The exhibition "Croatia is Hrvatska—We write our own history" was the most visited exhibition in Croatia in 2017. This is a good indication that the exhibition was not perceived as a classic corporate event but really aroused great interest. The number of exhibition visits exceeded the target by 243%, and thus all expectations. People came to the exhibition and spent an average of 30 minutes interacting with the brand. Namely, during 45 days, the exhibition was visited by 103,000 people (the previous goal was 30,000). Furthermore, the value of public relations performance was approx. 705,845 € value of unpaid media [10], which exceeded the target by 252%. Some of the headlines that have garnered so many

• The agency's task was to increase brand awareness, generate buzz and

expected to be 2.5–3 times higher.

*Creativity - A Force to Innovation*

incentivize social media engagement.

through print media and portals.

nication on social networks began.

and the international awards it received.

**4.7 Evaluation**

10 ibid.

**66**

**4.6 Implementation of public relations of the project**

additionally contributed to strengthening the interests of citizens.

media impressions can be described with following words: "it as a unique cultural project," "an interactive exhibition of turbulent history," "an exhibition we created ourselves," and "an exhibition with excellent results."

Thanks to the work of public relations, a huge media interest has been achieved. During the 2 months, 203 media announcements were made (119 web, 41 radio, 30 print, and 13 TV announcements) and in more than 70% of announcements the corporate character of the exhibition was not emphasized, but its cultural contribution was emphasized (**Figure 1**).

A total of 118 different media reported on the exhibition, in 190 publications it appeared as the main subject, while in 99% the publications were positive. The exhibition ensured the favor of the cultural public and numerous positive reviews and comments from the leading media, which characterized the exhibition as one of the most attractive and production-challenging exhibitions ever held in Zagreb.

Talking about online engagement, the target was exceeded by 266%, that is, in the campaign period the engagement of users on social networks was 11%. Such a result was achieved given the reach of 791,833 unique users reached by the message through all online contact points, and direct engagement of citizens was achieved with used #PovijestPisemoSami by sending 5370 personal historical photos and sharing impressions of the exhibition. Numerous citizens also showed great interest in positive reactions on social networks, where they achieved over 616,314 interactions. Namely, brand awareness amounted to about 500,000 users, which achieved 300% higher results (**Table 1**).

The exhibition exceeded all set goals and won the "Event of the Year 2017" award, awarded by the regional professional magazine Media Marketing. Also, the

#### **Table 1.**

*Set and achieved communication goals.*

exhibition has won numerous other awards in the field of communications as such as Effie, Red Dot, MIXX Europe, Strategy Slam, MIXX Hrvatska, SoMo Borac, BalCannes Top 25, IIDA Global Excellence Award. The exhibition achieved additional recognition by winning awards in the field of design and architecture as such as IIDA (International Interior Design Asociation)—Fair and Exhibition, German Design Award—Excellent Communications Design: Fair and Exhibition, Red Dot— Exhibition Design, etc.

#### **5. Conclusion**

Public relations as a complex domain demands multiple skills from public relations practitioners and those skills include creativity because it often plays an important part in public relations campaigns [3]. Creativity in public relations campaigns can be viewed as a well-told story. The well-told story is the result not only of a detailed strategy and listening to the needs of the audience but also of providing a unique experience that arouses the interest and desire for more.

However, in order for a story to be well told or creative, it requires it to go through a complex process during which it often encounters various obstacles. The case of Croatia osiguranje shows us how the main threat to the development of this campaign was detected in time so that the potential threat actually became an opportunity to develop an even more creative idea.

Public relations practitioners at the time detected the company's highly competitive environment and a danger of the campaign for being perceived too commercially and without the desired public reach. Thinking outside the box by public relations experts who worked on the 133rd anniversary promotion campaign assured in the end a unique exhibition that brought Croatian history closer to citizens and tourists in an interesting way, and the positioning of the company in that history. The exhibition allowed visitors to participate in creating exhibits with personal stories. The corporate project is perceived as both cultural and educational. A large team of creatives, historians, and museum experts worked on the exhibition for several years and it contained numerous attractive museum exhibits, multimedia displays of artifacts, legendary musical numbers, and numerous interactive points. The main attraction was the "rain hall," the central hall of the tunnel in which artificial rain was falling all the time, on the drops of which the holograms of famous Zagreb historical figures were outlined. And visitors had to borrow an umbrella with the insurance company logo at the entrance to it.

The production-demanding project has successfully combined culture and science, economy, tourism, and modern technologies and has shown that it is possible to interest and activate the public through a creative presentation of historical content. The exhibition was the result of a synergy of different communication experts and approaches and excellent cooperation of agencies.

**Author details**

**69**

Bozo Skoko and Dejan Gluvacevic\*

University of Zagreb, Zagreb, Croatia

provided the original work is properly cited.

Department of Strategic Communication of the Faculty of Political Science,

*Creativity in Public Relations: The Case from Croatia – How to Make the History…*

*DOI: http://dx.doi.org/10.5772/intechopen.93689*

© 2020 The Author(s). Licensee IntechOpen. This chapter is distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/ by/3.0), which permits unrestricted use, distribution, and reproduction in any medium,

\*Address all correspondence to<EMAIL_ADDRESS>
In conclusion, more than 103,000 people came to see the exhibition in person and 5370 displayed their stories. With a media budget of 80,000 €, it earned 5,293,842 free media impressions and notified 616,314 reactions on social media. The message was clear, that is, there is only one insurance in Croatia on which people can always count on. And that made all the difference. Croatia osiguranje ended up being the leading insurance company in Croatia in all market segments. This creative campaign shows us the fundamental purpose of public relations, and it is about building relationships between public and organization. Finally, the exhibition was the result of a synergy of different communication experts and approaches and excellent cooperation of agencies.

*Creativity in Public Relations: The Case from Croatia – How to Make the History… DOI: http://dx.doi.org/10.5772/intechopen.93689*

### **Author details**

exhibition has won numerous other awards in the field of communications as such as Effie, Red Dot, MIXX Europe, Strategy Slam, MIXX Hrvatska, SoMo Borac, BalCannes Top 25, IIDA Global Excellence Award. The exhibition achieved additional recognition by winning awards in the field of design and architecture as such as IIDA (International Interior Design Asociation)—Fair and Exhibition, German Design Award—Excellent Communications Design: Fair and Exhibition, Red Dot—

Public relations as a complex domain demands multiple skills from public relations practitioners and those skills include creativity because it often plays an important part in public relations campaigns [3]. Creativity in public relations campaigns can be viewed as a well-told story. The well-told story is the result not only of a detailed strategy and listening to the needs of the audience but also of providing a unique experience that arouses the interest and

However, in order for a story to be well told or creative, it requires it to go through a complex process during which it often encounters various obstacles. The case of Croatia osiguranje shows us how the main threat to the development of this campaign was detected in time so that the potential threat actually became an

Public relations practitioners at the time detected the company's highly competitive environment and a danger of the campaign for being perceived too commercially and without the desired public reach. Thinking outside the box by public relations experts who worked on the 133rd anniversary promotion campaign assured in the end a unique exhibition that brought Croatian history closer to citizens and tourists in an interesting way, and the positioning of the company in that history. The exhibition allowed visitors to participate in creating exhibits with personal stories. The corporate project is perceived as both cultural and educational. A large team of creatives, historians, and museum experts worked on the exhibition for several years and it contained numerous attractive museum exhibits, multimedia displays of artifacts, legendary musical numbers, and numerous interactive points. The main attraction was the "rain hall," the central hall of the tunnel in which artificial rain was falling all the time, on the drops of which the holograms of famous Zagreb historical figures were outlined. And visitors had to borrow an

The production-demanding project has successfully combined culture and science, economy, tourism, and modern technologies and has shown that it is possible to interest and activate the public through a creative presentation of historical content. The exhibition was the result of a synergy of different communication

In conclusion, more than 103,000 people came to see the exhibition in person

and 5370 displayed their stories. With a media budget of 80,000 €, it earned 5,293,842 free media impressions and notified 616,314 reactions on social media. The message was clear, that is, there is only one insurance in Croatia on which people can always count on. And that made all the difference. Croatia osiguranje ended up being the leading insurance company in Croatia in all market segments. This creative campaign shows us the fundamental purpose of public relations, and it is about building relationships between public and organization. Finally, the exhi-

bition was the result of a synergy of different communication experts and

opportunity to develop an even more creative idea.

umbrella with the insurance company logo at the entrance to it.

experts and approaches and excellent cooperation of agencies.

approaches and excellent cooperation of agencies.

**68**

Exhibition Design, etc.

*Creativity - A Force to Innovation*

**5. Conclusion**

desire for more.

Bozo Skoko and Dejan Gluvacevic\* Department of Strategic Communication of the Faculty of Political Science, University of Zagreb, Zagreb, Croatia

\*Address all correspondence to<EMAIL_ADDRESS>
© 2020 The Author(s). Licensee IntechOpen. This chapter is distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/ by/3.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.

### **References**

[1] Tye L. The Father of Spin: Edward L. Bernays and the Birth of Public Relations. 2nd ed. New York: Henry Holt and Company; 2020. p. 304

[2] Green A. Creativity in Public Relations (PR in Practice). 4nd ed. London & Philadelphia: KOGAN PAGE; 2010. p. 273

[3] Palea A. Creativity in Public Relations [Internet]. 2010. Available from: https://www.semanticscholar.org/ paper/CREATIVITY-IN-PUBLIC-RELATIONS-Palea/a3ddb8d3c1a 4633bcef1a64ba1add54760f008f3 [Accessed: 17 July 2020]

[4] Bass M, Nevicka B, Ten Velden F. Specific mindfulness skills differentially predict creative performance. Personality and Social Psychology Bulletin. 2014;**30**(9):1092-1106. DOI: 10.1177/0146167214535813

[5] Osborn A. Applied Imagination: Principles and Procedures of Creative Thinking. 3rd ed. New York: Charles Schribner's Sons; 1979. p. 416

[6] Fordham H. Disembodied creativity: The role of action research in moderating educatior expectations of marketing and public relations students. Journal of University Teaching and Learning Practice. 2010;**12**(4):1-13. Article 3. Available from: https://ro. uow.edu.au/jutlp/vol12/iss4/3 [Accessed: 11 July 2020]

[7] Huda MH, Husin WN, Zayed T. Barriers to creativity among students of selected universities in Malaysia. International Journal of Microwave Science and Technology. 2013;**3**(6): 51-60. DOI: 10.1016/j.sbspro.2015. 08.136

[8] Croatian Insurance Bureau/Hrvatski ured za osiguranje: Insurance Market in the Republic of Croatia 2016—Key facts [Internet]. 2017. Available from: https:// www.huo.hr/eng/publications/50/ [Accessed: 17 July 2020]

[9] Ipsos Puls. Insurance market in Croatia – research results; 2015

[10] Medianet. Analysis of the value of PR performance—The exhibition Croatia is Hrvatska; 2017

**71**

different perspectives [3].

**Chapter 5**

**Abstract**

**1. Introduction**

Islam?

*Cameron Iqbal*

Assessing Creativity and

The purpose of this study is to understand how Islam assesses creativity—specifically, to determine if an Islamic framework for assessing creativity can be identified. Islam does not provide a framework for assessing creativity, but Islamic scholars continue to assess creativity in the absence of this framework. This study was conducted with the assistance of seven informants from seven leading Islamic traditions based in the UK. Each informant provided a unique insight into their understanding and interpretations of Islamic scriptures and texts

in relation to creativity and to determine how creativity in Islam is assessed.

