rule to be less rigid or even more rigid. Rigid enough to become a company standard, a company tradition. “We only accept the best raw material no matter the cost.” It is rigid. Could it contribute to a vision? An exercise taking one statement like that and having a leader trainee turn that into a leadership vision, company mission statement, company slogan might make a good exercise.

Now it’s your turn to provide some samples of good creativity exercises. I need to meditate some more on the subject.

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For more resources about training, see the Training library.

For a look at the human side of training from my Cave Man perspective, please check out my best-selling book, The Cave Man Guide to Training and Development. Happy training.

After the proper learner preparation has taken place and connections have been built with the learners, the facilitator(s)’ role is to deliver the information. It is important to remember in learner-centered training that delivery should be about the learner and their learning of the material. When preparing for this phase, many facilitators, trainers or presenters spend the majority of their time on delivery of content (the presentation of material) within their control ignoring that the leaner is the most important component of this preparation. In many cases, the training is occurring to provide knowledge, skills and abilities that will help the learner achieve the company objectives. The ultimate goal of the training is most likely is to initiate a change in behavior. Since the learner is the only who can control the behavior change, focusing the delivery on the learner is essential is achieving this goal.

Learner-Centered Delivery Using Creative Presentation

Traditional PresentationVerses Creative Presentation	Traditional  Lecture Facilitator Focused Boring Not Learning		Creative PresentationInteractive Activity after every 10-15 minutes of facilitator talking Requires Movement and Participation of Everyone Learner Centered
Three Types of Creative Presentation
	Facilitator PresentsPresentations that increase curiosity, jump-start learning, and engage the learning.	Facilitator and Learner Presentation allows learners to create during the facilitation.		Learner Presentations and Discovery Exercises allow learners to be introduced to the topic without formal facilitation.
Some Examples from the Experts  These examples can be found in the SharonBowman books and in the The Accelerated learning Handbook by Dave Meier Use visual props when you present. When teaching a process or procedure, build it on the wall or table (depending on the size of the group). Make sure it is visible to everyone. Have the group tear it done and re-build it as a teach- back. Use stories or fables. Wear a costume or create a character to illustrate the point. Use a sandwich board to dress yourself up as a product or process or piece of equipment. Present the information in the first person. Use memory triggers such as rhymes or acronyms. (You can have the group repeat them for reinforcement.) Use analogies and metaphors. Use the talk show host character and interview a subject matter expert. Assign learners a different process or part of the topic and use them throughout the presentation to illustrate their role. Have everyone choose a learning partner. Let them know that they will be creating a 10 question quiz on the topic and have them quiz their partner at the end. Have everyone put their name on an index card then drop it in a container. Next have each of them draw a name from the box. That will be their secret pal. Explain that they will have to take notes for their pal. At the end have them review and give the notes to their assigned pal. Periodically stop presenting and have learners discuss how they can use what they just heard. Give each participant a BINGO card with words, terms or processes that will be covered. If a learner reaches BINGO have them stand up and award a small prize. Give learners a set of questions that will need to be answered at the end. Have them take notes during the presentation, then answer the questions (can be done in a team if a group presentation) Give each learner a card with a question that they will need to ask the presenter. Use a press conference theme to get the questions answered. Give learners handouts with pictures or charts with missing information. Have them fill in the information as your present. Give each learner a large card with a term written on one side and the definition on the other. When you discuss the term in the presentation, have the learner stand up and read the definition to the group.

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For more resources, See the Human Resources library.

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Sheri Mazurek is a training and human resource professional with over 16 years of management experience, and is skilled in all areas of employee management and human resource functions, with a specialty in learning and development. She is available to help you with your Human Resources and Training needs on a contract basis. For more information send an email to smazurek0615@gmail.com or visit www.sherimazurek.com. Follow me on twitter @Sherimaz.

Resources

http://www.bowperson.com/ http://www.alcenter.com/

Based on a comment by Barbara Kite, an acting and public speaking coach (and a respected colleague), I am encouraged to write an article on the importance of practice. She has been very influential in how I look at acting, coaching, and, of course, training. Her views, like mine, come from a link between acting and life’s experiences. We have some different experiences, but I always listen to what she has to say.

It’s almost a no-brainer to anyone with sense that practice in anything we do is invaluable. Most of us would acknowledge that practice by itself is not as simple as it seems. Naturally, when it comes to training, it should not be overlooked or assumed it will happen on the job. Let’s give the subject of practice some perspective, and with that, something to think about.

Kite mentioned in her comment to my previous post, The Best Performance Enhancer…

“It’s not the training I’m currently concerned about, it’s how quickly we try to train people without following up with refreshers and reminders.”

I think we have to take individual differences into account when we give anyone career instruction. I stress motivation. Even the less talented can get work if they are persistent and work hard. Highly talented individuals can sit back after one good job and wonder why the offers aren’t coming their way. Those who practice their craft and are motivated to succeed will find a way. Practice doesn’t have to be exactly the same every time, but can incorporate new elements.

