Dennica Fye Dela Pena

Chapter I INTRODUCTION Background of the Study Poor student achievement is often attributed to a lack of creative skills. Students have difficulty in achieving what to be learned is one of the failure after another to them. Nevertheless, when a child has creative skills s/he has the ability to think up and design new inventions, produce works of art, solve problems in new ways, or develop an idea based on an original. Creativity is also the ability to see something in a new way, solve problem, and to engage in mental, and physical experiences. The child has the ability to pertain the characteristics of creative skills s/he be ready to engage the real world. On the flip side, resilience is the capacity of individuals to overcome adversity and do well in spite of exposure to significant adversity. Resilience is not a static state, an outcome or an inherent trait within the individual. Rather, resilience is a set of process that include individual and their environment. It is the interaction of theses sets of processes that mediate the effects or stressors and facilitate achievement of positive outcomes. Education systems in many countries aim to develop pupils’ creativity (Craft 2005; Davies 2006; Stables 2009) which is seen as important for academic growth through its contribution to face in a real situation. It is a dream of every nation, community, parents, and learners to have a creativeness to adequately equip individual to meet the challenges of the modern global world. Creativity is a key tool used to solve multidimensional, complicated problem, especially those on a global scale (Beghetto, 2005; Martinsen, 2003). In relation with that, Jalongo (2003) argued creativity as connected to resourcefulness, invention, imagination and ethics ---- all key components of problem solving in the present day and the unknown future. In Kenya Kiambu County School (2015), they tried to seek and review evidences identifying the most effective learning and conditions which promote creative skills development in children were taking into social environment. The creativity places greater emphasis upon the relationship between thought and action, whilst allowing for a social dimension. However, as the school conducted a research study, they examined that if learners have a poor creativeness there will be a problem in dealing the different challenges in a certain situation. This study also addressed resilience in the school context, that is, academic resilience which is a key facet of education. In addition, Academic resilience is the pupils’ ability to overcome academic setbacks, stress, and study pressure associated with school as manifested by internal and external protective factors. It indicates that resilience can significantly affect school and life outcomes for learners. In context characterized by stiff competition for training and employment opportunities, students must not only survive setbacks and challenges, but also thrive in the face of adversity they must be academically resilient. In the Philippines, the National Reports ICE (2008) found out that the teachers faced diverse problems in the classroom where the students who suffered from the slowdown, faltering and failure in learning which they need more time to accomplish any learning task. Such students are characterized by a number of characteristics, including problems of language, oral expression, and unable to pay attention, memory problems and the dispersal of attention (Abu Nemrah 2006). These problems can affect in acquiring the creative skills and most especially in their academic performance of the students. Despite of the problems that encountered by the teachers, the government implemented academic programs that are in line with the global shift. The Government efforts to combat school attrition through strengthening student programs and developing a system that will promote continuing education, thus, promulgated Republic Act 9155 in 2001 or the Governance Act of Basic Education which provides provisions that will address illiteracy and promote continuing education. The Philippines urgently needs to make significant and far-reaching reforms in its higher education system to prepare students and to equip them with the proper skills to face the fast changing world. Moreover, the Partnership for 21st Century Skills (2008), certain skills such as critical thinking, communication, innovation, problem solving, research, and technological proficiency are important to compete in the real world situations. In addition, according to Mumford, Mobley, Uhlman, Reiter-Palmon, and Doares, 2000, that creativeness will processes through: creative problem-solving skills, creative thinking, creative learning, and possibility thinking (Williamson, 2011; Torrance, 1977; Jeffery, 2006 Craft, 2000) could all fall under the general heading of “creative skills’, acknowledge that such skills have both cognitive and practical elements. Through these, in assessing students’ skills is one of the best ways to be prepared in the real world (George & George, 2000) and to see to it that such programs promote and help students to become globally competitive. With that, the future Filipino pupils will be ready and better equipped and become globally competent. Locally, in Davao City, the study of Torres (2016), stated that, today, the world needs smart and globally competitive people who provide the demands