Influences of Organizational Culture and Climate on Individual Creativity

This paper provides a framework for conceptualizing and reviewing the literature on the influences of organizational culture and climate on individual creativity. Although often treated interchangeably, culture and climate are distinct constructs operating at different levels of meaning; yet at the same time, they are closely interrelated. Culture is the beliefs and values held by management and communicated to employees through norms, stories, socialization processes, and observations of managerial responses to critical events. The beliefs and values that typify a culture for creativity become manifested in organizational structures, practices, and policies. In turn, these structures, practices, and policies guide and shape individual creativity by creating a climate that communicates both the organization's goals regarding creativity and the means to achieve those goals. The paper concludes with a discussion of issues relating to the development of cultures and climates for creativity and potential new directions for future research.     

Assessing knowledge-intensive work environment: General versus situation-specific instruments

The aim of the present study is to examine to what extent general and situation-specific work environment instruments capture the salient work characteristics in a knowledge-intensive context. We conducted qualitative open-ended interviews with 30 employees (24 men and six women) from a Norwegian university department. The information from the interviews was content-analysed and coded on the scales of five work environment instruments; two general instruments (the General Nordic Questionnaire for Psychological and Social Factors at Work [QPSNordic] and the Job Diagnostic Survey [JDS]) and three situation-specific instruments (Assessing the climate for creativity [KEYS], Situational Outlook Questionnaire [SOQ], and the Organizational Climate Measure [OCM]). The results showed that situation-specific work environment instruments covered significantly more statements about the work environment than the general instruments. More statements could be categorized on the organization and individual levels, compared to group and leadership levels. The situation-specific instruments covered more statements than general instruments at the organization level. These statements were mainly related to the organizational context, social and relational characteristics, and encouragement of creativity and organizational impediments to creativity. The findings support the value of situation-specific instruments for assessing the work environment in knowledge-intensive organizations.     

The Cross‐Level Mediating Effect of Psychological Capital on the Organizational Innovation Climate–Employee Innovative Behavior Relationship

Organizational innovation climates have been found to be effective predictors of employee creativity and organizational innovation. As such, climate assessments provide a basis for useful organizational interventions in enhancing creativity and innovation. Researchers now call for better articulation of the motivational mechanisms that link social context to employee innovation. In responding to the above call, this study found that employee positive psychological capital (PsyCap) is more influential than organizational innovation climate on employee innovative behavior. With a large sample (N  = 781) from 16 organizations and a cross‐level analysis, we examined the relationship between organizational innovation climate and employee innovative behavior with employee PsyCap as mediator. The results showed that both organizational innovation climate and employee PsyCap significantly affect employee innovative behavior, and more importantly, employee PsyCap fully mediates this relationship. The innovation journey is a challenging and risky one with many frustrations and discouraging moments from idea generation to idea implementation. The research results presented here imply that to be innovatively effective, organizations are advised to manage both social (organizational innovation climate) and psychological (PsyCap) resources of employees in enhancing employee innovative behavior. Other theoretic and practical implications are discussed.     

Getting What's New from Newcomers: Empowering Leadership,Creativity, and Adjustment in the Socialization Context

Researchers consistently argue that organizations need to generate creative ideas to ensure long‐term success and survival. One possible solution for increasing creativity is to inject “fresh blood” into the organization by hiring new employees. However, past work suggests there may be a number of impediments that stifle newcomer creativity and, further, that encouraging newcomer creativity may compromise other adjustment outcomes. Accordingly, the present research examines how empowering leaders, in conjunction with contextual and relational factors (i.e., organizational support for creativity and newcomers' trust in leaders), facilitate newcomer creativity. Study 1 indicates that empowering leadership positively predicts newcomer creativity and that this relationship is contingent on the organizational context. Study 2 reveals that a more specific and proximal contextual socialization factor–newcomers' trust in leaders–is a more potent moderator than organizational support for creativity. Further, these predictors operate through creative process engagement to influence creativity. Finally, results indicate positive links between empowering leadership and role clarity, attachment, and task performance, suggesting that empowering leadership may serve as an important, albeit overlooked, socialization tactic.     

