The unexpected benefits of creativity

(Family Features) Creative expression not only helps children convey their thoughts and feelings, but it also helps build the self-esteem and resilience needed to navigate life’s complexities. Creativity can even serve as a powerful catalyst for educational, emotional and cognitive growth.

Bolstering Kids’ Confidence

These findings are part of a Crayola-commissioned study conducted by YouGov of 702 6- to 12-year-olds that explored the connection between creativity and the development of essential life skills. The study revealed that when faced with challenges, children most often rely on their own creative ideas rather than depending on others or giving up. This instinct to turn inward for solutions demonstrates a natural tendency toward creative problem-solving.

More specifically, the study found 92% of participants believe being creative boosts their confidence, and 6 in 10 said participating in a creative activity gives them a sense of pride. What’s more, 65% of children shared that engaging in a creative activity makes them feel happy and excited to participate.

“Creative activities help children recognize their unique talents and develop a deeper belief in their abilities – giving children an incredible sense of joy and accomplishment,” said Cheri Sterman, senior director of education, Crayola. “By prioritizing creativity, we not only enhance children’s immediate happiness and sense of pride but also equip them with the confidence and skills they need for future challenges.”

The study supports the premise of Crayola’s Campaign for Creativity, an advocacy initiative championing the importance of childhood creativity as a critical life skill that empowers kids to reach their full potential and encouraging adults to nurture that creativity.

Parents and caregivers play a critical role in incorporating creative moments into their child’s day, whether it’s in a traditional form of artwork or reflected in a wide range of other activities, including storytelling, drama, dance, music and even sports.

Notably, more than half of survey participants (53%) shared they wished they could spend more time expressing themselves creatively with a parent or caretaker.

 “Engaging in creative activities together is a powerful way for parents and children to strengthen their bond while helping children grow into confident, capable individuals,” Sterman said.

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As a parent, you can tap into programs such as Crayola Creativity Week to gather ideas and inspiration for nurturing creativity that promotes development of essential life skills, including:

Self-Expression: Engaging in creative activities allows children to express their thoughts, feelings and identities. This expression helps them better understand themselves and fosters a sense of ownership over their ideas and creations.

Confidence: Sparking creative moments with kids allows them to build their confidence through self-expression, idea exploration and problem solving. This, in turn, empowers them to tackle challenges, think independently and develop resilience.

Problem Solving: In the study, children reported often turning to their own creative ideas to face challenges. Fostering creative problem-solving empowers children to navigate obstacles independently.

Self-Esteem: When children feel free to create without fear of judgment, they develop a sense of accomplishment and pride in their work, which can strengthen their self-esteem. Creative activities also help them recognize their unique talents and develop a deeper belief in their abilities.

Creative Capacity: The act of creating something can empower children. When they conceptualize and execute their ideas, they realize they have the skills to turn their thoughts into reality.

Resilience: The creative process involves experimentation and failure. Children learn that setbacks are part of learning, which enhances their resilience. This experience fosters a belief in their ability to bounce back and tackle future challenges independently.

You can discover inspiration for nurturing your children’s creativity, including free creativity resources at Crayola.com/CreativeMoments.

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SOURCE:
Crayola

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Christopher J. Ferguson, Stetson University

Few people would doubt that sex is ubiquitous in media – whether movies, television, music or books – and that teens today have unprecedented access to all of it. It’s often taken for granted that this easy access to “sexy media” has an influence on teenage sexuality.

Specifically, the worry is that teens may have sex earlier or engage in higher-risk sexual activities such as having multiple partners or exposing themselves to potential pregnancies or STDs. In 2010 the American Academy of Pediatrics even published a position paper claiming that sexually explicit media could promote risky teen sexual behavior.

But government data find that teens are actually waiting longer than in the past to have sex. And teen pregnancy rates are at historic lows. How is it possible that sexy media has such a pernicious effect even as teen sexuality is becoming healthier?

I’ve spent more than a decade researching how media – like video games or advertising – influences youth behavior. What fascinates me is how society interacts with media, often embracing salacious content while simultaneously blaming it for societal problems, whether real or imagined.

So my colleagues and I decided to look at the research on sexy media and teenage sexual behavior to see how the strong the link between the two is.

Sexy media doesn’t predict sexual behavior

Despite the common assumptions about sex in the media and its alleged effects on teens, the evidence behind the link is weak. Some studies find evidence for a small effect (perhaps in some circumstances but not others), while others find no evidence for any effect.

One reason the evidence may not be conclusive is that there are practical and ethical limitations to conducting research. We can’t run experiments where teens watch different TV shows and we wait around to see who has sex. This means research often relies on self-reported data. What we do is ask teens to report on their sexual behavior and their media preferences, as well as other variables we might like to control for (such as personality or family environment) and see if correlations exist.

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With this in mind, my colleagues Patrick Markey at Villanova and Danish researcher Rune Nielsen and I conducted a meta-analysis of 22 studies with over 22,000 participants that examine the correlation between sexy media and teenage sexual behavior. A meta-analysis lets us look for commonalities in the results, and is something that had not been done previously with this pool of research.