of commercialization, industrialization and development. Without creative skills the world will be blind, the truths will be withheld and hidden behind the walls of ignorance and countless generations will be estranged from knowledge and wisdom that only education can suffice. With that, we can see the difference between a child that has no creativeness and has creative skills that helps to take shape and reshape into modification and speedy progress. Furthermore, having a creative skills it is a tool to explore limitless opportunities to improve mind, enhance skills, and draw out the best from each learner. Moreover, it is perceived that having a creative skill/s is ladder to employment, development and industry. Propelled by these reasons, the researcher decided to conduct a study to explore about the relationship between pupils’ creativity and resiliency that is existing at Saint Michael’s School of Padada for the school year-. Through this study, it will provide helpful information if there is any evidences and relevance if the child has an creativeness s/he can be ready to face in a real-world situation; can be assessed and given importance as a skill that will help them to become globally competent. Moreover, the researcher would like to know the phenomenon if there is any connections of creativity towards resiliency and to search also if the child has no creativeness, the learner is not yet ready to face the challenges in the real-world or if the child has a creative skills, the learner will be able to solve the different challenges in life. Statement of the Problem The study will attempt to find out the relevance of creativity, resiliency, and academic performance of Grade 4 students whether the child has creative skills is s/he considered to become resilient and has the capacity to face the different kinds of situations. Specifically, this study will seek to answer the following questions: 1. What is the level of creativity of Grade 4 students in terms of: 1.1 Originality 1.2 Fluency 1.3 Flexibility 1.4 Elaboration 2. What is the level of resiliency of Grade 4 students in terms of: 2.1 Social competence 2.2 Problem-solving skills 2.3 Autonomy 2.4 Talents and interest 3. What is the level of academic performance of Grade 4 students classified: 3.1 Key subjects 3.2 GWA 4. Is there any relationship between: 4.1 creativity and academic performance 4.2 resiliency and academic performance REVIEW OF RELATED LITERATURE This chapter presents the related literature and studies that are relevant to the topic. It provides adequate insights and evidences that account on the topic and its related factors. Topics are subdivided into categories so as to provide a more comprehensive and detailed review. They are as follows: Creativity, Resiliency, and Academic Performance of Grade 4 Students. Creative Student Johnson (2002) showed a pattern concerning perceptions of creative and non-creative children; the first being described with positive adjectives, as opposed to the second. Some desirable characteristics pointed out by teachers for classifying creative students are mentioned in other studies: namely, initiative, perseverance or curiosity (Fleith, 2000) or being original, risk takers, artistic, having a rich vocabulary, a sense of humour or enthusiasm (Aljughaiman & Mower-Reynolds, 2005). As in the case of the concept of the creative teacher, some agreement on what defines a creative student can be observed in respect of characteristics pointed out by teachers and explicit theories (for example, curiosity, enthusiasm or sense of humour) but some aspects can be questionable, such as those related with artistic ability, richness in vocabulary or being original (or simply different). Explicit theories underline the excessive or unique association between arts and creativity, as a myth (Runco, 2008), and there is a consensus about originality, as a necessity, but it is not enough of an element to define creativity (Starko, 2010). On the other hand, teachers seem to have difficulties in the classroom with behaviours associated with creativity, such as unusual answers, original views, curiosity or risk taking (Kaufman & Baer, 2002; Runco & Johnson, 2002). The perception of the teacher about the creative student, therefore, is complex and in these gaps between perceptions and reality it can then be difficult to recognise creative abilities in students. So it seems obvious that there is a need for teachers to better identify the characteristics of a creative student, as well as for assessment criteria for the creative products of students. Social Self Social skills are understood as specific behaviors which serve the acting person to accomplish her or his daily social tasks (Owens and Johnston-Rodriguez 2010). Examples are initiating conversations with peers, joining ongoing group activities, and questioning unfair rules. Self-management skills are behaviors of a student who is emotionally well adjusted and, for example, follows rules and agrees to limits, accepts criticism from others, and remains calm when problems arise. Compliance skills are behaviors that are typical for a student who gets along with others, including following instructions, finishing assignments, and appropriately using free time. Self-management skills, compliance skills, and academic skills focus on students’ working and learning behaviors in class. In contrast, peer relations skills and