The purpose of this study is to understand how Islam assesses creativity specifically, to determine if an Islamic framework for assessing creativity can be identified. Islam does not provide a framework for assessing creativity, yet Islamic scholars assess creativity. The research question is: How is creativity assessed in

Prior to this study, there has been research conducted examining how creativity is effective in Islam [1]. However, that research did not focus on how Islam assesses creativity. It does not look at the required support of *ulemas* and the application of Islamic reasoning to determine effective and approved creativity in Islam. It also does not examine how creativity is rejected in Islam. The need for this study was due to gaps in other studies. This study will explore the stage of Islamic creative thinking, legal reasoning, and deductive reasoning in Islam, creating a creative

This study was conducted with the assistance of seven informants from seven leading Islamic traditions based in the UK. Each informant provided unique insight into their understanding and interpretations of Islamic scriptures and texts in relation to creativity and its assessment. This study demonstrates how perceptions and

The uniqueness of creativity research in Islam is the explorative nature of this research lends itself to qualitative study such as religious ethnography and discourse analysis will form two key approaches [2]. Religious ethnography will assist in eliciting responses from each informant, and discourse analysis will be used to identify

1 There are approximately seventy-two different Islamic followings and traditions, all with different

practices of differing Islamic traditions compare with each other.1

Innovation in Islam

**Keywords:** Islam, tolerance, creativity and identity

framework that has not yet been established.

interpretations of the Quran, Sunnah, and the Ahadith.

#### **Chapter 5**

**References**

[1] Tye L. The Father of Spin: Edward L.

[Internet]. 2017. Available from: https:// www.huo.hr/eng/publications/50/

[9] Ipsos Puls. Insurance market in Croatia – research results; 2015

[10] Medianet. Analysis of the value of PR performance—The exhibition

[Accessed: 17 July 2020]

Croatia is Hrvatska; 2017

Bernays and the Birth of Public Relations. 2nd ed. New York: Henry Holt and Company; 2020. p. 304

*Creativity - A Force to Innovation*

[2] Green A. Creativity in Public Relations (PR in Practice). 4nd ed. London & Philadelphia: KOGAN

[3] Palea A. Creativity in Public Relations [Internet]. 2010. Available from: https://www.semanticscholar.org/ paper/CREATIVITY-IN-PUBLIC-RELATIONS-Palea/a3ddb8d3c1a 4633bcef1a64ba1add54760f008f3

[4] Bass M, Nevicka B, Ten Velden F. Specific mindfulness skills differentially

[5] Osborn A. Applied Imagination: Principles and Procedures of Creative Thinking. 3rd ed. New York: Charles Schribner's Sons; 1979. p. 416

[6] Fordham H. Disembodied creativity:

moderating educatior expectations of marketing and public relations students. Journal of University Teaching and Learning Practice. 2010;**12**(4):1-13. Article 3. Available from: https://ro. uow.edu.au/jutlp/vol12/iss4/3 [Accessed: 11 July 2020]

[7] Huda MH, Husin WN, Zayed T. Barriers to creativity among students of selected universities in Malaysia. International Journal of Microwave Science and Technology. 2013;**3**(6): 51-60. DOI: 10.1016/j.sbspro.2015.

[8] Croatian Insurance Bureau/Hrvatski ured za osiguranje: Insurance Market in the Republic of Croatia 2016—Key facts

08.136

**70**

predict creative performance. Personality and Social Psychology Bulletin. 2014;**30**(9):1092-1106. DOI:

10.1177/0146167214535813

The role of action research in

[Accessed: 17 July 2020]

PAGE; 2010. p. 273

## Assessing Creativity and Innovation in Islam

*Cameron Iqbal*

#### **Abstract**

The purpose of this study is to understand how Islam assesses creativity—specifically, to determine if an Islamic framework for assessing creativity can be identified. Islam does not provide a framework for assessing creativity, but Islamic scholars continue to assess creativity in the absence of this framework. This study was conducted with the assistance of seven informants from seven leading Islamic traditions based in the UK. Each informant provided a unique insight into their understanding and interpretations of Islamic scriptures and texts in relation to creativity and to determine how creativity in Islam is assessed.

**Keywords:** Islam, tolerance, creativity and identity

#### **1. Introduction**

The purpose of this study is to understand how Islam assesses creativity specifically, to determine if an Islamic framework for assessing creativity can be identified. Islam does not provide a framework for assessing creativity, yet Islamic scholars assess creativity. The research question is: How is creativity assessed in Islam?

Prior to this study, there has been research conducted examining how creativity is effective in Islam [1]. However, that research did not focus on how Islam assesses creativity. It does not look at the required support of *ulemas* and the application of Islamic reasoning to determine effective and approved creativity in Islam. It also does not examine how creativity is rejected in Islam. The need for this study was due to gaps in other studies. This study will explore the stage of Islamic creative thinking, legal reasoning, and deductive reasoning in Islam, creating a creative framework that has not yet been established.

This study was conducted with the assistance of seven informants from seven leading Islamic traditions based in the UK. Each informant provided unique insight into their understanding and interpretations of Islamic scriptures and texts in relation to creativity and its assessment. This study demonstrates how perceptions and practices of differing Islamic traditions compare with each other.1

The uniqueness of creativity research in Islam is the explorative nature of this research lends itself to qualitative study such as religious ethnography and discourse analysis will form two key approaches [2]. Religious ethnography will assist in eliciting responses from each informant, and discourse analysis will be used to identify different perspectives [3].

1 There are approximately seventy-two different Islamic followings and traditions, all with different interpretations of the Quran, Sunnah, and the Ahadith.

#### **2. Objective**

The objectives are:

#### **3. Literature review**

#### **3.1 Creativity and innovation: The Quran (recitation)**

Islam came at a time when there was prevalent ignorance in pre-Islamic Arabia. The Quran guided Muslims to be creative and to use their creativity for the benefit of humanity and in accordance with Sharia law and Islamic principles [4]. The Quran promoted creativity by providing examples of creativity to inspire and make Muslims understand in a greater depth. The Quran created a system that allowed Muslims to become focused with helping people and societies by being inventors of new theories and ideas. Science, math, biology, languages, culture, geography, psychology, sociology, algorithms, and many other areas began to take shape, assisting and creating new building blocks that lead to the great Islamic civilisations that followed.

Allah is the Creator of the universe; therefore, a question sometimes arises about whether the phrase "to create" or the Arabic word "*khalq*" should be used to refer to human beings as creators. It is a consensus (*ijma*) among scholars that Allah is the Creator of all creation but it is sometimes debated that can Muslims or people be referred to as a creator? However, the Quran uses the word "*khalq*" when addressing and referring to the people; it states, "You only worship idols besides Allah and you create (*khalq*) a lie." [5] This lends assists te premise that the Arabic word "*khalq*" can be used to refer to human invention and creativity as Allah has used it to highlight the lies created2 [6].

The Quran is seen as a creative miracle, as it holds accounts of the past and the future and cannot be duplicated by human beings. Allah, knowing this, provides three creative challenges to all of creation, including Muslims, to display creative

**73**

pass away (die)" [10].

misunderstanding.

what he knew not" [12].

*Assessing Creativity and Innovation in Islam DOI: http://dx.doi.org/10.5772/intechopen.94110*

intellect. In the first challenge, He states, "Say: 'If all mankind and the *jinn* would come together to produce the like of this Quran, they could not produce it's like even though they exerted all and their strength in aiding one another.'" [7] Knowing that they have failed in their creativity, He challenges them again to become creative by issuing a second challenge. He states, "Or do they say that he has invented it? Say (to them), 'Bring ten invented chapters like it, and call (for help) on whomever you can besides God, if you are truthful.'" [8] When the humans and the *jinn* are unable to successfully provide ten chapters, Allah further challenges them, lowering the degree of the challenge to a single chapter. He states, "And if you all are in doubt about what I have revealed to My servant, bring a single chapter like it, and call your witnesses besides God if you are truthful" [9]. Allah in His three challenges challenged the whole of creation to create a chapter as He has done in the Quran. Allah's challenge was also for those that spoke Arabic eloquently; they too were unable to successfully produce a chapter like that in the Quran. This is an example of Islam promoting creativity and asking people to become innovators, even asking the whole of creation to challenge Islam together. This challenge threatens the very fabric of Islamic existence but remains open to the whole mankind to participate in it.

**3.2 Creativity and innovation: the Sunnah of prophet Muhammad (pbuH)**

tion between the sects, causing difficulties for dialogue and rapport3

Prophet Muhammad (pbuH) understood that all answers can be obtained from the Quran and that if any matters that required clarification then Muslims could go to Islamic scholars who are learned in the Quran, Ahadith, and Sunnah. The Prophet (pbuH) required Muslims to be learned and acquire knowledge throughout their lifetime. It is important to explain that many sects—including Salafi, Deobandi, and Wahabi—do not believe in Ahadith and Sunnah but rely solely on the Quran. They believe that any individual can translate the Quran. The Sunni, Sufi, Shia, and Berelvi sects believe the contrary. Such debates have led to segrega-

In relation to the Sunnah, the Quran states, "Your companion (Muhammad) is neither astray nor being misled. Nor does he speak of his own desire. It is (only) the revelation with which he is inspired" [11]. Therefore Muslims are required to believe that the Quran and Sunnah go hand in hand together as their sources of legislated law. The confusion between the sects' relation to Ahadith and Sunnah is just a

To understand the importance of knowledge in Islam from which creativity is derived, it is important to examine the first revelation to Prophet (pbuH) which was: "Read in the name of your Lord Who created. He created man from a clot. Read and your Lord is Most Honorable, Who taught (to write) with the pen. Taught man

This is a very important revelation as the first revelation in Islam is asking the Prophet (pbuH) to read. For humans, reading is an essential tool to understanding which to gain knowledge leading to new ideas and creativity. Allah is then saying, "He created man from a clot;" "Who taught (to write) with the pen" and "Taught man what he knew not." This is important, as Allah is telling the Prophet (pbuH) His creative nature. He is telling the Prophet (pbuH) that He taught man

3 For example, the Prophet (pbuH) states, "O Abu Huraira! I have thought that none will ask me about it before you as I know your longing for the (learning of) Ahadith" [10]. It was reported in the same hadith that Umar bin Abdul Aziz wrote to Abu Bakr bin Hazm, who stated, "Look for the knowledge of hadith and get it written, as I am afraid that religious knowledge will vanish and the religious learned men will

[10].

2 Another example, where Allah describes His creativity and also identifies creativity of the people in the Quran, is in the verse: "Then We made the seed a clot, then We made the clot a lump of flesh, then We made (in) the lump of flesh bones, then We clothed the bones with flesh, then We caused it to grow into another creation, so blessed be Allah, the best of the creators" [6].

#### *Assessing Creativity and Innovation in Islam DOI: http://dx.doi.org/10.5772/intechopen.94110*

*Creativity - A Force to Innovation*

The objectives are:

**3. Literature review**

to highlight the lies created2

a.To understand if Islam promotes or limits creativity in its followers;

c.To understand the application of *Quran* to the assessment of creativity;

d.To understand the application of *Ahadith* to the assessment of creativity;

e.To understand the application of *Sunnah* to the assessment of creativity;

f. To understand the application of *Shariah Law* to the assessment of creativity;

h.To establish the extent to which the framework will assist differing interpretations and Islamic traditions in producing new creative ideas in Islam.