All of the studies in the meta-analysis looked at depictions of sexual situations, nudity, partial nudity or explicit discussions of sex in television shows or movies easily accessible to minors (and thus excluded pornography).

In particular, we were curious to see whether sexy media predicted teen sexual behavior once other variables had been controlled. For instance, maybe boys tend to watch sexier media and also are more sexually risk-taking. Or perhaps youth who are more liberal in terms of personality are more open both to sexy media and earlier sexual initiation. Perhaps a difficult family background is the underlying key to understanding any correlation between media use habits and actual sexual behavior.

Ultimately, this is what we found. Once other factors such as family environment, personality or even gender were controlled, sexy media exposure did not meaningfully correlate with teen sexual behavior.

Contrary to common fears, sexy media doesn’t seem to have any practical significance for when teens first have sex or start other sexual behaviors. This lack of correlation is a warning sign we might be on the wrong track in trying to blame media for teen sexual risk-taking.

Why doesn’t media influence teens?

There are numerous theories that discuss how individuals and media interact. However, many older media effects theories didn’t consider why people were drawn to media, how they processed it, or what they hoped to get from it. Such theories assumed viewers simply irrationally and purposelessly imitated what they saw. Most of the papers we examined in our meta-analysis were tests of these basic, automatic, media effects theories.

In the past few years, some scholars (myself included) have specifically called for the retirement of these older media effects theories. This is because the evidence increasingly suggests that fictional media such as feature movies or sitcoms media is too remote to have a clear impact on consumers’ behavior, especially compared to families and peers.

In addition, emerging evidence suggests that young children process fictional media differently from real events. If small children are able to process a difference between fictional events and real events, we can assume that teens don’t really expect media to reflect reality.

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Our results regarding the limited impact of media also fit with the observations from societal data. Despite a plethora of sexual media available to teens, a crisis of risky teen sexual behavior has not emerged.

We watch what we’re interested in watching

Newer models of media use suggest that it is the individuals who consume media, not the media itself, who are the driving agents of behavior. Evidence suggests that users seek out and interpret media according to what they want to get from it, rather than passively imitating it.

People don’t generally accidentally watch media, sexual or otherwise, but are motivated to do so because of preexisting desires.

For instance, some recent studies have indicated that youth seek out media that fit with preexisting motives, called a selection effect, but that media don’t necessarily lead to further problem behaviors. For example, research suggests that some teens who are already aggressive might be interested in violent video games, but playing such games doesn’t make kids more aggressive.

That’s a point that sometimes seems ignored when we talk about teens and sex. Interest in sex is a largely biologically motivated process; fictional media really isn’t required. Teens will become interested in sex all on their own.

Parents have more influence than the media

Parents can rest a bit easier since the evidence suggests that media isn’t a primary driver of teen sexuality.

To the extent media has any impact at all, it is likely only in a vacuum left by adults reluctant to talk to kids about sex, especially the stuff kids really want to know.

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How do you ask someone out on a date and how do you handle it if they say no? What does sex feel like? When is it OK to have sex? What are the risks and how do you avoid them? In the face of patient, empathic and informative discussions about sex by adults kids trust, the media likely has little influence.

Ultimately, whether media have salacious or more conscientious portrayals of sexuality, we should not expect media to replace conversations with youth by parents, guardians and educators.

I’m not suggesting everyone run out and buy “50 Shades of Grey” for their teen, but if teens happen to come across it (and they will), it’s not the end of the world.

The important thing for parents is to talk to their kids.

Christopher J. Ferguson, Associate Professor of Psychology, Stetson University

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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Our Lifestyle section on STM Daily News is a hub of inspiration and practical information, offering a range of articles that touch on various aspects of daily life. From tips on family finances to guides for maintaining health and wellness, we strive to empower our readers with knowledge and resources to enhance their lifestyles. Whether you’re seeking outdoor activity ideas, fashion trends, or travel recommendations, our lifestyle section has got you covered. Visit us today at https://stmdailynews.com/category/lifestyle/ and embark on a journey of discovery and self-improvement.

Stephen Lind, University of Southern California

It’s hard to imagine a holiday season without “A Charlie Brown Christmas.” The 1965 broadcast has become a staple – etched into traditions across generations like decorating the tree or sipping hot cocoa.

But this beloved TV special almost didn’t make it to air. CBS executives thought the 25-minute program was too slow, too serious and too different from the upbeat spectacles they imagined audiences wanted. A cartoon about a depressed kid seeking psychiatric advice? No laugh track? Humble, lo-fi animation? And was that a Bible verse? It seemed destined to fail – if not scrapped outright.

And yet, against all the odds, it became a classic. The program turned “Peanuts” from a popular comic strip into a multimedia empire – not because it was flashy or followed the rules, but because it was sincere.

As a business professor who has studied the “Peanuts” franchise, I see “A Charlie Brown Christmas” as a fascinating historical moment. It’s the true story of an unassuming comic strip character who crossed over into television and managed to voice hefty, thought-provoking ideas – without getting booted off the air.