assertion skills include students’ behaviors towards peers. Hence, these two dimensions correspond to the concept of social skills as described above. Furthermore, in a study by Jurkowski and Hänze (2014), peer relations skills and assertion skills showed to be two independent dimensions of social skills that each have a distinct contribution to social outcomes, including being liked by peers and having influence on what happens in the classroom. The Learning Environment In developing creativity, most especially in the environment within which pupils learn is crucial and that teachers have a key role to play in structuring and maintaining that environment (Gandini et al. 2005; Burnard et al. 2006; Jeffrey 2006; Burgess and Addison 2007; Menter 2010). The components of what we will call ‘creative learning environments’ include both the physical environment (Addison et al. 2010; Vecchi 2010) but also - more importantly - the pedagogic environment (Cremin 2006, Halsey et al. 2006, Hall et al. 2007). We define ‘creative learning environments’ as those that are designed to promote ‘creative learning’, which Jeffrey (2006) defines as characterised by relevance, ownership of knowledge, control of learning processes and innovation. There is a note of caution here, however, in that students whose home environments are not conducive to study can find themselves alienated by too much flexibility in the school environment (Jeffrey, 2006). From a series of case studies in schools in Reggio Emilia, Vecchi (2010) has demonstrated the importance of sensory qualities in learning environments –light, colour, sound, micro-climate – and how these influence children’s and young people’s perceptions of how creative they are able to be within them. She recommends the use of small spaces (‘mini ateliers’), acoustically but not visually separate from the rest of the class (Vecchi, 2010) to enable pupils to work quietly in groups. Another important feature of the visual environment to stimulate pupils’ creativity is displays of work in progress (Addison et al., 2010). This needs to be borne in mind when applying these findings to work with children and young people in general, as there is reasonable evidence (e.g. Burgess & Addison, 2007; Hall, Thomson, & Russell, 2007; Halsey, Jones, & Lord, 2006; Troman, Jeffrey, & Raggl, 2007) that the lessons from such ‘critical events’ do not readily become incorporated into everyday practice once the special project has finished Learning from failure Challenge is the perception that changes, rather than stability, is an expected part of life, and is a necessary ingredient for personal development (Bartone et. al., 2008). Children and their parents should be involved as much as possible in planning and resourcing these spaces (Davies, 2011). There should be a general sense of openness and spaciousness (Bancroft et al., 2008), removing as much furniture as possible to enable pupils to move around the space, making use of different areas to support the growth of ideas (Gandini, Hill, Cadwell, & Schwall, 2005). Moreover, People have an innate ability to be cognitively flexible which allows them to integrate into new situations and effectively appraise threats; therefore they can turn stressful situations into advantages by viewing them as an opportunity to learn and grow in wisdom and capability (Maddi, 2013). Personal Meaning Builds Persistence Perseverance, the act of persistence, entails self-discipline and a willingness to continue to struggle to regain balance after adversity (Ryan & Caltabiano, 2009). Duckworth et al., (2007) defines it as sticking to one’s course of action, beliefs, or continuing a purpose “despite failure, adversity, or plateaus in one’s progress”. Perseverance stood out as a key characteristic of a creative individual. Prabhu, Sutton, and Sauser (2008) provided empirical evidence for the positive impact of intrinsic motivation (persistence) on creativity and its mediating role in the relationship between creativity and the personality traits self-efficacy and openness to experience. Creative thought is flexible (Cropanzano; Sternberg, 2000; Kind and Kind, 2007). One of the major characteristics of creativity itself is, we would argue, possibility thinking (Craft, 2002) and it was used at the school in technology based activities to encourage learners to take control and act innovatively. Possibility thinking includes problem solving as in a puzzle, finding alternative routes to a barrier, the posing of questions and the identification of problems and issues Gkolia et al. (2009) found that new and exciting school activities were significant in motivating pupils. Halsey et al. (2006) identify the importance of the ‘authenticity’ of the task – it should be set within as real a context as possible and be self-evidently worthwhile – whilst in the context of secondary D&T education Rutland and Barlex (2008) point to the need for interesting, motivating and relevant projects with exciting starting points and stimulus materials in order to develop and open the pupils’ minds. Such findings are perhaps self-evident; few would expect that old, boring or meaningless tasks would be effective in developing creative skills. However, there appears to be more research evidence about the role of the learner in relation to the task than the nature of the task itself. There is strong evidence from across the curriculum and age-range that