Islam came at a time when there was prevalent ignorance in pre-Islamic Arabia. The Quran guided Muslims to be creative and to use their creativity for the benefit of humanity and in accordance with Sharia law and Islamic principles [4]. The Quran promoted creativity by providing examples of creativity to inspire and make Muslims understand in a greater depth. The Quran created a system that allowed Muslims to become focused with helping people and societies by being inventors of new theories and ideas. Science, math, biology, languages, culture, geography, psychology, sociology, algorithms, and many other areas began to take shape, assisting and creating new building blocks that lead to the great Islamic civilisations that followed.

Allah is the Creator of the universe; therefore, a question sometimes arises about whether the phrase "to create" or the Arabic word "*khalq*" should be used to refer to human beings as creators. It is a consensus (*ijma*) among scholars that Allah is the Creator of all creation but it is sometimes debated that can Muslims or people be referred to as a creator? However, the Quran uses the word "*khalq*" when addressing and referring to the people; it states, "You only worship idols besides Allah and you create (*khalq*) a lie." [5] This lends assists te premise that the Arabic word "*khalq*" can be used to refer to human invention and creativity as Allah has used it

The Quran is seen as a creative miracle, as it holds accounts of the past and the future and cannot be duplicated by human beings. Allah, knowing this, provides three creative challenges to all of creation, including Muslims, to display creative

2 Another example, where Allah describes His creativity and also identifies creativity of the people in the Quran, is in the verse: "Then We made the seed a clot, then We made the clot a lump of flesh, then We made (in) the lump of flesh bones, then We clothed the bones with flesh, then We caused it to grow into

laws in Islam that is restricting creativity among its followers;

g.To produce a framework for measuring creativity in Islam; and

**3.1 Creativity and innovation: The Quran (recitation)**

[6].

another creation, so blessed be Allah, the best of the creators" [6].

b.To understand if it is the differing interpretation of the sacred scriptures and

**2. Objective**

**72**

intellect. In the first challenge, He states, "Say: 'If all mankind and the *jinn* would come together to produce the like of this Quran, they could not produce it's like even though they exerted all and their strength in aiding one another.'" [7] Knowing that they have failed in their creativity, He challenges them again to become creative by issuing a second challenge. He states, "Or do they say that he has invented it? Say (to them), 'Bring ten invented chapters like it, and call (for help) on whomever you can besides God, if you are truthful.'" [8] When the humans and the *jinn* are unable to successfully provide ten chapters, Allah further challenges them, lowering the degree of the challenge to a single chapter. He states, "And if you all are in doubt about what I have revealed to My servant, bring a single chapter like it, and call your witnesses besides God if you are truthful" [9]. Allah in His three challenges challenged the whole of creation to create a chapter as He has done in the Quran. Allah's challenge was also for those that spoke Arabic eloquently; they too were unable to successfully produce a chapter like that in the Quran. This is an example of Islam promoting creativity and asking people to become innovators, even asking the whole of creation to challenge Islam together. This challenge threatens the very fabric of Islamic existence but remains open to the whole mankind to participate in it.

#### **3.2 Creativity and innovation: the Sunnah of prophet Muhammad (pbuH)**

Prophet Muhammad (pbuH) understood that all answers can be obtained from the Quran and that if any matters that required clarification then Muslims could go to Islamic scholars who are learned in the Quran, Ahadith, and Sunnah. The Prophet (pbuH) required Muslims to be learned and acquire knowledge throughout their lifetime. It is important to explain that many sects—including Salafi, Deobandi, and Wahabi—do not believe in Ahadith and Sunnah but rely solely on the Quran. They believe that any individual can translate the Quran. The Sunni, Sufi, Shia, and Berelvi sects believe the contrary. Such debates have led to segregation between the sects, causing difficulties for dialogue and rapport3 [10].

In relation to the Sunnah, the Quran states, "Your companion (Muhammad) is neither astray nor being misled. Nor does he speak of his own desire. It is (only) the revelation with which he is inspired" [11]. Therefore Muslims are required to believe that the Quran and Sunnah go hand in hand together as their sources of legislated law. The confusion between the sects' relation to Ahadith and Sunnah is just a misunderstanding.

To understand the importance of knowledge in Islam from which creativity is derived, it is important to examine the first revelation to Prophet (pbuH) which was: "Read in the name of your Lord Who created. He created man from a clot. Read and your Lord is Most Honorable, Who taught (to write) with the pen. Taught man what he knew not" [12].

This is a very important revelation as the first revelation in Islam is asking the Prophet (pbuH) to read. For humans, reading is an essential tool to understanding which to gain knowledge leading to new ideas and creativity. Allah is then saying, "He created man from a clot;" "Who taught (to write) with the pen" and "Taught man what he knew not." This is important, as Allah is telling the Prophet (pbuH) His creative nature. He is telling the Prophet (pbuH) that He taught man

3 For example, the Prophet (pbuH) states, "O Abu Huraira! I have thought that none will ask me about it before you as I know your longing for the (learning of) Ahadith" [10]. It was reported in the same hadith that Umar bin Abdul Aziz wrote to Abu Bakr bin Hazm, who stated, "Look for the knowledge of hadith and get it written, as I am afraid that religious knowledge will vanish and the religious learned men will pass away (die)" [10].

and provided knowledge and creativity to man as "pen" is a creative idea, another example of Islam promoting creativity.

The Prophet (pbuH) wanted Muslims to gain knowledge, and through knowledge Muslims would obtain a creative imagination (*khayal*), for the betterment of society. A Muslim imagination cannot become an automatic creation; therefore, creative ideas are within the confinement of Islam even at the very beginning. The Quran states, "Allah will raise in rank those of you who believe and those who have been given knowledge" [13]. The only source that can answer a question is the Prophet (pbuH), whose statements and practices have been recorded in the Ahadith and Sunnah. The Prophet (pbuH) said, "The seeking of knowledge is obligatory for every Muslim" [14]. The Prophet (pbuH) also said, "One who treads a path in search of knowledge has his path to Paradise made easy by God" [15, 16]. The Prophet (pbuH) is clearly indicating that knowledge is important for Muslims and is telling them that if they go in search of knowledge then their path to paradise will be made easy.

#### **3.3 Bida'h, Ijtihad, and Ijma**

Muslims have been faced with great difficulties due to religious interpretations of the terms *bid'ah* (innovation), *ijtihad* (critical legal thinking), *kufr* (disbelief or denial), and *shirk* (avoid or neglect in the Oneness of Allah). Each will be examined in turn.

#### **3.4 "Bid'ah" (innovation)**

The word *bid'ah* has two meanings: the act of creating something new and the act of innovating. When *bid'ah* is used to counter creativity and innovation, the famous Ahadith is used to back up the argument opposing creativity: "Every *bid'ah* is misguidance and every path of misguidance goes to hell" [17]. To take this Hadith literally, it can be said that Prophet (pbuH) opposed all forms of *bid'ah*. However, the Prophet (pbuH) states, "If somebody innovates something which is not in harmony with the principles of our religion, that thing is rejected" [18]. Therefore, the Prophet (pbuH) permitted *bid'ah* and only opposed it when it was not in harmony with Islam. Furthermore, this Hadith confirms that introduction of new innovations or ideas are welcomed if they conform to Islam.

The Prophet (pbuH) further states: "He who introduced some good practice in Islam which was followed after him (by people) he would be assured of reward like one who followed it, without their rewards being diminished in any respect. And he who introduced some evil practice in Islam which had been followed subsequently (by others), he would be required to bear the burden like that of one who followed this (evil practice) without theirs being diminished in any respect" [19]. If a Muslim introduces a new practice or a good practice, then he will be rewarded for it. This Hadith is promoting creativity and innovation.

Allah states, "And whoever opposes the Messenger after guidance has become clear to him and follows other than the way of the believers. We will give him what he has taken and drive him into Hell, and evil it is as a destination" [20]. Allah is giving a warning that if any believer separates from the Prophet (pbuH) guidance, which includes the Prophet (pbuH)'s guidance on *bid'ah*, then his abode will be hell4 [21].

The Prophet (pbuH) states, "The best speech is that which is embodied in the Book of Allah, the Al Quran; and the best guidance is the guidance given by me, Mohamed. The most evil affairs are the innovations (*bid'ah*), and every innovation

**75**

good *bid'ah*.

*Assessing Creativity and Innovation in Islam DOI: http://dx.doi.org/10.5772/intechopen.94110*

**3.5 "Ijtihad" (critical legal thinking)**

they are deemed not permissible.

**3.6 Ijma (consensus)**

and incorrect beliefs" [31].

**3.8 Islamic sharia**

**3.7 Sharia law and creative thinking**

Sharia law and Sunnah, or the interpretation has no validity.

sion stems between Muslims5

(*bid'ah*) is an error" [22–26]. The reference to *bid'ah* here is relating to the creation of statements that oppose what has already been clarified in the Quran and explained by the Prophet (pbuH). It is therefore permissible to innovate that which benefits the religion and that which complies with Sharia law. This is where confu-

*Ijtihad* is a wide topic; for the purpose of this study, it will only relate to innovation (*bid'ah*). The term *ijtihad* is derived from the word "*juhd*," which means to "endeavour" or "attempt" to achieve *zann* (presumption) regarding *hukm* (law) of Sharia law [27]. *Ijtihad* is used by Ulema when Muslims presume that an argument (*dalil*) is based on Sharia law or if they believe it may not be. Islam does not allow the reliance on presumption or conjecture but rather requires reason and evidence, as the Quran states, "O you who have believed, avoid much [negative] assumption (*zann*)" [28]. It further states, "And most of them follow not except assumption. Indeed, assumption avails not against the truth at all. Indeed, Allah is Knowing of what they do" [29]. Therefore, *hukm* (laws) can only be validated if they are certain in their arguments and methods and can have the backing of Sharia law; otherwise,

*Ijtihad* is similar to another creative process of thinking; namely, *qiyas* [30]. This is a process of analogical reasoning whereby the Quran, the Sunnah, and Hadith may be used to solve or provide a creative solution to a new problem. *Ijtihad* or even *qiyas* may be used as arguments in favour of innovation and opposing the concepts behind *bid'ah*, but this would require an Islamic scholarly consensus (*ijma*).

The Arabic term "*ijma*" refers to a consensus between Muslims on a particular topic. Muslim scholars to uphold the validity of *ijma* cite the following Hadith from the Prophet (pbuH): "Allah will never allow my Ummah to unite upon misguidance

Muslims have been faced with great difficulties due to religious interpretations of the terms *bid'ah* (innovation), *ijtihad* (critical legal thinking), *kufr* (disbelief or denial), and *shirk* (avoid or neglect in the Oneness of Allah) when addressing the topic of creativity or innovation. These interpretations prevent an open dialogue about creativity in the Islamic world. The importance of Quranic exegesis, Hadith, and jurisprudence (*fiqh*) are important when addressing Sharia law, but for any argument to be valid in Islam it must have the backing of and be compliant with

Sharia law refers to sacred laws in Islam. Sharia law is a concept of rule of law that applies to the whole of the *ummah* (brotherhood of Islam), covering family

5 *Bid'ah* only has legal standing if it complies with Sharia law and the Sunnah of the Prophet (pbuH). *Bid'ah* is used as a as a tool to prevent free thinking of ideas which affects and withers away the critical legal thinking (*ijtihad*) process of the Muslims due to the substantial opposition to those that commit

[19].

