Creative Genius in Traditional Schools

Creative genius is a capacity that can be developed, and it is probably one of the most important ability to develop in our young people.  Many highly creative people learn the opposite.  They learn to shut down their creativity and give the expected response.  Their own creative nature becomes a burden.

Children learn this very early.  have high level creative capacities are often misunderstood, or diagnosed with disorders.  If a young child is not "on task" but staring out the window, it is seen as a problem, rather than perhaps the process of imagination and incubation of ideas.  When a child comes up with an answer that is far away from the expected one, they are not honored for this uniqueness, but simply given a poor mark. 

I recall one day watching a young while observing a traditional kindergarten class.  He was the most joyfilled student.  With great excitement and enthusiasm, he would interpret each lesson from a completely different lens.  Throughout the day, he came up with his own ideas to every exercise.  He enthusiastically shouted creative (but wrong) answers. 

That day was a standardized test day.  On the shapes-test, when the teacher presented the  rectangle, he enthusiastically shouted "refridgerator".  I loved that answer.  But it did not give him any points on the test. 

At the end of the day the teacher had pigeon holed him as dumb, and I just wonder how far that lable will be carried with him.  I wonder how long it will take before he stops shouting answers, and hides in the back, or acts out instead.  I wonder how long before his spark is extinguished.

Creative expression is a process of allowing, not controlling.  The intellect must move aside.  Judgment has no place here.  In the pure creative process, the creative person becomes the vessle for co-creating with God.  Children are naturals at this, until they learn it is unwanted, or inappropriate.

In the book Power vs. Force, author David Hawkins describes it as follows:

Creativity and genius are the center of powerful, high energy attractors.  No human talents are more germane to the creation of new M-fields or the unfoldment of the enfolded universe; in fact, these are the explicity domain of creativity and genius.  Yet these closely allied processes remain shrouded in mysteryl there is a paucity of information about the essential nature of either creativity or genius. (pg 217)

 The mention of the role of M-fields is similar to the work of others, such as Amit Goswami's work (see his book Quantum Creativity)

Here Hawkins refers to the way in which creative people help with the creation of new M-fields (short for Morphogenetic fields, as per Rupert Sheldrake)  I like to think of creativity as tapping into the existing field, and then becoming the vehicle to express the essence of that collective field.

The connection to the expression of what already is, rather than the creation of something entirely novel to the individual is described in the following paragraph.

The process of animating genius most commonly infolves first formulating a question, and waiting an indefinite interval for consciousness to work with the problem; then suddenly, the answer appears in a flash, in a form that is characteristically nonverbal.  Great muscians throughout history have stated that they ddid not plan their music, but rather wrote down what they heard, finished, within their own minds. (continued from pg 217)

This type of inspired idea formation is akin to channeling.  It is a process of revelation after incubation.  Hawkins describes this revalation process as a jump from a lower to a higher attractor energy pattern.

Attractor energy patterns have harmonics, as do musical tones.  The higher frequency the harmonic, the higher the power.  What the genius arrives at is the new harmonic  Every advance in himan consciousness has come through a leap from a lower attractor pattern to a higher harmonic.  Posing the origianl question acivates an attractor; the answer lies within its harmonic.  This is why it is said that the question and the answer are emrelyu two sides of one coin, and that one cannot pose a question unless the answer altread exists--otherwise, there would be no pattern from which the question could be formulated. (pg 218)