where children and young people are given some control over their learning and supported to take risks with the right balance between structure and freedom, their creativity is enhanced (Burgess & Addison, 2007; Cremin, Burnard, & Craft, 2006; Ewing, 2011; Gandini et al., 2005; Grainger, Gooch, & Lambirth, 2005; Hall et al., 2007; Halsey et al., 2006; Wood & Ashfield, 2008). In a case study of three primary teachers’ classroom approaches, Cremin et al. (2006) identify the importance of providing multiple opportunities in which the children could initiate their own activities or make their own choices within a loosely framed activity. However, despite the emphasis on self-expression, secondary-aged pupils in Burgess and Addison’s (2007) study appreciated a structured and supported environment. The provision of ‘safe’ structure appears to be particularly important to enable pupils to take risks, to think creatively and critically, and to question, as with the disaffected young people in the study undertaken by Halsey et al. (2006), who found that creativity was felt to be best served by an equal balance between structured and unstructured work. Similarly, the presence of structure and clear expectations was significant for the primary-aged children in the We’re Writers project (Grainger et al., 2005); and the case studies of arts education in Australia reviewed by Ewing (2011). In the study of three primary teachers’ approaches by Cremin et al. (2006) the most effective practice was that which both framed challenges for pupils but also provided freedom in the ways in which they could choose to address these challenges. It is important, however, not to over-emphasise the need for structure, as this may be seen as perpetuating models of pedagogy favouring performativity (Troman et al., 2007). Hall et al. (2007, p. 615), in their ESRC-funded ethnographic study of a primary school engaged in three Creative Partnerships projects using Bernstein’s analytical frame, found that arts activities with strong framing and classification of space and time, and with marked ‘performance pedagogies’ fit most easily into primary school culture. By contrast, in studying the use of the interactive whiteboard for creativity in five primary schools, Wood and Ashfield (2008) remind us that opportunities for exploring and imagining are the most important aspect in promoting creative learning. From a range of case studies of practice in Reggio Emilia schools, Gandini et al. (2005) suggest that, rather than being explicitly planned for, creativity emerges from multiple experiences, coupled with a well-supported development of personal resources. They argue that this complexity should lead teachers away from planning a lesson and towards searching for systems that organise and prepare adults and children to think together (Gandini et al., 2005. The role of play in early years pedagogy is well documented, however there is reasonable evidence that bringing more ‘playful’ or ‘games-based’ approaches into classrooms at all ages can support the development of creative skills (Cremin et al., 2006; Cumming, 2007; European Commission, 2009; Halsey et al., 2006; Jindal-Snape, Baird, & Miller, 2011; Miller, Hudson, Miller, & Shimi, 2010). Cremin et al. (2006) observed their three case study primary teachers blurring the boundary between ‘work’ and ‘play’, whilst what worked best for the disaffected young people in four of the five projects in the study by Halsey et al. was an approach that was different to formal education, was flexible, informal and allowed the young people to work at their own pace without pressure. From a detailed analysis of two English primary teachers’ and their pupils’ experiences of poetry, Cumming (2007) emphasises the need for opportunities for play with language. However, in a European Commission large-scale survey (Jeffrey, 2006) teachers considered that mixing academic work and play was fostered to a much lesser degree than other creativity-enhancing elements in their schools. For children undertaking the transition from primary to secondary school in Scotland, games based approaches such as those using Guitar Hero were found to motivate young people to participate and to learn (Jindal-Snape et al., 2011). However, in a study of four classes of 6–8-year-old children using the Nintendogs game, Miller et al. (2010) found that the creativity-enhancing elements of games were easily disrupted by over-eager teachers. As with physical environments, there is reasonable evidence that creativity is best served through flexible use of time (Addison et al., 2010; Burnard, Craft, & Cremin, 2006; European Commission, 2009; Halsey et al., 2006; Jeffrey, 2006). In their collaborative, video-based study of three early years settings, Burnard et al. (2006) found that young children needed sufficient time for immersion in an activity in order to realise creative outcomes, whilst for Halsey et al. (2006), the most successful NESTA-funded projects for disaffected young people allowed them to work at their own pace without pressure. Jeffrey (2006), reporting on the European Commission-funded Creative Learning and Student Perspectives (CLASP) project, recommends special arrangements for extended time periods for creative activities, and notes the increased interest and commitment that time can give to the value of creative learning. In the context of secondary art and design education, Addison