4 Allah further clarifies that believing in Allah and not in the guidance of the Prophet (pbuH) is the same as disbelieving everything.

#### *Assessing Creativity and Innovation in Islam DOI: http://dx.doi.org/10.5772/intechopen.94110*

*Creativity - A Force to Innovation*

**3.3 Bida'h, Ijtihad, and Ijma**

**3.4 "Bid'ah" (innovation)**

tions or ideas are welcomed if they conform to Islam.

Hadith is promoting creativity and innovation.

in turn.

example of Islam promoting creativity.

and provided knowledge and creativity to man as "pen" is a creative idea, another

The Prophet (pbuH) wanted Muslims to gain knowledge, and through knowledge Muslims would obtain a creative imagination (*khayal*), for the betterment of society. A Muslim imagination cannot become an automatic creation; therefore, creative ideas are within the confinement of Islam even at the very beginning. The Quran states, "Allah will raise in rank those of you who believe and those who have been given knowledge" [13]. The only source that can answer a question is the Prophet (pbuH), whose statements and practices have been recorded in the Ahadith and Sunnah. The Prophet (pbuH) said, "The seeking of knowledge is obligatory for every Muslim" [14]. The Prophet (pbuH) also said, "One who treads a path in search of knowledge has his path to Paradise made easy by God" [15, 16]. The Prophet (pbuH) is clearly indicating that knowledge is important for Muslims and is telling them that if they go in search of knowledge then their path to paradise will be made easy.

Muslims have been faced with great difficulties due to religious interpretations of the terms *bid'ah* (innovation), *ijtihad* (critical legal thinking), *kufr* (disbelief or denial), and *shirk* (avoid or neglect in the Oneness of Allah). Each will be examined

The word *bid'ah* has two meanings: the act of creating something new and the act of innovating. When *bid'ah* is used to counter creativity and innovation, the famous Ahadith is used to back up the argument opposing creativity: "Every *bid'ah* is misguidance and every path of misguidance goes to hell" [17]. To take this Hadith literally, it can be said that Prophet (pbuH) opposed all forms of *bid'ah*. However, the Prophet (pbuH) states, "If somebody innovates something which is not in harmony with the principles of our religion, that thing is rejected" [18]. Therefore, the Prophet (pbuH) permitted *bid'ah* and only opposed it when it was not in harmony with Islam. Furthermore, this Hadith confirms that introduction of new innova-

The Prophet (pbuH) further states: "He who introduced some good practice in Islam which was followed after him (by people) he would be assured of reward like one who followed it, without their rewards being diminished in any respect. And he who introduced some evil practice in Islam which had been followed subsequently (by others), he would be required to bear the burden like that of one who followed this (evil practice) without theirs being diminished in any respect" [19]. If a Muslim introduces a new practice or a good practice, then he will be rewarded for it. This

Allah states, "And whoever opposes the Messenger after guidance has become clear to him and follows other than the way of the believers. We will give him what he has taken and drive him into Hell, and evil it is as a destination" [20]. Allah is giving a warning that if any believer separates from the Prophet (pbuH) guidance, which includes the Prophet (pbuH)'s guidance on *bid'ah*, then his abode will be hell4

The Prophet (pbuH) states, "The best speech is that which is embodied in the Book of Allah, the Al Quran; and the best guidance is the guidance given by me, Mohamed. The most evil affairs are the innovations (*bid'ah*), and every innovation

4 Allah further clarifies that believing in Allah and not in the guidance of the Prophet (pbuH) is the

[21].

**74**

same as disbelieving everything.

(*bid'ah*) is an error" [22–26]. The reference to *bid'ah* here is relating to the creation of statements that oppose what has already been clarified in the Quran and explained by the Prophet (pbuH). It is therefore permissible to innovate that which benefits the religion and that which complies with Sharia law. This is where confusion stems between Muslims5 [19].

#### **3.5 "Ijtihad" (critical legal thinking)**

*Ijtihad* is a wide topic; for the purpose of this study, it will only relate to innovation (*bid'ah*). The term *ijtihad* is derived from the word "*juhd*," which means to "endeavour" or "attempt" to achieve *zann* (presumption) regarding *hukm* (law) of Sharia law [27]. *Ijtihad* is used by Ulema when Muslims presume that an argument (*dalil*) is based on Sharia law or if they believe it may not be. Islam does not allow the reliance on presumption or conjecture but rather requires reason and evidence, as the Quran states, "O you who have believed, avoid much [negative] assumption (*zann*)" [28]. It further states, "And most of them follow not except assumption. Indeed, assumption avails not against the truth at all. Indeed, Allah is Knowing of what they do" [29]. Therefore, *hukm* (laws) can only be validated if they are certain in their arguments and methods and can have the backing of Sharia law; otherwise, they are deemed not permissible.

*Ijtihad* is similar to another creative process of thinking; namely, *qiyas* [30]. This is a process of analogical reasoning whereby the Quran, the Sunnah, and Hadith may be used to solve or provide a creative solution to a new problem. *Ijtihad* or even *qiyas* may be used as arguments in favour of innovation and opposing the concepts behind *bid'ah*, but this would require an Islamic scholarly consensus (*ijma*).

#### **3.6 Ijma (consensus)**

The Arabic term "*ijma*" refers to a consensus between Muslims on a particular topic. Muslim scholars to uphold the validity of *ijma* cite the following Hadith from the Prophet (pbuH): "Allah will never allow my Ummah to unite upon misguidance and incorrect beliefs" [31].

#### **3.7 Sharia law and creative thinking**

Muslims have been faced with great difficulties due to religious interpretations of the terms *bid'ah* (innovation), *ijtihad* (critical legal thinking), *kufr* (disbelief or denial), and *shirk* (avoid or neglect in the Oneness of Allah) when addressing the topic of creativity or innovation. These interpretations prevent an open dialogue about creativity in the Islamic world. The importance of Quranic exegesis, Hadith, and jurisprudence (*fiqh*) are important when addressing Sharia law, but for any argument to be valid in Islam it must have the backing of and be compliant with Sharia law and Sunnah, or the interpretation has no validity.

#### **3.8 Islamic sharia**

Sharia law refers to sacred laws in Islam. Sharia law is a concept of rule of law that applies to the whole of the *ummah* (brotherhood of Islam), covering family

5 *Bid'ah* only has legal standing if it complies with Sharia law and the Sunnah of the Prophet (pbuH). *Bid'ah* is used as a as a tool to prevent free thinking of ideas which affects and withers away the critical legal thinking (*ijtihad*) process of the Muslims due to the substantial opposition to those that commit good *bid'ah*.

disputes, neighbours, business, finance, war, the community, and many other areas. Muslims are to adhere to and are subject to the punishments of Sharia law should a violation of Sharia law be committed. Non-Muslims are not subject to Sharia law or punishments.

The primary objective of Sharia law is *rahmah* (mercy). We have already examined how Quran and Sunnah are intertwined with one another. Allah states, "And We have not sent you, [O Muhammad], except as a mercy to the worlds." [32]. The Prophet (pbuH) states, "Those who are merciful will be shown mercy by the Most Merciful. Be merciful to those on the earth and the One above the heavens will have mercy upon you" [33]. Allah and the Prophet (pbuH) have clearly defined the need for mercy and the Islamic scholars (*ulemas*) have agreed (*ijma*) that *rahmah* (mercy) is the objective of Sharia law.

To obtain an Islamic ruling in Sharia law, an examination takes place by the *ulema* against *al-ʾaḥkām al-khamsa* (the five statuses), which form part of *fiqh* (jurisprudence), when deciding a particular matter. They are as follows.

Sharia law plays an integral part in determining if issues or matters fall into the *al-ʾaḥkām al-khamsa* and if they are approved by Sunnah. To determine if creativity, innovation (*bid'ah*), or *al-tafkir al-ibda'l* (creative thinking) are compliant with Sharia law, a ruling would have to be provided in any of the above five statuses.

#### **4. Methodology**

#### **4.1 Data collection and methodologies**

Religious ethnography will be used in this research to examine the responses [34] of seven informants belonging to seven separate traditions of opposing Islamic thinking and interpretations. It focuses on the religious believer, what he has been taught, the spiritual connection, his connection with the religious scriptures and texts and his ability to interpret them.

In-depth interviews are a method of collecting data from informants which will allow the identification of knowledge and processes of interpretation which are often invisible when they are embedded within a cohesive religious belief like Islam. The interviews provides the opportunity to find out the informants responses to

**77**

*Assessing Creativity and Innovation in Islam DOI: http://dx.doi.org/10.5772/intechopen.94110*

from reading scriptures and religious texts.

**4.2 Interviews**

such language.

**4.3 Observation of informants**

**4.4 Review of documents**

**4.5 Sampling criteria**

and texts.

researcher's own interpretation and observations [2].

questions making it easier to ask more complex questions and follow-up questions

Currently, there are seventy-two different interpretations of the Quran therefore a strong possibility that there are seventy-two different definitions of Islamic creativity. Religious ethnography enables the researcher to make explicit the tacit and differing interpretations of Islamic creativity that would be difficult to elicit

There will be face-to-face and one-to-one interaction between the researcher and the Informants which will be audio taped. The researcher will have the audio data transcribed and placed in a document clearly demonstrating each Informant's response to each question. Using these complete texts, interpretative methodology derived from religious ethnography and discourse analysis will be undertaken to examine the language used or what the Informant or traditions accomplishes using

Using complete texts from the recorded interviews and incorporating interpretative methodology derived from religious ethnography, discourse analysis will be used to examine the language used or what the Informant or faction accomplishes using this language [34]. This will allow the study to examine the responses of the informants allowing the researcher to apply the responses by identifying relationships within the data via a Grounded Theory approach to discover a new theory or framework to Islamic creativity. This is a unique study; therefore, the chance of this research or data replicating any prior theory is minimal, as no such theory exists [35].

The study is likely to employ additional ethnographic tools of inquiry such as observation and examination of relevant document to aid the interpretation of the Informant's discourses; determine the informant's nuances of the moment; the informants strategy in maintaining and managing involvement when interacting with the researcher, at the time of recording of the interviews; how meaning is constructed; the context (e.g. situational and background knowledge), and the

The study examines the *Quran, Sunnah, Ahadith* and *Shariah Law* to determine how Islam assesses creativity and how the informants interpret such scriptures

The sampling criteria used to identify and recruit the Informants is as follows:

2.understanding in Islamic *Tafsir* [36] ('interpretation' of the Quran); and

4.understanding in *Fiqh* [37] ('Islamic Jurisprudence and Islamic Law); and

1. at least 2 years' experience as a qualified Islamic Scholar; and

3.understanding in *Ahadith* ('sayings of the Prophet pbuh'); and

leading to a stronger interview and the ability to compare answers.

#### *Assessing Creativity and Innovation in Islam DOI: http://dx.doi.org/10.5772/intechopen.94110*

questions making it easier to ask more complex questions and follow-up questions leading to a stronger interview and the ability to compare answers.

Currently, there are seventy-two different interpretations of the Quran therefore a strong possibility that there are seventy-two different definitions of Islamic creativity. Religious ethnography enables the researcher to make explicit the tacit and differing interpretations of Islamic creativity that would be difficult to elicit from reading scriptures and religious texts.

#### **4.2 Interviews**

*Creativity - A Force to Innovation*

(mercy) is the objective of Sharia law.

required not to be carried out;

therefore it is a choice.

**4.1 Data collection and methodologies**

texts and his ability to interpret them.

five statuses.

