The relationship between creativity and sport in comparative research on mountaineers, parachutists, and track and field athletes

Scientific Study , 2025 , 183 Pages

Sport - Sport Psychology

The research question is: if and how do the specific conditions of mountaineering translate into higher creativity levels compared to disciplines with lower risk and emotional load?
Preliminary theoretical assumptions lead to further research questions: Do climbers exhibit higher creativity than athletes from other domains that do not integrate similar levels of risk and emotional intensity? What specific factors (for example, personality traits, cognitive processes, lifestyle, motivational mechanisms) influence creativity in the context of high-altitude climbing? Do different aspects of creativity — broad (exploratory) and narrow (reflective, refining) — develop to different extents depending on the discipline?
The theoretical framework of this study builds around several key components. First, we will outline the analogies and differences between sport and creativity: definitions, criteria, and models of creativity, and the characteristics of selected sports, including mountaineering, along with their similarities and differences. Second, we will provide a detailed analysis of mountaineering from the standpoint of factors relevant to creativity: cognitive predispositions and intelligence, cognitive processes (such as flexibility of thinking, ideation, associations, and problem solving), personality traits, behavioral disorders, emotions, motivation, lifestyle (risk, autonomy, solitude, life outside routine), and product traits (relatively unique experiences and outcomes of climbers’ actions). Finally, we will present the hypotheses that will guide the design of the subsequent chapters.

Table of Contents

• TABLE OF CONTENTS
• INTRODUCTION
• 1. THEORETICAL FRAMEWORK
  • 1.1. CONCEPTUALIZATION OF CREATIVITY
  • 1.2. SPORT AND CREATIVITY
  • 1.3. CONCEPTS AND CRITERIA OF CREATIVITY
    • 1.3.1. Development of research
    • 1.3.2. Micro- and macro-definitions
      • 1.3.2.1. Klaus K. Urban’s Component Model of Creativity
      • 1.3.2.2. Andrzej Strzałecki’s Creative Behavior Style
    • 1.3.3. Criteria of creativity
  • 1.4. CONCEPT OF SPORT AND CHARACTERISTICS OF SELECTED DISCIPLINES OF SPORT
    • 1.4.1. Similarities and differences between mountaineering, parachuting, and track and field, and their implications for creativity
  • 1.5. SIMILARITIES BETWEEN ARTISTIC AND SPORTING ACTIVITIES
    • 1.5.1. Individual traits of creators and climbers
      • 1.5.1.1. Intelligence
      • 1.5.1.2. Cognitive style
      • 1.5.1.3. Personality
        • 1.5.1.3.1. Openness
        • 1.5.1.3.2. Independence
        • 1.5.1.3.3. Persistence
        • 1.5.1.4. Behavioral disorders
    • 1.5.2. Emotions
      • 1.5.2.1. Emotional costs of creativity
        • 1.5.2.1.1. Anxiety
        • 1.5.2.1.2. Mood changes
        • 1.5.2.1.3. The need to undertake risk
        • 1.5.2.1.4. The need to spend long periods in solitude
    • 1.5.3. Motivation
      • 1.5.3.1. Intrinsic motivation
      • 1.5.3.2. The need for achievement
      • 1.5.3.3. Motivation to engage with values
      • 1.5.3.4. Variability of motives
    • 1.5.4. Style and meaning of life
    • 1.5.5. Creation
      • 1.5.5.1. Creation and desire for form
      • 1.5.5.2. Novelty
  • 1.6. PRESENTATION OF RESEARCH HYPOTHESES
• 2. METHODOLOGICAL ISSUES
  • 2.1. RESEARCH PARTICIPANTS
  • 2.2. DESCRIPTION OF USED METHODS
    • 2.2.1. Klaus K. Urban’s and Hans G. Jellen’s Draw-a-Creativity Test
    • 2.2.2. Andrzej Strzałecki’s Creative Behavior Style Questionnaire
    • 2.2.3. Survey of Creative Behaviors
• 3. ANALYSIS AND INTERPRETATION OF RESULTS
  • 3.1. PRESENTATION OF RESULTS
    • 3.1.1. Distribution of dependent variables and gender differences
    • 3.1.2. Relationship between sport type and dependent variables
    • 3.1.3. Sport type and aspects of creative behaviors from the survey
    • 3.1.4. Survey results and dimensions of Strzałecki’s questionnaire and Urban test
    • 3.1.5. Survey results and dimensions of Strzałecki’s questionnaire and Urban test in individual sport groups
  • 3.2. INTERPRETATION OF RESULTS
• CONCLUSIONS
• REFERENCES
• APPENDIX
• ABSTRACT