et al. (2010) points to the value of resources being available outside timetabled hours. The importance of extracurricular activities and time spent outside the normal constraints of the classroom is further emphasised in the European Commission survey, which identified these as creativity-enhancing factors which are reported as being fostered in schools to a high degree. Relationships between teachers and learners An important enabling feature of the pedagogic environment for which there is strong research evidence is the nature of the relationship between teachers and learners. In their study of three early years settings, Burnard et al. (2006) observed that an enabling environment has to be fostered by teachers in their responses to children’s creative activity. From case studies of Reggio Emilia practice, Gandini et al. (2005) conclude that creativity seems to be favoured or disfavoured according to the expectations of teachers and others, and according to the ways children perceive those expectations. In the context of secondary art and design education, Burgess and Addison (2007) found that students prefer pedagogic relationships in which there is mutual respect, a finding echoed in the early years (Burnard et al., 2006). According to Gandini et al. (2005) such creative attitudes should include flexibility, freedom and open-ended possibility, since their observations in Reggio Emilia schools over many years revealed that the ways in which children invent with materials are often unexpected and surprising. Menter (2010) also emphasises the need for flexibility in the pedagogic relationship, to enable teachers to alter their practice to accommodate the directions pupils may wish to take a project. For Jeffrey (2006), commenting on practice across Europe, this ability to act spontaneously and change plans is part of teachers’ modelling of creative learning. Dialogue appears to be key to the pedagogical relationship. Gandini et al. (2005) observed in Reggio Emilia schools that regularly scheduled conversation between children and teachers serves as a framework to support children’s work. Regularly practiced dialogue can support and sustain a culture and community that thinks together, whilst the most favourable situation for creativity seems to be interpersonal exchange, with negotiation of conflict and comparison of ideas and actions being the decisive elements (Gandini et al., 2005). In the case of Forest School, such fruitful dialogue is supported by a low adult to pupil ratio (Borradaile, 2006). A final element of the pedagogical relationship which emerges from Cumming’s study of primary poetry lessons is a general air of humour and enjoyment of language (Cumming, 2007). As well as supportive relationships with their teachers, there is strong evidence that pupil creativity is closely related to opportunities for working collaboratively with their peers (Burgess & Addison, 2007; Dillon et al., 2007; Halsey et al., 2006; Rutland & Barlex, 2008; Wood & Ashfield, 2008). In secondary art and design, the presence of collaborative activities is a significant feature of a creative environment (Burgess & Addison, 2007), whilst in secondary D&T, the use of group and team work with peers was seen as especially effective (Rutland & Barlex, 2008). For Dillon et al. (2007), their case study of a primary school which worked with landscape architects to transform its outside space suggested that pupil collaboration was more likely to occur outdoors than in the classroom. One feature of the outdoor collaboration they observed was its cross-age nature, in which older pupils were seen positioning themselves as both teacher and researcher for younger children (Dillon D. Davies et al. / Thinking Skills and Creativity 8 - et al., 2007). Creative activity can itself promote greater collaboration, as in the case of the Nintendogs project in four Scottish primary schools, where Miller et al. (2010) observed that the single most striking message from the whole study was the emergence of enhanced peer interaction. Use of other environments beyond the school There is reasonable evidence (Burgess & Addison, 2007; European Commission, 2009; Halsey et al., 2006; Kendall, Muirfield, White, & Wilkin, 2007; Rutland & Barlex, 2008) to suggest that taking children and young people out of school to work in environments such as museums and galleries enhances their creative skills. For example, Burgess and Addison (2007) studied the work of art teachers, artists and gallery educators in four London secondary schools working with four galleries. Building on the teachers’ own action research, Burgess and Addison collected case study data on each gallery project, focusing on three pupils from each of the four schools, selected using the following categories: ‘good at art’, ‘resistant to art’ and ‘wild card’. Discourse analysis of pupil interviews and action researchers’ final reviews suggested that a significant feature of the learning environment contributing to pupils’ creativity was relocating sites for learning into the galleries, and that pupils were particularly influenced by the acoustic potential of the gallery space (Burgess & Addison, 2007). In a built environment education survey of 51 teachers (including 13 telephone interviews) the ‘vast majority’ considered buildings and localities to be a ‘very valuable’ or ‘valuable’ learning resource (Kendall et al., 2007); whilst