**4. Methodology**

punishments.

disputes, neighbours, business, finance, war, the community, and many other areas. Muslims are to adhere to and are subject to the punishments of Sharia law should a violation of Sharia law be committed. Non-Muslims are not subject to Sharia law or

The primary objective of Sharia law is *rahmah* (mercy). We have already examined how Quran and Sunnah are intertwined with one another. Allah states, "And We have not sent you, [O Muhammad], except as a mercy to the worlds." [32]. The Prophet (pbuH) states, "Those who are merciful will be shown mercy by the Most Merciful. Be merciful to those on the earth and the One above the heavens will have mercy upon you" [33]. Allah and the Prophet (pbuH) have clearly defined the need for mercy and the Islamic scholars (*ulemas*) have agreed (*ijma*) that *rahmah*

To obtain an Islamic ruling in Sharia law, an examination takes place by the *ulema* against *al-ʾaḥkām al-khamsa* (the five statuses), which form part of *fiqh* (jurisprudence), when deciding a particular matter. They are as follows.

1.Recommended (*mandub*) ruling: a Muslim is not punished for not doing

3.Offensive/disliked (*makruh*) ruling: where a act is offensive/disliked and

therefore will be punished in this world and in the hereafter; and

2.Obligatory (*wajib/fard*) ruling: a Muslim is obligated to do something, does not

4.Unlawful (*haram*) ruling: a Muslim does an act which is forbidden by Allah and

5.Permissible (*mubah*) ruling: the Muslim is neither forbidden nor recommended to do something.. In Islamic jurisprudence this stage is used as an approval (*ahkam*) for matters that are not forbidden nor recommended in Islam,

Sharia law plays an integral part in determining if issues or matters fall into the *al-ʾaḥkām al-khamsa* and if they are approved by Sunnah. To determine if creativity, innovation (*bid'ah*), or *al-tafkir al-ibda'l* (creative thinking) are compliant with Sharia law, a ruling would have to be provided in any of the above

Religious ethnography will be used in this research to examine the responses [34] of seven informants belonging to seven separate traditions of opposing Islamic thinking and interpretations. It focuses on the religious believer, what he has been taught, the spiritual connection, his connection with the religious scriptures and

In-depth interviews are a method of collecting data from informants which will allow the identification of knowledge and processes of interpretation which are often invisible when they are embedded within a cohesive religious belief like Islam. The interviews provides the opportunity to find out the informants responses to

something recommended but is rewarded if he does do it;

do it, and is punished in the next life for not doing it;

**76**

There will be face-to-face and one-to-one interaction between the researcher and the Informants which will be audio taped. The researcher will have the audio data transcribed and placed in a document clearly demonstrating each Informant's response to each question. Using these complete texts, interpretative methodology derived from religious ethnography and discourse analysis will be undertaken to examine the language used or what the Informant or traditions accomplishes using such language.

Using complete texts from the recorded interviews and incorporating interpretative methodology derived from religious ethnography, discourse analysis will be used to examine the language used or what the Informant or faction accomplishes using this language [34]. This will allow the study to examine the responses of the informants allowing the researcher to apply the responses by identifying relationships within the data via a Grounded Theory approach to discover a new theory or framework to Islamic creativity. This is a unique study; therefore, the chance of this research or data replicating any prior theory is minimal, as no such theory exists [35].

#### **4.3 Observation of informants**

The study is likely to employ additional ethnographic tools of inquiry such as observation and examination of relevant document to aid the interpretation of the Informant's discourses; determine the informant's nuances of the moment; the informants strategy in maintaining and managing involvement when interacting with the researcher, at the time of recording of the interviews; how meaning is constructed; the context (e.g. situational and background knowledge), and the researcher's own interpretation and observations [2].

#### **4.4 Review of documents**

The study examines the *Quran, Sunnah, Ahadith* and *Shariah Law* to determine how Islam assesses creativity and how the informants interpret such scriptures and texts.

#### **4.5 Sampling criteria**

The sampling criteria used to identify and recruit the Informants is as follows:

1. at least 2 years' experience as a qualified Islamic Scholar; and

2.understanding in Islamic *Tafsir* [36] ('interpretation' of the Quran); and

5.provide sermons to the Muslim community and/or lead a congregation; and

6.understanding in *Sunnah* ('practices of the Prophet pbuh').

The Informants will belong to the following seven traditions:

1.Sunni;

2.Shia;

#### **4.6 Data analysis**

Upon collecting the qualitative data (via interviews and observations), data analysis will be used to uncover a more interpretive analysis to examine the responses provided by the informants. The responses will then be categorised and indexed to highlight important features, patterns and similarities. The research will explore patterns and link similar responses to construct a theory that establishes an Islamic Creativity Framework.

A Grounded Theory will then be used to look for relationships within the data which may lead to establishing a creative framework [38].

#### **4.7 Questions to ask informants**

The Informants are located in their respective Mosques and establishments in the UK, and their research interviews will be based around the following semistructured questions:

1.In Islam, what is creativity?

**79**

of Paradise." [16, 19]

*Assessing Creativity and Innovation in Islam DOI: http://dx.doi.org/10.5772/intechopen.94110*

guidelines that one can follow?

**5. Analysis and interpretation**

1.What creativity (*bid'ah*) is in Islam;

5.Sharia law and creativity in Islam; and

**5.1 What creativity ("Bid'ah") is in Islam**

6.Mechanisms needed to assess creativity in Islam.

incentivises the seeking of any knowledge for its believers.6

3.Islam promoting creativity;

4.Islam limiting creativity;

2.Differing perceptions of creativity in Islam;

creativity?

better voice quality.

8.What is the process of determining creativity in Islam in the absence of any

9.What would you say has been the biggest prevention in the rise of Islamic

Interviews will be conducted in Urdu, Punjabi, English or Arabic. Materials used to gather research will be a digital voice recorder along with two microphones for

Discourse analysis will examine how meaning is constructed and the power of Islamic interpretation that limits or expands Islamic creativity in society. Qualitative methodology will assist by categorising responses into patterns making it easier to organise and report results. The emphasis of a qualitative approach using ethnographic tools of inquiry is on context (e.g. situational and background knowledge context) and the researcher's interpretation of the context observed. The approach

This study examined how Islam assesses creativity. Seven interviews were carried out with *ulemas* from seven different sects: Imam Nasar (Sunni), Imam Alvi (Shia), Imam Chisti (Barelvi), Imam Rasab (Sufi), Imam Dawud (Salafi), Imam Younas (Wahabi), and Imam Huzayf (Deobandi). The themes the study examined are:

Islam is a religion that was revealed to Prophet Muhammad (pbuH) and that

Islam views knowledge as a base of human intelligence and creativity as a branch of that intelligence. Therefore, when Islam refers to knowledge it is sometimes referring to creativity too. Islam provides rewards in the hereafter to Muslims for any knowledge gained in this world. Islam also incentivises the thought process of creativity, the journey and the destination of accumulating knowledge and creativity, and those rewards are rewarded separately at each stage. Islam makes it lucrative for Muslims to seek any knowledge, and as the Prophet (pbuH) states, "The best of people are those

6 The Prophet (pbuH) states, "If anyone acquires knowledge of things by which Allah's good pleasure is sought, but acquires it only to get some worldly advantage, he will not experience the arf, i.e. the odour,

It is important to note that

aims to gain contextualised and naturalistic data for analysis.

7.Do you believe Islam should have a greater contribution to creativity?

*Creativity - A Force to Innovation*

1.Sunni;

2.Shia;

3.Wahabi;

4.Salafi;

5.Barelvi;

7.Deobandi

**4.6 Data analysis**

Islamic Creativity Framework.

**4.7 Questions to ask informants**

1.In Islam, what is creativity?

3.Does Islam promote creativity?

4.How do you view creativity?

5.Does Islam limit creativity?

rules on ethics?

structured questions:

6.Sufi

5.provide sermons to the Muslim community and/or lead a congregation; and

Upon collecting the qualitative data (via interviews and observations), data analysis will be used to uncover a more interpretive analysis to examine the responses provided by the informants. The responses will then be categorised and indexed to highlight important features, patterns and similarities. The research will explore patterns and link similar responses to construct a theory that establishes an

A Grounded Theory will then be used to look for relationships within the data

The Informants are located in their respective Mosques and establishments in the UK, and their research interviews will be based around the following semi-

2.Do different traditions have different perceptions on creativity in Islam?

6.Does Islamic Law block the expansion of creativity in Islam due to its stringent

7.Do you believe Islam should have a greater contribution to creativity?

which may lead to establishing a creative framework [38].

6.understanding in *Sunnah* ('practices of the Prophet pbuh').

The Informants will belong to the following seven traditions:

**78**

Interviews will be conducted in Urdu, Punjabi, English or Arabic. Materials used to gather research will be a digital voice recorder along with two microphones for better voice quality.

Discourse analysis will examine how meaning is constructed and the power of Islamic interpretation that limits or expands Islamic creativity in society. Qualitative methodology will assist by categorising responses into patterns making it easier to organise and report results. The emphasis of a qualitative approach using ethnographic tools of inquiry is on context (e.g. situational and background knowledge context) and the researcher's interpretation of the context observed. The approach aims to gain contextualised and naturalistic data for analysis.

### **5. Analysis and interpretation**

This study examined how Islam assesses creativity. Seven interviews were carried out with *ulemas* from seven different sects: Imam Nasar (Sunni), Imam Alvi (Shia), Imam Chisti (Barelvi), Imam Rasab (Sufi), Imam Dawud (Salafi), Imam Younas (Wahabi), and Imam Huzayf (Deobandi). The themes the study examined are:

#### **5.1 What creativity ("Bid'ah") is in Islam**

Islam is a religion that was revealed to Prophet Muhammad (pbuH) and that incentivises the seeking of any knowledge for its believers.6 It is important to note that Islam views knowledge as a base of human intelligence and creativity as a branch of that intelligence. Therefore, when Islam refers to knowledge it is sometimes referring to creativity too. Islam provides rewards in the hereafter to Muslims for any knowledge gained in this world. Islam also incentivises the thought process of creativity, the journey and the destination of accumulating knowledge and creativity, and those rewards are rewarded separately at each stage. Islam makes it lucrative for Muslims to seek any knowledge, and as the Prophet (pbuH) states, "The best of people are those

6 The Prophet (pbuH) states, "If anyone acquires knowledge of things by which Allah's good pleasure is sought, but acquires it only to get some worldly advantage, he will not experience the arf, i.e. the odour, of Paradise." [16, 19]

that bring most benefit to the rest of mankind"7 [40].  Islam requires its followers to be moderate in belief (*aqidah*), in acts of worship (*ibadah*), in their understanding of Islamic law (Sharia law), and in morals and manners (*akhlaq*). Being moderate will allow Muslims to see both the liberal side of society and the extreme side of society, making it a fair religion that is able to view the whole of society. Therefore, its creativity will then assist the whole of society.

The interviews indicate that all informants understood what *bid'ah* meant in Islam. Imam Nasar (Sunni) explained that the definition of *bid'ah* means to create and that Islam is not against *bid'ah*. Imam Alvi (Shia) highlighted that even though *bid'ah* has controversy surrounding it, it does not mean it does not exist in Islam. He indicated that Muslims are not implementing *bid'ah*. Imam Chisti (Barelvi) interpreted the word *bid'ah* to come from the word *badah*, which means something new in Islam. Imam Rasab (Sufi), like Imam Chisti (Barelvi), explained that it is something new. Imam Dawud (Salafi) provided his interpretation of *bid'ah*, which is what was accepted at the time of the Prophet (pbuH). He explained that there is good *bid'ah* and bad *bid'ah*. Imam Younas (Wahabi) explained that it is something new to Islam and Imam Huzayf (Deobandi) described *bid'ah* as something not at the time of the Prophet (pbuH). The responses of Imam Dawud (Salafi) and Imam Huzayf (Deobandi) placed a negative outlook upon their understanding of *bid'ah*, as things have changed since the time of the Prophet (pbuH).