Call from the blue

The “Peanuts” special came together out of a last-minute scramble. Somewhat out of the blue, producer Lee Mendelson got a call from advertising agency McCann-Erickson: Coca-Cola wanted to sponsor an animated Christmas special.

Mendelson had previously failed to convince the agency to sponsor a “Peanuts” documentary. This time, though, he assured McCann-Erickson that the characters would be a perfect fit.

Mendelson called up “Peanuts” comic strip creator Charles “Sparky” Schulz and told him he had just sold “A Charlie Brown Christmas” – and they would have mere months to write, animate and bring the special to air.

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Schulz, Mendelson and animator Bill Melendez worked fast to piece together a storyline. The cartoonist wanted to tell a story that cut through the glitz of holiday commercialism and brought the focus back to something deeper.

While Snoopy tries to win a Christmas lights contest, and Lucy names herself “Christmas queen” in the neighborhood play, a forlorn Charlie Brown searches for “the real meaning of Christmas.” He makes his way to the local lot of aluminum trees, a fad at the time. But he’s drawn to the one real tree – a humble, scraggly little thing – inspired by Hans Christian Andersen’s fairy tale “The Fir Tree.”

Jazz – and the Bible

Those plot points would likely delight the network, but other choices Schulz made were proving controversial.

The show would use real children’s voices instead of adult actors’, giving the characters an authentic, simple charm. And Schulz refused to add a laugh track, a standard in animated TV at the time. He wanted the sincerity of the story to stand on its own, without artificial prompts for laughter.

Meanwhile, Mendelson brought in jazz musician Vince Guaraldi to compose a sophisticated soundtrack. The music was unlike anything typically heard in animated programming, blending provocative depth with the innocence of childhood. https://open.spotify.com/embed/album/2XnNY3GEkbWHor5kyvXLu4?utm_source=generator

Most alarming to the executives was Schulz’s insistence on including the heart of the Nativity story in arguably the special’s most pivotal scene.

When Charlie Brown joyfully returns to his friends with the spindly little tree, the rest of the “Peanuts” gang ridicule his choice. “I guess I really don’t know what Christmas is all about,” the utterly defeated Charlie Brown sighs.

Gently but confidently, Linus assures him, “I can tell you what Christmas is all about.” Calling for “Lights, please,” he quietly walks to the center of the stage.

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In the stillness, Linus recites the Gospel of Luke, Chapter 2, with its story of an angel appearing to trembling shepherds:

And the angel said unto them, Fear not: for, behold, I bring you tidings of great joy, which shall be to all people.

For unto you is born this day in the city of David a savior, which is Christ the Lord.

https://www.youtube.com/embed/KXmGLJ0S1Bs?wmode=transparent&start=0 Leave it to Linus to deliver the ‘true meaning’ of Christmas.

“Glory to God in the highest, and on earth peace, good will toward men,” he concludes, picking up his security blanket and walking into the wings. The rest of the gang soon concludes Charlie Brown’s scrawny tree isn’t so bad, after all – it just “needs a little love.”

When Schulz discussed this idea with Mendelson and Melendez, they were hesitant. For much of U.S. history, Protestant Christianity was the default in American culture, but in the years since World War II, society had grown somewhat more mindful of making room for Catholic and Jewish Americans. Unsure how to handle the shifting norms, many mainstream entertainment companies in the 1960s tended to avoid religious topics.

“The Bible thing scares us,” CBS executives said when they saw the proofs of the special. But there was simply no time to redo the entire dramatic arc of the special, and pulling it was not an option, given that advertisements had already run.

Fun and philosophy

Fortunately for the “Peanuts” franchise, when the special aired on Dec. 9, 1965, it was an instant success. Nearly half of American households tuned in, and the program won both an Emmy and a Peabody Award. Schulz had tapped into something audiences were craving: an honest, heartfelt message that cut through the commercialism.

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Millions of viewers have continued to tune in to the show’s annual rebroadcast for over 50 years on CBS and then ABC – and now Apple TV+.

When I was researching my spiritual biography of Schulz, “A Charlie Brown Religion,” one of my favorite finds was a 1965 letter from a Florida viewer, Betty Knorr. She praised the show for stressing “the true meaning of the Christmas season” at a time when “the mention of God in general (is) being hush hushed.”

The magic of Schulz’s work, though, is that it resonates across demographics and ideologies. Some fans find comfort in the show’s gentle message of faith, while others embrace it in a purely secular way.

Simple but poignant, Schulz’s art and gentle humor can do two things. They can act as safe entry points for some pretty hefty thoughts – be they psychiatric, cultural or theological. Or “Peanuts” cartoons can simply be heartwarming, festive entertainment, if that’s what you want.

Today, both the “Peanuts” empire and the Christmas industry are thriving. Back in the 1960s, commercial realities almost derailed Schulz’s special, yet those same forces ultimately ensured its broadcast. The result is a lasting touchstone of innocence, hope and belief.

Stephen Lind, Associate Professor of Clinical Business Communication, University of Southern California

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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