a survey of 12,893 teachers in 32 European countries found that visits to museums were one of what were identified as ‘creativity enhancing factors’ which were fostered in schools to a ‘high degree’. In the context of D&T education, Rutland and Barlex’s (2008) ethnographic study of three secondary departments emphasised the importance of a local environment with resources that help stimulate creativity. Reporting on visits to five National Endowment for Science, Technology and the Arts (NESTA)-funded projects for socially excluded young people – including 44 interviews with participants and staff – Halsey et al. (2006) found that an effective strategy was for the artists, mentors or other staff members to visit the spaces in which the young people spend their time outside school, such as youth clubs or local parks. Making connections between such ‘informal’ spaces, other out-of-school locations and the school environment increased engagement, motivation and hence creative outcomes. There is strong evidence from nine studies that involvement with outside agencies, including the local business community, the wider sporting and Arts community, and other community organisations can significantly contribute to a creative learning environment (Burgess & Addison, 2007; Cumming, 2007; Gkolia et al., 2009; Grainger et al., 2005; Hall et al., 2007; Halsey et al., 2006; Jeffrey, 2006; Robson & Jaaniste, 2010; Sharp et al., 2008). Such organisations can embody and exemplify innovative practice through their organisational management and business operations, whilst the involvement of artists and other creative professionals can be a significant feature of a creative environment. The careful creation and management of such partnerships are crucial to ensure sharing of practice and creation of knowledge for longer-term impact. Academic Performance of the Students According to Wikipedia (2013), academic performance is the outcome of education; it is the extent to which a student, teacher or institution has achieved their educational goals. Thus performance is characterised by performance on tests associated with coursework and the performance of students on other types of examinations (Kyoshaba, 2009). Various studies have been carried out on the factors that affect students’ academic performance or achievement in schools, colleges and universities. Some of the factors identified and reported to have affected the academic performance of students in these different settings are: student effort, previous or prior educational performance, self-motivation, the social-economic status of the students’ parents, the students’ age, number of hours of study per day, admission points, different entry qualifications, tuition trends and the students’ area of residence (rural or urban) (Farooq, Chaudry, Shafiq & Berhanu, 2011; Ali, Haider, Munir, Khan & Ahmed, 2013). Admission points and the different entry qualifications, which are the results of prior or previous academic performance likely to affect the students’ future academic performance, have been considered in this study, as this research concerns the academic performance of students admitted with different entry certificates. Tertiary institutions all over the world, including Nigeria, use prior academic performance in terms of admission points or different entry qualifications/certificates as a basis for selecting students for admission into the colleges of education, polytechnic schools and universities. These admission points or entry certificates are always of equivalent rating or value, even though they may be awarded by different examination bodies. Thus Bratti and Staffolani (2002) observed that the measurement of the students’ prior educational outcomes or performance is the most important indicator or determinant of the students’ future academic performance. The type of school a child attended also affects the academic performance of the student. In this regard, Kyoshaba (2009) observed that students’ educational outcome and academic success is greatly influenced by the type of school which they attended. The school we attend is the institutional environment that sets the parameters of a student’s learning experience. In agreement with this, Considine and Zappala (2002) reported that the type of school a child attends influences the educational outcomes; furthermore, schools have an independent effect on the students’ educational attainment, and this is likely to operate through the variation of quality and attitudes. In the same vein, Miller and Birch (2007), while studying the influence of the high school attended on university performance, observed that outcomes at the university level differ according to the type of high school attended. Thus, a student’s school background is positively related to his or her academic performance at an undergraduate level. In addition, Ali et al. (2013) and Kwesiga (2002) also observed that the learning outcomes and educational performance of students are strongly affected by the type of educational institution where they received their education. However, this is a function of the number of facilities a school offers, which usually determines their quality, and which in turn affects the performance and accomplishments of its students. Theoretical and Conceptual Framework This study is anchored on the study of Developmental Theory (Springer International Publishing Switzerland 