#### **5.2 Islam promoting creativity**

Imam Nasar (Sunni) explained that Islam does promote creativity, but only that which is not against Islam. He provided an example that the translation of the Quran was a new creative idea after the demise of the Prophet (pbuH). He stated that this benefits people and does not go against Islam. He also stated that some technologies that benefit people are allowed under Islam. Imam Alvi (Shia) agreed that Islam promotes creativity. He explained that Islam has asked Muslims to obtain knowledge even if they must go to China. He explained that the word "China" was never said by the Prophet (pbuH) but as knowledge was so important people just accepted that He (pbuH) may have said it. He described that currently people may feel that to be creative one must obtain Western knowledge or knowledge from people that follow a religion other than Islam. He also responded that Muslims have a right over knowledge and should go where knowledge is, even to other religions. Imam Chisti (Barelvi) believes that Islam allows all forms of creativity unless a form of creativity is wrong. He highlighted that if Islam views something as wrong, that thing will not be praised. Imam Rasab (Sufi) emphasised that Islam promoted creativity and it is divided into two categories: the good and bad *bid'ah*. 9

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*Assessing Creativity and Innovation in Islam DOI: http://dx.doi.org/10.5772/intechopen.94110*

ban creativity but seeks its progression.

(pbuH), indicating that *bid'ah* has benefits.

**5.4 Islam limiting creativity**

Hadith then Islam will reject that creative idea.

**5.3 Differing perceptions of creativity in Islam**

On the question of different perceptions of *bid'ah* in Islam, Imam Nasar (Sunni) explained that some people have a complete ban on *bid'ah*. He further explained that in Sunni sect there are limitations on creativity definition but never a complete ban. He indicated that if Islam was against innovation then things that have been invented under Islam would not have been created. He suggested that Islam does not

Imam Chisti (Barelvi) explained that there is one interpretation, but different schools of thought have taken control of this issue from different angles. Imam Chisti suggested that due to this control Muslims are not able to be creative. Imam Chisti in his response to those that attempt to control the explanations of *bid'ah* provided an example of Sahih Al Bukahri a collection of Ahadith; and asked if they were a good thing or a bad thing, as they came after the time of the Prophet

Imam Rasab (Sufi) said that there are different explanations, but the definition is the same. He provided his own examples of Arabic grammar, the book version of the Quran, the prayer timetable, and even the mobile phone. He said that these developments are a benefit and are accepted in Islam. The response of Imam Dawud (Salafi) was that there are different perceptions of *bid'ah* in Islam and that some practiced *shirk*. Imam Dawud (Salafi) emphasised that some sects fall outside the limits Islam has set. Imam Younas (Wahabi) and Imam Huzayf (Deobandi) both agreed with Imam Chisti (Barelvi) that there is one interpretation but different meanings. There are many different interpretations of the Quran and AHadith relating to *bid'ah* by Scholars, but Allah states, "And whoever opposes the Messenger after guidance has become clear to him and follows other than the way of the believers. We will give him what he has taken and drive him into Hell, and evil it is as a destination" [20]. Allah is giving a warning that if any believer separates from the guidance of the Prophet (pbuH), which includes guidance on *bid'ah*, then his abode will be hell. Despite this clear warning, many Muslim *ulemas*—specifically, those in the Salafi, Deobandi, and Wahabi sects—take the literal meaning of the Hadith: "The most evil affairs are the innovations (*bid'ah*), and every innovation (*bid'ah*) is an error" [22–26]. These sects have reservations to the Ahadith due to the word "Ahadith" not appearing in the Quran. Their position then becomes contradictory, as they rely upon a Hadith despite having reservations to their authenticity as a source of guidance. However, Sunni, Shia, Sufi, and Barelvi are more open to the idea of relying on the Ahadith; and despite the word not appearing in the Quran, they believe that the Ahadith are the guidance from the Prophet (pbuH) and that that is what Allah refers to when He states: "And whoever opposes the Messenger after guidance has become clear."

Imam Nasar (Sunni) believes that there are limitations on creativity in Islam. Muslims must comply with the rule or obligations of Islam, and creativity should not contradict Islamic principles or else it will be rejected. Imam Alvi (Shia) stated that Islam has not provided people with freedom but rather has asked them to remain within the Islamic guidelines. Imam Chisti (Barelvi) explained that if there is no Quranic injunction against it or any injunction against it, or if there is no Hadith against it, then Islam will promote that creativity. However, he explained that if there is solid proof or Quranic injunction or creativity goes against the

Imam Rasab (Sufi) explained that if Sunnah and Quran are complied with then it is good *bid'ah* and Islam will not restrict it. Imam Dawud (Salafi) explained that Islam rejects *bid'ah* in its entirety. He explained that Prophet (pbuH) stated that if it

7 [7–9, 39]

8 [17, 15, Quran 2:23 Challenge to produce a chapter in the Quran [9], challenge to produce the Quran [7], guidance and motivation to reach the skies [41] and providing guidance for ideas [42].

9 Imam Dawud (Salafi) explained that people create *bid'ah*; Islam does not. Imam Younas (Wahabi) explained in terms of *deen* (Islam) that there is no creativity. We must follow things which are already set for us, in terms of creativity and *duniyah* (world). We create things in this world but must make sure we remain within the guidelines of Islam. Imam Huzayf (Deobandi) described that there are two types of *bid'ah*, the good *bid'ah* and bad *bid'ah*. Imam Dawud (Salafi) comments that promoting creativity vesting in humans and not Islam creates the possibility that Salafi may have negative reflections upon what *bid'ah* is, as Islam promotes creativity.

*Creativity - A Force to Innovation*

that bring most benefit to the rest of mankind"7

nism, providing a platform to Muslims to bounce ideas by using the Quran in which

Islam places great importance on creativity and innovation to create an *ummatan wasatan*, a "Middle Ummah" and a balanced society that avoids extravagance. Islam requires its followers to be moderate in belief (*aqidah*), in acts of worship (*ibadah*), in their understanding of Islamic law (Sharia law), and in morals and manners (*akhlaq*). Being moderate will allow Muslims to see both the liberal side of society and the extreme side of society, making it a fair religion that is able to view the whole of society. Therefore, its creativity will then assist the whole of society. The interviews indicate that all informants understood what *bid'ah* meant in Islam. Imam Nasar (Sunni) explained that the definition of *bid'ah* means to create and that Islam is not against *bid'ah*. Imam Alvi (Shia) highlighted that even though *bid'ah* has controversy surrounding it, it does not mean it does not exist in Islam. He indicated that Muslims are not implementing *bid'ah*. Imam Chisti (Barelvi) interpreted the word *bid'ah* to come from the word *badah*, which means something new in Islam. Imam Rasab (Sufi), like Imam Chisti (Barelvi), explained that it is something new. Imam Dawud (Salafi) provided his interpretation of *bid'ah*, which is what was accepted at the time of the Prophet (pbuH). He explained that there is good *bid'ah* and bad *bid'ah*. Imam Younas (Wahabi) explained that it is something new to Islam and Imam Huzayf (Deobandi) described *bid'ah* as something not at the time of the Prophet (pbuH). The responses of Imam Dawud (Salafi) and Imam Huzayf (Deobandi) placed a negative outlook upon their understanding of *bid'ah*,

Allah openly challenges mankind to do better than what He has done.8

as things have changed since the time of the Prophet (pbuH).

Imam Nasar (Sunni) explained that Islam does promote creativity, but only that which is not against Islam. He provided an example that the translation of the Quran was a new creative idea after the demise of the Prophet (pbuH). He stated that this benefits people and does not go against Islam. He also stated that some technologies that benefit people are allowed under Islam. Imam Alvi (Shia) agreed that Islam promotes creativity. He explained that Islam has asked Muslims to obtain knowledge even if they must go to China. He explained that the word "China" was never said by the Prophet (pbuH) but as knowledge was so important people just accepted that He (pbuH) may have said it. He described that currently people may feel that to be creative one must obtain Western knowledge or knowledge from people that follow a religion other than Islam. He also responded that Muslims have a right over knowledge and should go where knowledge is, even to other religions. Imam Chisti (Barelvi) believes that Islam allows all forms of creativity unless a form of creativity is wrong. He highlighted that if Islam views something as wrong, that thing will not be praised. Imam Rasab (Sufi) emphasised that Islam promoted

creativity and it is divided into two categories: the good and bad *bid'ah*.

[7], guidance and motivation to reach the skies [41] and providing guidance for ideas [42].

8 [17, 15, Quran 2:23 Challenge to produce a chapter in the Quran [9], challenge to produce the Quran

9 Imam Dawud (Salafi) explained that people create *bid'ah*; Islam does not. Imam Younas (Wahabi) explained in terms of *deen* (Islam) that there is no creativity. We must follow things which are already set for us, in terms of creativity and *duniyah* (world). We create things in this world but must make sure we remain within the guidelines of Islam. Imam Huzayf (Deobandi) described that there are two types of *bid'ah*, the good *bid'ah* and bad *bid'ah*. Imam Dawud (Salafi) comments that promoting creativity vesting in humans and not Islam creates the possibility that Salafi may have negative reflections upon

**5.2 Islam promoting creativity**

what *bid'ah* is, as Islam promotes creativity.

[40]. Islam uses itself as a mecha-

9

**80**

7 [7–9, 39]

#### **5.3 Differing perceptions of creativity in Islam**

On the question of different perceptions of *bid'ah* in Islam, Imam Nasar (Sunni) explained that some people have a complete ban on *bid'ah*. He further explained that in Sunni sect there are limitations on creativity definition but never a complete ban. He indicated that if Islam was against innovation then things that have been invented under Islam would not have been created. He suggested that Islam does not ban creativity but seeks its progression.

Imam Chisti (Barelvi) explained that there is one interpretation, but different schools of thought have taken control of this issue from different angles. Imam Chisti suggested that due to this control Muslims are not able to be creative. Imam Chisti in his response to those that attempt to control the explanations of *bid'ah* provided an example of Sahih Al Bukahri a collection of Ahadith; and asked if they were a good thing or a bad thing, as they came after the time of the Prophet (pbuH), indicating that *bid'ah* has benefits.

Imam Rasab (Sufi) said that there are different explanations, but the definition is the same. He provided his own examples of Arabic grammar, the book version of the Quran, the prayer timetable, and even the mobile phone. He said that these developments are a benefit and are accepted in Islam. The response of Imam Dawud (Salafi) was that there are different perceptions of *bid'ah* in Islam and that some practiced *shirk*. Imam Dawud (Salafi) emphasised that some sects fall outside the limits Islam has set. Imam Younas (Wahabi) and Imam Huzayf (Deobandi) both agreed with Imam Chisti (Barelvi) that there is one interpretation but different meanings.