The Interactive Effects of Self‐Perceptions and Job Requirements on Creative Problem Solving

Over the years, researchers have focused on ways to facilitate creativity in the workplace by looking at individual factors and organizational factors that affect employee creativity (Woodman, Sawyer, & Griffin, 1993 ). In many cases, the factors that affect creativity are examined independently. In other words, it is uncommon for researchers to look at the interaction among individual and organizational factors. In this study, it is argued that to get a true understanding of how to maximize creativity in the workplace, organizational researchers must look at the interaction between organizational factors and individual factors that affect employee creativity. More specifically, the current study looked at an individual's perceptions about his or her ability to be creative (i.e., individual factor) and perceptions of requirements for creativity in the workplace (i.e., an organizational factor). The results indicated that individuals who have a high belief about their ability to be creative (an individual factor) were most creative when they also perceived requirements for creativity in the workplace (an organizational factor). Furthermore, individuals who had low perceptions of creative ability were still able to perform creatively when they had high perceptions of requirements for creativity. This suggests that, to maximize creativity, organizations should focus on both individual and organizational factors that affect employee creativity.     

Formulation of Policy and Strategy in Developing Creativity Education in Four Asian Chinese Societies: A Policy Analysis

The present study sought to compare and contrast educational policies on creativity education in four Asian Chinese societies, namely mainland China, Hong Kong, Singapore, and Taiwan. It establishes five criteria on creativity education policy, including policies regarding legislation on creativity education, definitions of creativity, standard implementation, explicit identification of special populations of creative students, and creativity education in the community. Among the four societies, Taiwan has an official document — the White Paper on Creative Education published in 2003 — whereas in Hong Kong and Singapore, creativity has been identified as an ability to be nurtured in students of all levels in their national curriculum reform. In mainland China, innovation is regarded as a synonym for creativity. Definitions of creativity have at times not been clearly defined, although multiple levels of creativity development (individual, school, societal, industrial, and cultural) have been discussed in Taiwan. In Hong Kong, creativity has been defined as a generic skill in various key learning areas (e.g., language education, mathematics education, science education, etc.) in the school curriculum. In Singapore, creativity is a learning outcome to be developed in students. None of these societies use standard creativity assessment tests as evidence of creative competence in students. When creativity has entered the central stage in the curriculum reform and creativity education is made available to every student, efforts have been made to identify highly creative students and provide them enrichment opportunities, mainly using performance assessments and performance in creativity competitions in these societies. But mainland China, Hong Kong, and Singapore do not sufficiently emphasize creativity education in the larger community.     

Conceptualizing Creativity: General and Cultural Biases in Gough's Creative Personality Scale

This study analyzes the validity of Gough's Creative Personality Scale (CPS) for the Adjective Check List (ACL) by using 1773 Swiss, South Korean, and Mainland Chinese students as a sample. Four sources of potential bias were identified in Gough's CPS, two of which are general and two cultural in nature. The two general biases were investigated by conducting correlation analyses and evaluating alternative scoring methods for the CPS. As a result of the first bias, checking a large number of adjectives was found to be more important for achieving a high score than checking the relevant ones. Due to the second bias, the CPS score mostly depends on the number of positive adjectives checked while negative items have little impact. The two cultural biases were analyzed using an implicit version of the CPS (iCPS) and factor analysis. The latter revealed three different clusters of creativity type: exploratory‐type, socially responsible‐type, and intellectual‐type creativity. Based on cultural background, they are all weighted differently, causing a potential experiential bias in the CPS. Findings indicate that in South Korea and Mainland China socially responsible‐type creativity dominates whereas in Switzerland exploratory‐type creativity prevails. Findings from the iCPS suggest the second cultural bias, the socially desirable responding bias arising from differences in responding styles among the three cultures.     

Contemporary Studies on the Concept of Creativity: the East and the West

This article reviews contemporary studies on the concept of creativity across two cultures—Eastern (Asian) cultures and Western (American and European) cultures — by examining two bodies of literature. One is on people's implicit theories of creativity across different cultures and the other is on cross‐cultural studies of creativity. Studies on implicit theories of creativity in the East suggest that many Asians have similar but not identical conceptions of creativity to many people in the West. Cross‐cultural studies of creativity reveal that Easterners and Westerners differ, on average, in their divergent‐thinking performance and creative expressions. A view of creativity as relatively culture‐specific is presented and the appropriateness of using divergent‐thinking tests to measure creativity is discussed.     

Productivity,counterproductivity and creativity: The ups and downs of job insecurity

Organizations frequently downsize in the hopes of creating a ‘lean and mean’ company able to be flexible and quick to adapt to changing environmental needs. The purpose of the current research was to assess the effects of job insecurity on productivity, counterproductivity, and creativity in a simulated organizational environment and a field setting. In the first study, 104 non‐traditional undergraduate students (M = 30.48 years) participated in a laboratory experiment that manipulated the threat of lay‐offs (job insecurity) and measured creativity and productivity over two time periods. Compared to control group participants, results indicate that participant productivity increased in the condition of higher levels of job insecurity, whereas creative problem solving decreased. In the second study, 144 employees in five organizations completed a survey measuring their job insecurity perceptions, enactment of counterproductive work behaviours, and creative problem‐solving ability. Regression analyses indicate that job insecurity predicted lower creativity scores, yet was also related to lower numbers of counterproductive work behaviours. Taken together, these studies suggest that job insecurity may have adverse effects on creativity, yet moderately beneficial effects on productivity. Results are interpreted in light of the increasing prevalence of job insecurity and organizational downsizing in today's workplace.     

