If you see creativity as a talent that cannot be taught, you might not see much value in participating in a program like the Creative Problem Solving Institute focused on education and leadership that deliberately seeks improved creative performance.
Ironically, the supportive actions and environments sought by those believing in creative talent overlap to a large degree with the approaches of those believing that creativity can be developed. Without a shift of perspective, a great many techniques and concepts are provided which can be useful to those attempting to support the development of creative professionals in areas like art, architecture, design, engineering, etc.
Let me share a few theoretical points with you:
Many believe that we are all born creative, but the lessons that life teaches lead us to hide our creative ideas and abilities even from ourselves. Creativity experiences in which people are encouraged to believe in this ability, then given environments in which this ability can be exercised safely, let people learn of their own creative capacities, unlearning so many false lessons of the past. These people can then learn to create environments and situations in which their creativity can emerge to solve problems they are interested in.
Whether you call it teaching or unteaching, learning tools such as brainstorming enable managers and creative professionals to deliberately perform with higher levels of creativity.
One of the most frustrating aspects of being a creative professional is the need to work with people who bring needed knowledge and perspectives to a project, but who lack in flexibility and fluency of thinking. The creative professional can use tools of deliberate creativity to guide interactions with these other stakeholders so that the needed level of creative interaction and evaluation is achieved.
Among the tools of deliberate creativity are methods such as the decision matrix which allow people to think one issue at a time about a complicated decision or graphic modeling methods which allow those of less spatial visualization to interact effectively with those comfortable with handling large projects in their heads. These tools can be learned not only as a way for a creative professional to handle larger projects, but as a way to facilitate more complex collaborations.
If an education program for creative professionals insists on eliminating those whose past has not prepared them to manifest creativity without support, a huge potential pool of contributors has been eliminated from access to making valuable contributions through creative professions. A program that develops these skills and knowledge of useful tools can bring in a much larger pool of talent, many of whom may be far more successful in the complex world that modern professionals have to work in.
For these and many other reasons, I recommend that managers and educators of creative professionals consider learning the ideas and tools made available by programs like the Creative Problem Solving Institute.