There are many different interpretations of the Quran and AHadith relating to *bid'ah* by Scholars, but Allah states, "And whoever opposes the Messenger after guidance has become clear to him and follows other than the way of the believers. We will give him what he has taken and drive him into Hell, and evil it is as a destination" [20]. Allah is giving a warning that if any believer separates from the guidance of the Prophet (pbuH), which includes guidance on *bid'ah*, then his abode will be hell. Despite this clear warning, many Muslim *ulemas*—specifically, those in the Salafi, Deobandi, and Wahabi sects—take the literal meaning of the Hadith: "The most evil affairs are the innovations (*bid'ah*), and every innovation (*bid'ah*) is an error" [22–26]. These sects have reservations to the Ahadith due to the word "Ahadith" not appearing in the Quran. Their position then becomes contradictory, as they rely upon a Hadith despite having reservations to their authenticity as a source of guidance. However, Sunni, Shia, Sufi, and Barelvi are more open to the idea of relying on the Ahadith; and despite the word not appearing in the Quran, they believe that the Ahadith are the guidance from the Prophet (pbuH) and that that is what Allah refers to when He states: "And whoever opposes the Messenger after guidance has become clear."

#### **5.4 Islam limiting creativity**

Imam Nasar (Sunni) believes that there are limitations on creativity in Islam. Muslims must comply with the rule or obligations of Islam, and creativity should not contradict Islamic principles or else it will be rejected. Imam Alvi (Shia) stated that Islam has not provided people with freedom but rather has asked them to remain within the Islamic guidelines. Imam Chisti (Barelvi) explained that if there is no Quranic injunction against it or any injunction against it, or if there is no Hadith against it, then Islam will promote that creativity. However, he explained that if there is solid proof or Quranic injunction or creativity goes against the Hadith then Islam will reject that creative idea.

Imam Rasab (Sufi) explained that if Sunnah and Quran are complied with then it is good *bid'ah* and Islam will not restrict it. Imam Dawud (Salafi) explained that Islam rejects *bid'ah* in its entirety. He explained that Prophet (pbuH) stated that if it is not of the way of the Prophet (pbuH), then it is rejected.  He stated that Islam is complete and there is no room for new innovations to be brought about within Islam. Imam Huzayf (Deobandi) stated that Islam does limit creativity, but as there is good *bid'ah* and bad *bid'ah* it must fall into the statuses set out in Sharia law such as permitted, obligatory, recommended, unlawful, and offensive/disliked.

*Bid'ah* only has legal standing if it complies with Sharia law and the Sunnah of the Prophet (pbuH). *Bid'ah* is being used as a tool to prevent free thinking of ideas. This affects and the *ijtihad* process of the Muslims due to the substantial opposition to those that commit good *bid'ah*.

In response to those that oppose good *bid'ah* the following Hadith states, "He who introduced some good practice in Islam which was followed after him (by people) he would be assured of reward like one who followed it, without their rewards being diminished in any respect. And he who introduced some evil practice in Islam which had been followed subsequently (by others), he would be required to bear the burden like that of one who followed this (evil practice) without theirs being diminished in any respect" [19]. Sects such as Deobandi, Salafi, and Wahabi provide limitations that go far beyond the limitations required by Islam, preventing their followers from being creative by propagating the understanding that innovation is wrong. Sunni, Shia, Barelvi, and Sufi are utilising this Hadith to spread and promote creativity in Islam.

The difficulties due to religious interpretations or applications of *bid'ah*, *qiyas*, *ijtihad*, *kufr*, and *shirk* when addressing the topic of creativity or innovation are based on peer pressure, ignorance, and lack of knowledge in Islamic teachings. This leads to a schism, preventing an *ijma* to finally put these matters to rest. In the absence of an *ijma*, however, Muslims need only look at the inventions and creative thoughts of Muslims that have had a positive impact on Western civilization to reach the conclusion that Islam does not prevent or limit creativity [3].

#### **5.5 Islamic law (sharia law) and creativity in Islam**

Imam Nasar (Sunni) disagreed that Sharia law blocks creativity on the basis of ethics. He stated that if a Muslim follow the rules of Islam and Islam will not stop you. He explained that there are certain rules that permit people to do certain things and which are not against Islam. Imam Alvi (Shia) stated that Islam has rules that must be followed, and if creativity benefits people then Sharia law will not block it. Imam Chisti (Barelvi) explained that Islam does not block *bid'ah* and that if the *bid'ah* is beneficial to Muslims then Sharia law will not inhibit it. Sharia law will only block the expansion of *bid'ah* if it seems that the *bid'ah* is taking people away from the right path. Imam Rasab (Sufi) explained that Sharia law does not block *bid'ah* if it agrees with the Quran and the Sunnah and if it is a good thing.

There are guidelines that need to follow Sharia law. Imam Dawud (Salafi) explained that everything in worldly life is permissible unless we have sacred text prohibiting it. Imam Younas (Wahabi) proposed that a *mufti* be approached to seek an answer to this question. Imam Huzayf (Deobandi) said Sharia law does not block *bid'ah* and explained the need to look at the categories of Sharia law to seek compliance with it. These interpretations, however, prevent an open dialogue about creativity in the Islamic world. The importance of Quranic exegesis, Ahadith, and jurisprudence (*fiqh*) are important to when addressing Sharia law, but for any argument to be valid in Islam it must have the backing of, and be in compliant with, Sharia law and the Sunnah, or else the interpretation has no validity.

An Islamic ruling under Sharia law against *al-ʾaḥkām al-khamsa*, which forms part of *fiqh* when deciding *bid'ah*, declares that Islam does not prevent innovation

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law that all Muslims to be creative thinkers.

Sunnah and the Ahadith.

product will be accepted.

**5.7 Conclusion**

**5.6 Mechanisms needed to assess creativity in Islam**

linking *ijtihad* to the Quran, Sunnah, the Ahadith, and *qiyas* [43].

unless it attempts to change the religious ideology or religious framework that covers the principles of Islam, as then that would be unlawful. The *al-ʾaḥkām al-khamsa* under Sharia law are: the obligatory, recommended, unlawful, offensive/ disliked, and permissible. Out of the these only the "unlawful" status prevents certain *bid'ah* against the Islamic principles from taking place. As a result, Muslims can validate their creative ideas and innovations from the four remaining statuses in Islam. Sharia law propagates *al-tafkir al-ibda'l* (creative thinking) by making it a

All informants believed that the guidelines to follow when addressing creativity in Islam must include either all or some of the following stages: the intention (of the creator), the Quran, the Sunnah, the Hadith, Sharia law, and the *ulema*. This study provides an Islamic Creativity Framework with reliance on the Quran, the Hadith, and the Sunnah, which embed authority in Islam and provides clear guidance and direction to Muslims to be creative. Abd-Allah, in his study *Innovation and Creativity in Islam*, does not provide a methodology to assess creativity in Islam but provides one to promote creativity. He also uses the methodology of *ijtihad* to further the promotion of creativity in Islam but does not provide a connection or a process

Al-Karasneh and Jubran then rely upon *ijtihad* (and Sharia law as a secondary source) as a good methodology to reach creative ideas and new solutions. They then rely upon Quranic verses [44]. The difficulty with their research is that some verses of the Quran cannot be taken in their literal form. The Quran requires an interpretation which is found within the Ahadith and Sunnah and explained by *ulemas*. Al-Karasneh and Jubran have not done this. They have attempted to translate the Quran without any authority and as a result have not actually explained anything, as there is no interpretation to back up the verses of the Quran that they have cited. This study has cited the Quranic verses and backed them up with

Having examined the responses from the informants, it is evident that for any new creative product to be accepted in Islam it must go to the *ulema*, who will decide if the creative product complies with the Quran and Sunnah. If the creative product is not compliant with the Quran and Sunnah, it will be rejected. If the creative product is compliant with the Quran and Sunnah it will pass this stage and then go to the five statuses of Sharia law. If a judgement is passed that the creative product is unlawful, then the creative product will be rejected by the *ulema*. However, if a judgement is passed that the creative product is permissible, lawful, obligatory, or offensive/disliked but is acceptable, then the creative

If the creative product is something new that does not have a reference in the Quran or Sunnah, then the matter will enter *qiyas*. In this process of deductive analysis, if it is decided that the creative product is beneficial then it will proceed to the five statuses of Sharia law, as explained above. If the *qiyas* process is not accepted, it will be passed on to the elite *ulema*, who will apply *ijtihad* to determine its suitability in Islam. Once the *ijtihad* process is carried out and the judgement is passed that *ijtihad* supports the creative product, then it will pass to the five stages of Sharia law. If the judgement is that it is not supported by *ijtihad*, it will be

rejected. The diagram below sets out this process (**Figure 1**).

#### *Assessing Creativity and Innovation in Islam DOI: http://dx.doi.org/10.5772/intechopen.94110*

*Creativity - A Force to Innovation*

to those that commit good *bid'ah*.

promote creativity in Islam.

is not of the way of the Prophet (pbuH), then it is rejected.  He stated that Islam is complete and there is no room for new innovations to be brought about within Islam. Imam Huzayf (Deobandi) stated that Islam does limit creativity, but as there is good *bid'ah* and bad *bid'ah* it must fall into the statuses set out in Sharia law such as permitted, obligatory, recommended, unlawful, and offensive/disliked. *Bid'ah* only has legal standing if it complies with Sharia law and the Sunnah of the Prophet (pbuH). *Bid'ah* is being used as a tool to prevent free thinking of ideas. This affects and the *ijtihad* process of the Muslims due to the substantial opposition

In response to those that oppose good *bid'ah* the following Hadith states, "He who introduced some good practice in Islam which was followed after him (by people) he would be assured of reward like one who followed it, without their rewards being diminished in any respect. And he who introduced some evil practice in Islam which had been followed subsequently (by others), he would be required to bear the burden like that of one who followed this (evil practice) without theirs being diminished in any respect" [19]. Sects such as Deobandi, Salafi, and Wahabi provide limitations that go far beyond the limitations required by Islam, preventing their followers from being creative by propagating the understanding that innovation is wrong. Sunni, Shia, Barelvi, and Sufi are utilising this Hadith to spread and

The difficulties due to religious interpretations or applications of *bid'ah*, *qiyas*, *ijtihad*, *kufr*, and *shirk* when addressing the topic of creativity or innovation are based on peer pressure, ignorance, and lack of knowledge in Islamic teachings. This leads to a schism, preventing an *ijma* to finally put these matters to rest. In the absence of an *ijma*, however, Muslims need only look at the inventions and creative thoughts of Muslims that have had a positive impact on Western civilization to reach

Imam Nasar (Sunni) disagreed that Sharia law blocks creativity on the basis of ethics. He stated that if a Muslim follow the rules of Islam and Islam will not stop you. He explained that there are certain rules that permit people to do certain things and which are not against Islam. Imam Alvi (Shia) stated that Islam has rules that must be followed, and if creativity benefits people then Sharia law will not block it. Imam Chisti (Barelvi) explained that Islam does not block *bid'ah* and that if the *bid'ah* is beneficial to Muslims then Sharia law will not inhibit it. Sharia law will only block the expansion of *bid'ah* if it seems that the *bid'ah* is taking people away from the right path. Imam Rasab (Sufi) explained that Sharia law does not block

*bid'ah* if it agrees with the Quran and the Sunnah and if it is a good thing. There are guidelines that need to follow Sharia law. Imam Dawud (Salafi) explained that everything in worldly life is permissible unless we have sacred text prohibiting it. Imam Younas (Wahabi) proposed that a *mufti* be approached to seek an answer to this question. Imam Huzayf (Deobandi) said Sharia law does not block *bid'ah* and explained the need to look at the categories of Sharia law to seek compliance with it. These interpretations, however, prevent an open dialogue about creativity in the Islamic world. The importance of Quranic exegesis, Ahadith, and jurisprudence (*fiqh*) are important to when addressing Sharia law, but for any argument to be valid in Islam it must have the backing of, and be in compliant with,

Sharia law and the Sunnah, or else the interpretation has no validity.