“I just worked with clients I had trained over six months ago. They had made progress by using some of what they had learned (or remembered) but also had let slip some of the basics they had learned, and were asking the same questions they had when first we met. Had they not been paying attention? Or did some things slip? Or was there too much information?”

I’m sure this sounds familiar. She goes on to say:

“I know my acting students need to hear the same phrase over and over and over again before it sinks in. We are in a hurry to learn and expect it to be easy and we’re not willing to put the time needed for those muscles to form to be really able to use them. I ask new clients (public speaking and actors) how long would you give yourself to be a concert pianist or a tennis champ? It’s the same thing. Practice, practice, practice.”

And, she is absolutely right, which is one reason I advocate continuous learning. Refreshers are good, too, but I would want them to build on the review of past information our people should know and be using. Often I find they aren’t. Because they don’t want to ask for the training, they try to do a “work-around.” In some things, there is no “work around.” Then we have to train all over again.

Continuous learning uses practice as its base. It is a necessary element of teaching or coaching Karate or most martial arts, for example, with the belt system. Each class is a review or refresher, practice, and includes something new. This is essential professional development from the ground up; it only makes sense to build on what we learn from the lowest to the highest employee.

All students and trainees, not just acting or Karate students, need to internalize what is they are learning to make that learning stick, and repetition helps that certainly. We, as trainers and coaches, need to find what methods learning works for them.

I know when I was developing as an actor on stage, I had stage fright. After “practice,” not so much stage fright. The first time I used a microphone, it was the same thing. After awhile, no problem. Then the video camera… It was uncomfortable at first but I was prepared; I had learned to know it would be there and it was easier to go from there. It was only because of repetition through practice that I internalized and learned the what I needed to in order to succeed at my job.

Managers/Leaders and Workers, like Directors and Actors, are comfortable with their work based on their respective backgrounds, training and education, and work experience. I just finished a series of Acting Smarts articles for STAGE Magazine on auditioning from both the perspective of the director and the actor. My acting training and experience affects my directing preferences just as my “other” work experiences in customer service and training directly affects how I manage and lead my people. I have to admit that all my experiences, directly or indirectly affect anything I do. “I Y’am What I Y’am,” remember. I would expect a manager who has personally worked the job sees the team based on his or her experiences and supervises them based on his preferences doing that same job now.

Individual preferences and learning differences do matter. And teaching philosophy, in this case.

I come from a social psychology background as well and my mentor, Dr. Willis H. McCann, the chairman of my university’s psychology department then, had a philosophy of doing what works (for attaining good mental health). He compared problem-solving to praying, meditating, cogitating, sleeping on it–all ways that work in solving problems. He was one of those great broadly-thinking men with a PhD in Psychology, a Doctor of Divinity, and a Juris Doctorate who never made you feel he had all the answers; however, he did see many connections.

How we process, how we think and how we learn is reinforced with “practice, practice, practice.” We even practice the ways we problem solve. In this case, the art of problem-solving was individualized but it did the same thing: what works. I think that applies to most things; there are always good ideas, but they are never the only ideas and people latch on to what makes them comfortable–and what works for them. Consider we all do that and apply it–with practice.

The art of problem-solving works well here to describe individual differences. Praying, meditation or just sleeping on a subject does the same thing; it allows an idea to roll around in your mind without expectations, without manipulation until a subconscious answer comes to mind. Think about any problem-solving course of training that uses on of these methods. They all allow for a concentration on a verbal or nonverbal, auditory or inaudible statement of thoughts. Doing what works and practicing it, so the experts say, will improve problem-solving. Practice, practice, practice.

So I still agree. Practice is important. I think that is why training directors and coaches need to always be thinking of new ways and next steps. They should be incorporating practice as a part of their training and coaching, and motivating employees and clients to use these skills on the job (practice again). I encourage development over training. Development is continuous learning and building on skills, and hopefully honing these skills and using the new knowledge in practical application on the job. Call it practice, if you will.

I think we have to take individual differences into account when we give anyone career instruction. I stress motivation as well. Even the less talented can get work if they are persistent and work hard. Highly talented individuals can sit back after one good job and wonder why the offers aren’t coming their way, while those who practice their craft, sometimes regardless of talent, and are motivated professionals who succeed.

In the simplest sense, Practice is what will make a training program work. We all know the simplest solutions are too good to be true. Practice works, but taking into account other variables, can maximize results. It solidifies the base for continuous learning, it builds confidence as it becomes a part of the learning that is internalized, and the more comfortable we become the more willing we are to add to that we have learned.

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For more resources about training, see the Training library.

As always these are only my thoughts–and Barbara Kite’s, so be sure to check out her website for her thoughts and philosophy on training and coaching. Also, pondering the question of balancing theory with practice is Gary Pollice, Professor of Practice, Worcester Polytechnic Institute, in his article titled Training versus Education. For more of my views, questions, offers of employment, contracts…, contact me via email or phone, which is available on my homepage.

By all means, please feel free to add your comments and insight here on this page. That’s what we’re here for.

For a look at the human side of training from my Cave Man perspective, please check out my book, The Cave Man Guide to Training and Development. Happy training.