The Style Troika Model: A Structural Model of the Thinking and Creating Styles Scale

Individuals express their creativity through a variety of thinking and creating styles (Wechsler, 2006, 2007). These constructs underlie the Thinking and Creating Styles Scale (TCSS), which is used to identify individuals' creating styles. The aim of this research is to assess the factorial structure of the Portuguese version of the TCSS. Two studies were performed using 414 and 369 Portuguese participants with mean ages of 29.25 and 29.35 years, respectively. Study 1 consisted of an exploratory factor analysis that yielded a three‐factor solution. Study 2 consisted of a confirmatory factor analysis used to test the fit and compare the suitability of several factorial solutions. The three‐factor model (Non‐Conforming/Transformer, Cautious/Reflexive, and Logical/Objective) with the best statistical fit was called the Troika Model. In this model, each factor had five items and showed good and acceptable indices of fit. This new three‐factor structure results in a more efficient and attractive version of the TCSS: the Creating and Thinking Styles‐Troika Scale (CTS‐TS). Future studies should use the CTS‐TS and other creativity assessment instruments to explore the creativity level and style dichotomy.     

气氛强度:理论基础及其研究框架

随着多层次理论的发展,气氛强度成为组织管理研究中受到关注的新概念。以多层次理论中的合成模型和文化强度为理论基础,研究者对气氛强度的前因变量及其作用开展了一系列的研究。本文在回顾气氛强度的理论基础和研究框架的基础上,提出未来研究首先应补充气氛强度前因变量的探索;并在不同行业和不同工作类型中去验证气氛强度的作用;最后应关注对气氛的概念界定,从而扩展对气氛强度的研究。     

Cultural Effects on English Language Teachers’ Judgments of Metaphoric Creativity: A Mixed‐Methods Approach

This study explored cultural influences on English language teachers’ judgments of English metaphors created by Taiwanese learners of English. Based on a mixed‐methods approach, it delved into the rating severity and implicit evaluation criteria of two cultural groups of teachers: Taiwanese and Americans. Ten Taiwanese teachers and 10 American teachers evaluated 120 novel metaphoric expressions using the Consensual Assessment Technique (Amabile, 1996). Creativity in context: Update to the social psychology of creativity. They further filled out a creativity evaluation survey, which was designed to bring to light what qualities within the metaphors influenced their judgments of metaphoric creativity. With the teachers’ ratings being analyzed by means of many‐facet Rasch measurement, this study first indicated that the American teachers were more severe raters than the Taiwanese teachers, but no significant difference was found between them. Analysis of the evaluation survey further demonstrated that both cultural groups shared largely similar evaluation criteria; yet, two contrasts emerged between them. Specifically, the American teachers seemed to favor metaphors that expressed the creator's thoughts; by contrast, the Taiwanese teachers preferred metaphors that relied on readers’ imagination to work out the meanings. These findings shed light on implications for teaching creativity in English L2 classrooms and assessing learners’ creative language artifacts in an English L2 context.     

A Cross‐Cultural Study of Task Specificity in Creativity

This study provides new evidence concerning task specificity in creativity—examining through a cross‐cultural perspective the extent to which performance in graphic versus verbal creativity tasks (domain specificity) and in divergent versus convergent creativity tasks (process specificity) are correlated. The relations between different creativity tasks in monocultural and multicultural samples of Chinese and French children were compared. Electronic versions of the Wallach and Kogan Creativity Test (WKCT , W allach & K ogan, 1965; L au & C heung, 2010) and the Evaluation of Potential Creativity (EP oC; L ubart, B esançon, & B arbot, 2011; B arbot, B esançon, & L ubart, 2011) were used. Both measures showed satisfactory psychometric properties and cross‐cultural structural validity. The results showed that culture has an impact on the structure of creative ability: It appeared that correlation patterns were different across Chinese and French groups and across monocultural and multicultural groups. Such results show that it is crucial to take task specificity into account when investigating the effect of culture on creativity. Indeed, our study implies that cultural differences that are found using one specific creativity task might not be automatically generalizable to all sorts of creativity tasks. Limitations are discussed and perspectives for future research on culture and task specificity in creativity are proposed.     