Purpose & Thematic Focuses

This paper aims to investigate the complex relationship between sport and creativity, particularly by comparing high-altitude mountaineering with other sports like parachuting and track and field. The central research question explores whether mountaineers exhibit higher levels of creativity and what specific psychological and contextual factors within their discipline might foster creative expression and problem-solving abilities.

• The conceptualization and criteria of creativity from psychological and humanistic perspectives.
• The relationship between different sport disciplines (mountaineering, parachuting, track & field) and creativity.
• Analysis of individual traits such as intelligence, cognitive style, personality (openness, independence, persistence), and their link to creativity in sport.
• The role of emotions, motivation (intrinsic vs. extrinsic), and lifestyle choices in fostering or hindering creativity in athletes.
• Methodological issues, including participant selection and the application of creativity assessment tools.
• Interpretation of empirical results regarding creativity levels across different athlete groups and the implications for sport practice.

Excerpt from the Book

1.1. CONCEPTUALIZATION OF CREATIVITY

The Myth of a Romantic Vision of Creativity has been finally debunked. In the past few decades, rapid advances in creativity research have provided substantial evidence that creativity is not a phenomenon confined to a narrow elite or to domains such as art, science, or professional idea generation. Quite the opposite—the ubiquity of creativity has emerged as a central finding in psychological and sociological research. Csikszentmihalyi (1996, 1998), Guilford (1950), and Nęcka (1987, 1994, 2001) indicate that creative processes can manifest across diverse areas of daily life, work, and social activity, and that everyone has the potential to unleash creative thinking. This means that creative thinking is not limited to producing artistic works, solving complex scientific problems, or conducting research; it can appear in everyday actions, in the ways people approach challenges, in innovative problem solving, and even in small, momentary ideas that can, over time, lead to meaningful change. However, this does not imply that every person is equally creative in all domains. On the contrary, we observe substantial variation in how creativity is expressed among individuals. The distribution of scores on tests measuring creative ability often deviates markedly from a normal distribution. This deviation is especially evident in the predominance of banal or stereotypical responses, a smaller middle, and relatively few high achievers. Therefore, creativity can be regarded as accessible to everyone in principle—potentially latent and not always evident in observable behavior or real-world achievements (Nęcka, 1994). Another myth that has been dispelled is the belief that creativity is a fleeting, elusive phenomenon arising from inspiration rather than from natural mental processes. In fact, research shows that creativity is a form of human activity, governed by the same laws as other cognitive processes. It emerges from regular, measurable psychological mechanisms and can be understood as a systematic, improvable capacity rather than a capricious spark (Nęcka, 1994). Studies also indicate that creativity can be constrained by various barriers. Beyond intellectual blocks like cognitive rigidity, emotional barriers—such as different forms of anxiety—can inhibit creative functioning (Adams, 1978; Koberg and Bagnall, 1976; cited in Nęcka, 1994). Social and cultural barriers, such as conformity or the weight of tradition (Brower, 1999), can also suppress creative potential. Yet there is evidence that with appropriate interventions and supportive environments, creativity can be effectively unlocked and fully utilized (Nęcka, 1994). Overall, the myth of the elusiveness of creativity has been dismantled, and creativity is now recognized as a knowable and widespread phenomenon, albeit one that can be hindered by various constraints. The practical implication for this work is clear: creativity is not reserved for a select few; it is a broadly present phenomenon across contexts. Consequently, creativity can be developed and strengthened through targeted interventions, education, training in thinking skills, and the creation of environments that foster creative thought.

Summary of Chapters

Introduction: This section introduces mountaineering as a multidimensional phenomenon involving physical activity, psychological experiences, and philosophical reflections, highlighting its elitist nature due to demanding challenges and inherent risks. It sets the stage for exploring the creative potential of climbers by noting their unique personality traits.

