It truly changed me. It made me more confident and daring.
Silvie Vale, Communications consultant
This has been the most important and useful learning experience in my 16 years of education.
I followed the process and we got a very innovative idea – It actually got patented.
Anders Baek, Senior Mechanical Engineer
Within a week my brain was totally reconfigured.
I have learned to approach my professional field much differently and in a more playful way.
Kamilla Rasmussen, Marketing consultant
I realised that, if I want, I can produce 200 ideas to solve a single problem.
Fabrizio Negretti, Course participant
PHD CHRISTIAN BYRGE
“My passion and expertise are to help educators and managers across all domains to design serious, inspiring and playful training that develops creative skills at all levels of education and for all types of private and public organisations”
CREATIVITY COMPETENCY MODEL
Want to enter the next level?
CLEAR UNDERSTANDING OF THE VALUE OF CREATIVITY
PROCEDURES FOR CREATIVITY IN TEAM MEETINGS
focus on solving everyday tasks more creative
Advanced team creative process methods
Systematic evaluation of creative output
focus on Ideas that better meet user needS
advanced individual creativity approaches
Interconnected individual and team creativity
Open and curious team culture
systematic evaluation of creative skills
focus on creating novel breakthrough solutions
Creativity as a second nature
Procedures for implementing novel ideas
strong creative perseverance and persuasion
focus on setting new cross-industry standards
AT YOUR SERVICE
for advancing creativity
Creativity Toolkits & Works
From me to you
From Creativity to New Venture Creation: A Conceptual Model of Training for Original and Useful Business Modelling (free scientific paper)
This paper explores the processes of creating new companies with original and useful business models from a conceptual perspective. I co-authored this paper with Morten Lund and Christian Nielsen.
The paper presents a set of key skill variables of creativity and of business modelling that need to be trained in order to enhance the probability of a successful process leading to original and useful business models. These skill variables are related to the start-up process and to any process aimed at rethinking or improving existing business models.
The implications of the paper are discussed in terms of a combined study module aimed at new venture creation students and pupils within higher education as well as primary, secondary and high school education.
Ethnic Heterogeneous Teams Outperform Homogeneous Teams on Well-defined but not Ill-defined Creative Task (free scientific paper)
This paper presents an experimental study that compares ethnic heterogeneous teams (composed of both Danish and Chinese) with ethnic homogenous teams (composed of only Danish or only Chinese) on creative production. The characteristic of tasks is manipulated: well-defined or ill-defined creative task. I co-authored this paper with Chaoying Tang.
The paper finds that heterogeneous teams get more creative production than homogenous teams in solving the well-defined task. No significant difference was found in the creative production for the ill-defined task. The paper demonstrates that the creative production in ethnic heterogeneous teams will depend on the characteristic of the creative task.
Embodied creativity training: Effects on creative self-efficacy and creative production (scientific paper)
This paper presents a study on the effect of a new program of embodied creativity training on the trainees’ creative self-efficacy and creative production. I co-authored this paper with Chaoying Tang
In the training program 180 trainees were trained for 39 hours over a period of nine weeks. Trainee’s creative self-efficacy and creative production (originality, elaboration and fluency) were tested pre and post of the training. One month after the program finished, representatives of trainees and all trainers were interviewed in order to develop a qualitative understanding of the effects and potential improvements of the training program.
The results show a significant increase in creative self-efficacy as well as in creative production. Implications for embodied creativity training are discussed in the paper.
Embodied creativity training is action-based and aims to improve participants’ creative ability rather than delivery knowledge or information of creative theories. This paper explores embodied creativity training practices in Denmark, United States, and China. I co-authored this paper with Chaoying Tang, Weipin Hu and Canming Wang.
The paper categorizes the related embodied creativity training programs into three groups: creative exercises beyond teaching-curriculum, embodied creative teaching program, and creativity competition project. Finally, the potential possibility of integrating the embodied creativity training into the gifted and special education is discussion.
How do we become creative individuals, by ourselves and with others? How do we increase innovation in our work or study environments? How do we learn to think in unlimited ways? The answers to these questions can be found in this book, which presents new methods for enhancing our own and others’ creativity. I co-authored this both with Søren Hansen.
Creativity is the engine of innovation and entrepreneurship. At the core of creativity is the ability to see original connections and to combine our knowledge in new ways. It’s about finding creativity within ourselves and releasing our creative potential without being limited by our social, cultural or professional backgrounds.
The book is aimed at readers who wish to make others more creative, including leaders, coaches, educators, advisers and teachers. The practical part of the book is based on action research carried out in cooperation with various companies, schools, hospitals, ministries, universities and local government administrations.
In this paper The Creative Platform is elaborated as a new paradigm in didactic thinking where the aim is to engage in an experience rather than reflecting on it. The Creative Platform is a didactic approach for unlimited application of knowledge. In that sense it is a didactics for creativity because being creative involves applying knowledge without being limited from professional, social or cultural boundaries. I co-authored this paper with Søren Hansen.
The paper presents a conceptualisation of The Creative Platform into 4 pillars. The four pillars are defined as No-Judgment, Task-Focused, Parallel Thinking and Horizontal Thinking. It also presents a general model for any course or process that is to be taking place on The Creative Platform. The model consists of 6 steps that take the participants onto The Creative Platform, make them work on it, and take them down from it again.