2016) stated that creativity develops over time and it starts with creative potential which leads to creative achievement as a result of an individual interacting with the environment. It starts with a creative person using a creative process to make a creative (new) product. Various studies have been carried out to obtain information about the behavior of creative individuals. These people are usually energetic and full of ideas. When confronted with a problem, they consider all of the different ways to solve it and tend to come up with unique solutions. A creative person is usually energetic and full of ideas. This individual is also characterized by having a desire to grow and a capability to be puzzled, spontaneous, a divergent thinker, open to new experiences, persistent, and a hard worker. Chavez-Eakle, Lara, and Cruz (2015) found creative people to be exploratory when encountering novelty, to be optimistic, tolerant of uncertainty, and to pursue their goals with intensity. Also the Torrance Tests of Creative Thinking (TTCT) have been used to assess creative potential. They provide a creativity index and scores for various categories like fluency, originality, elaboration and flexibility. Fluency refers to the total number of meaningful ideas (responses) generated, while originality relates to the rarity of the responses. Elaboration is the amount of detail in the responses and flexibility corresponds to the number of different groups of responses. Educators need to identify and nurture students’ creative potential and take it into account when developing educational programs. The Psychometric Theory (‎Barry, 2015) measures creativity in terms of assessing the reliability and validity of the creative product. It is not related to IQ but focuses on the product itself. In the Stage and Component Theories, creative expressions proceed through a series of stages such as preparation, incubation, and verification. The Problem Solving & Expertise-Based Theory leads to creative solutions to ill-defined problems. It relies on individuals using rational processes and expertise-based approaches. The theory referred to as Problem-Finding is where people proactively use an exploratory approach in order to identify problems to solve. Creative thinking stimulates curiosity and uses the skills of originality, fluency, flexibility, and elaboration (which are all categories in the Torrance Tests of 2.3 Creative Process 11 Creative Thinking). It is exploratory, looks for relationships, and develops many original and diverse ideas. These new ideas are then evaluated by critical thinking, which involves logic and reasoning. Independent Variables Dependent Variables Figure 1: As shown in figure 1, the independent variables of this study was the creative skills with sub-variables namely: fluency, flexible; elaboration, and originality while the dependent variables of the study were the level of resiliency with sub-variables namely: social competence, problem-solving skills, autonomy, talents and interest. And for academic performance with sub-variables namely: key subjects and General Weight Average. Significance of the Study This study was significant and deem important to the following entities: Creativity. The study will provide an information about the different creative skills of the students and to generate or recognize ideas, alternatives, or possibilities that may be useful in solving problems, communicating with others, and entertaining ourselves and others.” Resiliency. The study will seek to understand how particular protective factors interact with risk factors and with other protective factors to support relative resistance. Academic Performance. The study will provide a valuable information about the performance of the students with regards to their academic. Students. The study will help the students assess their skills so that optimum learning can be achieved. They will appreciate the value and effort of their teachers who endeavor to develop both skills and knowledge. Researchers. The study will provide additional body of information regarding the importance of relationship of creativity, resiliency, and academic performance of Grade 4 students. This study also will be available for other researchers. School Administrators. The study will serve as the basis for improving the established school curricula, programs and policies or make new ones that will facilitate the integration of the students to develop their individual skills as they go to their individual journey. Scope and Limitations of the Study The study will focus on the creativity, resiliency, and academic performance of Grade 4 students of elementary students in Saint Michael’s School of Padada, Province of Davao del Sur. The study will conduct in the school year- with 36 respondents. The study is limited on determining the relevance of creativity, resiliency, and academic performance of the Grade 4 students with the following factors: originality, fluency, flexibility, elaboration under by creative skills; social competence, problem-solving skills, autonomy, and talents and interest under by resiliency; and key subjects and GWA under by academic performance. Chapter II METHODS This chapter presents the design used in this study, research locale, and the participants from whom the data were gathered, the measures used in gathering the data, procedures and the data analysis employed. Research Design