1. Theoretical Framework: This comprehensive chapter delves into the conceptualization of creativity, its relationship with sport, and specific criteria for its identification. It examines various models of creativity and discusses individual traits (intelligence, cognitive style, personality), emotions, motivation, and the meaning of life, drawing parallels between artistic and sporting activities like alpinism.

2. Methodological Issues: This chapter details the study's design, including the characteristics of the 92 participants (mountaineers, parachutists, and track and field athletes) and the instruments used to measure creativity. It describes the Klaus K. Urban’s and Hans G. Jellen’s Draw-a-Creativity Test, Andrzej Strzałecki’s Creative Behavior Style Questionnaire, and a self-constructed survey of creative behaviors.

3. Analysis and Interpretation of Results: This chapter presents the statistical findings, including sex differences in dependent variables and the relationships between sport type and various creativity measures. It discusses how specific hypotheses related to different aspects of creativity (e.g., Urban test scores, life approval, cognitive flexibility, strong ego, self-realization, internal control, artistic engagement) were confirmed or contradicted by the data.

Conclusions: This section summarizes the key findings, confirming the general hypothesis that mountaineers exhibit higher creativity. It discusses the varying degrees of support for individual hypotheses across different creativity scales and emphasizes the unique creatogenic profiles of different sports, suggesting future research directions for developing sport-specific creativity assessment tools.

Keywords

Creativity, Sport Performance, Alpinism, Mountaineering, Parachuting, Track and Field, Cognitive Flexibility, Personality Traits, Risk-Taking, Intrinsic Motivation, Self-Realization, Problem-Solving, Emotional Engagement, Sport Psychology, Elite Athletes.

Frequently Asked Questions

What is the fundamental theme of this work?

This work fundamentally explores the presence and significance of creativity within the context of sport, particularly examining whether certain disciplines, like high-altitude mountaineering, foster creative thinking and behavior more effectively than others.

What are the central thematic areas covered in this study?

The central themes include the conceptualization of creativity, its manifestation in various sports, the influence of personality traits (such as openness, independence, and persistence), emotional and motivational factors, and methodological approaches to assessing creativity in athletes.

What is the primary goal or research question of this study?

The primary goal is to empirically verify if climbers exhibit higher creativity compared to athletes in other disciplines (parachutists, track and field athletes) and to identify the psychological mechanisms and contextual factors in mountaineering that promote creative expression and problem-solving.

Which scientific method is employed in this research?

The research employs a comparative empirical study design, utilizing established instruments such as the Klaus K. Urban’s and Hans G. Jellen’s Draw-a-Creativity Test and Andrzej Strzałecki’s Creative Behaviors Questionnaire, alongside a self-constructed survey, to analyze creativity levels across different groups of athletes.

What is covered in the main body of the work?

The main body establishes a theoretical framework for creativity and sport, details the methodological issues including participant selection and assessment tools, and presents an in-depth analysis and interpretation of the empirical results regarding creativity differences and relationships among various athlete groups.

What keywords characterize this work?

Key terms include creativity, sport performance, alpinism, mountaineering, parachuting, track and field, cognitive flexibility, personality traits, risk-taking, intrinsic motivation, self-realization, and problem-solving.

How does mountaineering foster creativity compared to parachuting and track and field?

Mountaineering, due to its inherent risks, prolonged physical and intellectual effort, and the need for constant decision-making in unpredictable conditions, appears to promote higher levels of creative thinking, originality, and problem-solving. Climbers showed higher scores on the Urban creativity test and reported greater engagement in artistic activities.

What role do "life approval" and "artistic engagement" play in distinguishing creativity among athletes?

Parachutists scored highest on the "life approval" scale, indicating greater satisfaction with their ideas and overall life, while climbers showed the highest engagement in artistic activities. These findings suggest that different sports might foster distinct aspects of creativity or well-being, rather than a general, universal creative profile.

• Authors: Zygmunt Sawicki (Author), Aldona Litwinska (Author), Karol Görner (Author)
• Publication Year: 2025
• Pages: 183
• Catalog Number: V1669943
• ISBN (PDF): 9783389165300
• ISBN (Book): 9783389165317
• Language: English
• Tags: Keywords: creativity and sport performance, alpinism, parachuting, track and field.