团队多样性与组织支持对团队创造力的影响

采用实验法在专业异质性与群体断层两个水平上操纵团队多样性, 通过两个实验考察团队多样性与组织支持的交互作用对团队创造力的影响。研究结果表明：(1)在独创性维度上, 专业异质团队在工具支持条件下的独创性显著高于专业同质团队, 情感和物质支持条件下二者差异不显著。当团队出现群体断层时, 情感支持与工具支持具有同样的促进作用, 即在这两种组织支持下, 强断层团队的独创性显著高于弱断层团队; 物质支持条件下二者差异不显著。(2)在适宜性维度上, 组织支持的主效应显著, 两个实验一致地发现物质支持条件下的适宜性显著高于情感支持和工具支持。本研究从团队多样性与组织支持交互作用的角度考察不同复杂程度、不同组织目标的多样性团队所需要的组织支持条件, 对促进团队创造力具有一定的理论与实践价值。     

Thinking Outside the Clocks: The Effect of Layered‐Task Time on the Creative Climate of Meetings

The turbulence of the new economy puts demands on organizations to respond rapidly, flexibly and creatively to changing environments. Meetings are one of the organizational sites in which organizational actors “do” creativity; interaction in groups can be an important site for generating creative ideas and brainstorming. Additionally, Blount (2004) demonstrated the importance of organizational temporalities for group performance. We draw on both of these literatures and examine how temporal structures influence the climate for creativity, or the extent to which creativity is fostered, within groups. Specifically, we develop a hypothesis linking organization‐ and job‐level temporal structures to the extent to which managers structure meetings with a climate supportive of creativity. Our results demonstrate that a nuanced relationship exists between temporal structures and creative climate such that certain temporal structures appear to either enhance or decrease the creative climate of meetings. We end with a discussion of the implications of the findings for management.     

The Role of Hofstede's Individualism in National-Level Creativity

It is a widely held belief that culture is a factor that influences creativity. The influence of culture on creativity is, however, relatively understudied and the majority of creativity research focuses on creativity at the level of the individual or organization. In this article, the relationship between Hofstede's cultural values (individualism, power distance and uncertainty avoidance) and national level scores on two separate creativity indexes—the Global Creativity Index (GCI) and the Design and Creativity Index (DCI) was examined. A multivariate multiple linear regression analyses showed a strong positive relationship between individualism and national ranking on the GCI and DCI. No significant relationship was found between the creativity measures and Hofstede's power distance and uncertainty avoidance. The positive relationship between individualism and creativity suggests that autonomy, independence, and freedom—beliefs associated with individualism—are needed for a nation to be creative.     

Climates Create Cultures

The circumstances in which societies adapt their cultural values and practices to cold, temperate, and hot climates include the availability of money to cope with climate. Country-level studies have shown that feeling good, doing good, altruistic volunteering, intrinsic work motivation, cooperative enculturation, and democratic leadership are least prevalent in poorer countries with more demanding climates, moderately prevalent in poor and rich countries with temperate climates, and most prevalent in richer countries with more demanding climates. The common denominator is that inhabitants of lower-income countries in more demanding climates emphasize survival values at the expense of self-expression values, whereas the inhabitants of higher-income countries in more demanding climates emphasize self-expression values at the expense of survival values. These findings have practical implications for the cultural consequences of global warming and economic growth, and for the effectiveness of financing for human development.     

The Creative Imperative Model: A Four‐Quadrant Approach to the Categorization of Industries and Firms by Types of Creativity Demanded

Organizational creativity, in the model that follows, is subcategorized according to the type of creativity demanded by the industry in which a firm competes. Industries that demand the constant creation of new products are referred to as creativity‐centered while others, which benefit from creative refinements to current services, are referred to as creativity‐enhanced. Creativity is further subcategorized according to whether a given industry or market demands aesthetic or technological creativity. The two dimensions are combined in a four‐quadrant model yielding four types of firms described as Technical Artists, Artists, Inventors, and, more broadly, Distributors and Adaptors. Implications for organizational structure and inter‐organizational relationships are then discussed.     

Why do employees undertake creative action?

There is much research identifying factors that lead to a creative outcome, but little on what leads employees to begin the creative process in the first place. This research used semi‐structured interviews with 65 engineers to explore the factors and processes involved in this phenomenon. We found that general work motivation, creativity requirements, cultural support for creativity, time resources, and autonomy were all used as cues in deciding whether undertaking creative action would be worthwhile via judgmental processes of expectancy and instrumentality. We also discovered overlaps with the cognate literatures of organizational citizenship and proactivity and explore these in discussing new areas for research.