This study determined the relevance of creativity, resiliency and academic performance of Grade 4 students in Saint Michael’s School of Padada, Province of Davao del Sur within school year-. This study is undertaken with the use of descriptive-correlational design. According Shaughnessy, Zechmeister (2002) correlation method assesses relationships among naturally occurring variables with goals of identifying predictive relationship. Research Locale The location of this study is at Saint Michael’s School of Padada, NCO District, Quezon Street, Province of Davao del Sur which is a private Catholic chool managed by the Presentation of Mary Sisters. This school has population of 1,150 students. There are 36 students in Grade 4 in the elementary department. The age range of the Grade 4 students are 9 to 10 years old. The school’s vision endeavors a community of evangelizers; Saint Michael’s School of Padada envisions its students to be academically competent, Christ-centered and Marian in spirituality. The school’s mission commits to attain the development of the total person through quality Christian education, with the integration of the cultural heritage and preferential option for the poor. The school’s goal aims to adapt standards that promote well equipped, God-fearing and responsible citizens through academic, social, physical, and spiritual activities. Research Respondents The participants of this study are the Grade 4 students in Saint Michael’s School of Padada, Province of Davao del Sur within the school year-. From the population of 1,150 students, 36 students are derive as the sample size of this research. The participants of this study are the Grade 4 students in the elementary department. Research Instruments The instruments used in the study consisted of two standardized questionnaires namely: Creativity Styles Questionnaires (1997) and The Child and Youth Resilience Measure (CYRM) Child Version (2016). The Creativity Styles Questionnaires is used in the sense of doing everyday things in new ways: solving the problems of daily living and the world of work, engaging in scientific or other research, writing, painting, developing music and etc. It is used as a standardized instrument because it had reliability and validity based upon Kumar and Holman (1997). Moreover, The Child and Youth Resilience Measure has been created to guide users of the CYRM child version through the preparation and implementation of the measure. Creativity Styles Questionnaires (1997): 5 – Strongly Agree 4 – Agree 3 – Unsure 2 – Disagree 1 – Strongly Disagree The Child and Youth Resilience Measure (CYRM) Child Version (2016): No – Sometimes – Yes – Data Gathering Procedure The researcher gets the participants of Grade 4 Students Our Lady of Guadalupe in Saint Michael’s Schools of Padada. The questionnaires on creativity, resiliency, and academic performance of Grade 4 students is administer for the school year-. Standard procedures in answering the instruments were explained to students and strictly followed to ensure valid and reliable results. The School Guidance counselor and some teachers helped the researcher to administer the test in the students’ respected rooms. Statistical Tool The statistical data are compute and analyze with the use of computer generated system. Mean score is utilize to describe the creavity and resiliency and academic performance of Grade 4 students. Multiple linear regression attempts to model the relationship between two or more explanatory variables and a response variable by fitting a linear equation to observed data. Every value of the independent variable x is associated with a value of the dependent variable y. it is utilize to find out the relevance of creativity, resiliency and academic performance of Grade 4, Our Lady of Guadalupe. Ethical Consideration To conduct the study, the permission is ask by the from University of Immaculate Conception Dean of Graduate School Department, Saint Michael’s School of Padada’s Director-Principal and Guidance Counselor. References: Admission Council of Oregon state University, (2003). Undergraduate admissions policy proposal. Available at: http://eepm.orst.edu/dept/senate/committees/aac/agen/reports/-.html (Retrieved: December 2013). Ali, S., Haider, Z., Munir, F., Khan, H., & Ahmed, A. (2013). Factors contributing to student’s academic performance: A case study of Islamia University Sub         campus. American Journal of Educational Research, 1(8), 283-289. Available at: http://pubs.sciepub.com/education/1/8/3/(Retrieved: December 2013). http://dx.doi.org/-/education-1-8-3 Beetlestone, F. (1998) Creative children, imaginative teaching (Buckingham, Open University Press). Craft, A. (2003) Creativity and education: pedagogical and conceptual frameworks, Report to QCA (Milton Keynes, The Open University). Craft, A. & Jeffrey, B. (in press) Creative practice and practice which fosters creativity, in: L. Miller & J. Devereux (Eds) Supporting children’s learning in the early years (London, David Fulton Press). Barrett, F. (1999). Knowledge creating as dialogical accomplishment: A constructivist perspective. In A. Montuori & R. Purser (Eds.), Social Creativity, (vol. I, pp. 133-151). Cresskill: Hampton Press Besancon, M., & Lubart, T. (2008) Differences in the development of creative competencies in children schooled in diverse learning environments. Learning & Individual Differences, 18(4), 381-389