An Islamic ruling under Sharia law against *al-ʾaḥkām al-khamsa*, which forms part of *fiqh* when deciding *bid'ah*, declares that Islam does not prevent innovation

the conclusion that Islam does not prevent or limit creativity [3].

**5.5 Islamic law (sharia law) and creativity in Islam**

**82**

unless it attempts to change the religious ideology or religious framework that covers the principles of Islam, as then that would be unlawful. The *al-ʾaḥkām al-khamsa* under Sharia law are: the obligatory, recommended, unlawful, offensive/ disliked, and permissible. Out of the these only the "unlawful" status prevents certain *bid'ah* against the Islamic principles from taking place. As a result, Muslims can validate their creative ideas and innovations from the four remaining statuses in Islam. Sharia law propagates *al-tafkir al-ibda'l* (creative thinking) by making it a law that all Muslims to be creative thinkers.

#### **5.6 Mechanisms needed to assess creativity in Islam**

All informants believed that the guidelines to follow when addressing creativity in Islam must include either all or some of the following stages: the intention (of the creator), the Quran, the Sunnah, the Hadith, Sharia law, and the *ulema*. This study provides an Islamic Creativity Framework with reliance on the Quran, the Hadith, and the Sunnah, which embed authority in Islam and provides clear guidance and direction to Muslims to be creative. Abd-Allah, in his study *Innovation and Creativity in Islam*, does not provide a methodology to assess creativity in Islam but provides one to promote creativity. He also uses the methodology of *ijtihad* to further the promotion of creativity in Islam but does not provide a connection or a process linking *ijtihad* to the Quran, Sunnah, the Ahadith, and *qiyas* [43].

Al-Karasneh and Jubran then rely upon *ijtihad* (and Sharia law as a secondary source) as a good methodology to reach creative ideas and new solutions. They then rely upon Quranic verses [44]. The difficulty with their research is that some verses of the Quran cannot be taken in their literal form. The Quran requires an interpretation which is found within the Ahadith and Sunnah and explained by *ulemas*. Al-Karasneh and Jubran have not done this. They have attempted to translate the Quran without any authority and as a result have not actually explained anything, as there is no interpretation to back up the verses of the Quran that they have cited. This study has cited the Quranic verses and backed them up with Sunnah and the Ahadith.

#### **5.7 Conclusion**

Having examined the responses from the informants, it is evident that for any new creative product to be accepted in Islam it must go to the *ulema*, who will decide if the creative product complies with the Quran and Sunnah. If the creative product is not compliant with the Quran and Sunnah, it will be rejected. If the creative product is compliant with the Quran and Sunnah it will pass this stage and then go to the five statuses of Sharia law. If a judgement is passed that the creative product is unlawful, then the creative product will be rejected by the *ulema*. However, if a judgement is passed that the creative product is permissible, lawful, obligatory, or offensive/disliked but is acceptable, then the creative product will be accepted.

If the creative product is something new that does not have a reference in the Quran or Sunnah, then the matter will enter *qiyas*. In this process of deductive analysis, if it is decided that the creative product is beneficial then it will proceed to the five statuses of Sharia law, as explained above. If the *qiyas* process is not accepted, it will be passed on to the elite *ulema*, who will apply *ijtihad* to determine its suitability in Islam. Once the *ijtihad* process is carried out and the judgement is passed that *ijtihad* supports the creative product, then it will pass to the five stages of Sharia law. If the judgement is that it is not supported by *ijtihad*, it will be rejected. The diagram below sets out this process (**Figure 1**).

**Figure 1.** *The Islamic creativity framework.*

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who did not object to them.

prayer and not *bid'ah*.

**7. Conclusion**

**6. "Al-tafkir al-ibda'l" (creative thinking)**

11

that then Islam will accept it and praise it.

innovation or ideas are welcomed if they conform to Islam [46].

believe in the strict, literal, or unsupported interpretation of Islamic teachings.

When *bid'ah* is used to counter creativity and innovation the famous Hadith is used to back up the argument opposing creativity: "Every *bid'ah* is misguidance and every path of misguidance goes to hell" [17]. To take this Hadith literally, it can be said that Prophet (pbuH) opposed all forms of *bid'ah*. Before examining this Hadith with the assistance of Sharia law, it is important to first show examples of independent acts of *bid'ah* using personal *ijtihad* in the presence of the Prophet (pbuH),

In the Ahadith, it is stated that the "Prophet (pbuH) said to Bilal, "Bilal, tell me which of your acts in Islam you are most hopeful about, for I have heard the footfall of your sandals in paradise', and he replied, "I have done nothing I am more hopeful about than the fact that I do not perform ablution at any time of the night or day without praying with that ablution whatever has been destined for me to pray."10 As the Prophet (pbuH) did not object to Bilal using personal *ijtihad* and creating a new act, it is regarded as permissible that a Muslim can reach a new act of innovation and rely upon personal *ijtihad*. The Sunni and Shia view this as an argument in favour of *bid'ah*, whereas Wahabi, Salafi, and Deobandi view this as being part of

The definition of *bid'ah* has been misunderstood by Muslims. The word *bid'ah* has two: meanings "to create something new" and "the act of innovating." It can also be categorised into two groups: good *bid'ah* and bad *bid'ah*. The Prophet (pbuH) stated that "Every *bid'ah* is misguidance and every path of misguidance goes to hell" [17]. To take this Hadith literally as sects such as Deobandi, Salafis and Wahabi do,

Shia, Barelvi, and Shia sects all accept that creativity is acceptable in Islam and that this AHadith cannot be taken literally as Islam has had substantial advancement in the world. There are teachings among some sects namely Deobandi, Salafi and Wahabi that all *bid'ah* is bad and even the compiling of the Quran into a book would have some sects having reservations regarding that, considering the above AHadith. The Prophet (pbuH) states, "If somebody innovates something which is not in harmony with the principles of our religion, that thing is rejected" [18]. The Prophet (pbuH) also states, "If a question relates to your worldly matters you would know better about it, but if it relates to your religion then to me it belongs" [47]. The Prophet (pbuH) has confirmed that Muslims know better when it comes to their worldly affairs. However, the Prophet (pbuH) only opposed creativity if it appeared to damage, change or not be in harmony with Islamic principles. It can be taken from the above Hadith that if a creative idea or product does not intend to do

10 Sahih Bukhari, vol 2, book 21, hadith no. 30 reported by Abu Huraira (Allah be pleased with him). 11 The Prophet (pbuH) states, "If somebody innovates something which is not in harmony with the principles of our religion, that thing is rejected." [45]. Therefore, if things are good *bida'h* then they are allowed and if they are bad *bida'h* they are not. The Prophet (pbuH) permitted *bida'h*, but only opposed it when it was not in harmony with Islam. Furthermore, this hadith confirms that introduction of

12 The teachings of Abdul Wahab, the leader of the Wahabi school of thought, has led his followers to

12 The Sunni,

it can be said that the Prophet (pbuH) opposed all forms of *bid'ah*.

*Creativity - A Force to Innovation*

**84**

### **6. "Al-tafkir al-ibda'l" (creative thinking)**

When *bid'ah* is used to counter creativity and innovation the famous Hadith is used to back up the argument opposing creativity: "Every *bid'ah* is misguidance and every path of misguidance goes to hell" [17]. To take this Hadith literally, it can be said that Prophet (pbuH) opposed all forms of *bid'ah*. Before examining this Hadith with the assistance of Sharia law, it is important to first show examples of independent acts of *bid'ah* using personal *ijtihad* in the presence of the Prophet (pbuH), who did not object to them.

In the Ahadith, it is stated that the "Prophet (pbuH) said to Bilal, "Bilal, tell me which of your acts in Islam you are most hopeful about, for I have heard the footfall of your sandals in paradise', and he replied, "I have done nothing I am more hopeful about than the fact that I do not perform ablution at any time of the night or day without praying with that ablution whatever has been destined for me to pray."10 As the Prophet (pbuH) did not object to Bilal using personal *ijtihad* and creating a new act, it is regarded as permissible that a Muslim can reach a new act of innovation and rely upon personal *ijtihad*. The Sunni and Shia view this as an argument in favour of *bid'ah*, whereas Wahabi, Salafi, and Deobandi view this as being part of prayer and not *bid'ah*. 11

#### **7. Conclusion**

The definition of *bid'ah* has been misunderstood by Muslims. The word *bid'ah* has two: meanings "to create something new" and "the act of innovating." It can also be categorised into two groups: good *bid'ah* and bad *bid'ah*. The Prophet (pbuH) stated that "Every *bid'ah* is misguidance and every path of misguidance goes to hell" [17]. To take this Hadith literally as sects such as Deobandi, Salafis and Wahabi do, it can be said that the Prophet (pbuH) opposed all forms of *bid'ah*. 12 The Sunni, Shia, Barelvi, and Shia sects all accept that creativity is acceptable in Islam and that this AHadith cannot be taken literally as Islam has had substantial advancement in the world. There are teachings among some sects namely Deobandi, Salafi and Wahabi that all *bid'ah* is bad and even the compiling of the Quran into a book would have some sects having reservations regarding that, considering the above AHadith.

The Prophet (pbuH) states, "If somebody innovates something which is not in harmony with the principles of our religion, that thing is rejected" [18]. The Prophet (pbuH) also states, "If a question relates to your worldly matters you would know better about it, but if it relates to your religion then to me it belongs" [47]. The Prophet (pbuH) has confirmed that Muslims know better when it comes to their worldly affairs. However, the Prophet (pbuH) only opposed creativity if it appeared to damage, change or not be in harmony with Islamic principles. It can be taken from the above Hadith that if a creative idea or product does not intend to do that then Islam will accept it and praise it.

**Figure 1.**

*The Islamic creativity framework.*

10 Sahih Bukhari, vol 2, book 21, hadith no. 30 reported by Abu Huraira (Allah be pleased with him).

11 The Prophet (pbuH) states, "If somebody innovates something which is not in harmony with the principles of our religion, that thing is rejected." [45]. Therefore, if things are good *bida'h* then they are allowed and if they are bad *bida'h* they are not. The Prophet (pbuH) permitted *bida'h*, but only opposed it when it was not in harmony with Islam. Furthermore, this hadith confirms that introduction of innovation or ideas are welcomed if they conform to Islam [46].

12 The teachings of Abdul Wahab, the leader of the Wahabi school of thought, has led his followers to believe in the strict, literal, or unsupported interpretation of Islamic teachings.

The Quran, Ahadith, Sunnah and Sharia law are the mechanisms needed to assess creativity in Islam, and these all are authorities that Muslims follow. Islam does not seek to reject a creative product or idea even if the Quran or Sunnah has no guidance relating to it but rather proceeds to the stages of *qiyas* and if needed *ijtihad*, to determine the benefit of a creative product or idea before it is deemed accepted or rejected under Islam. This symbolises that Islam will exhaust all possible options before declaring a creative product or idea non-compliant within Islam.

The Islamic Creativity Framework has considered the responses, guidance, and input from seven informants belonging to seven sects. The importance of Islamic Creativity Framework is that all sects can accept that creativity is important in Islam, that reliance on sacred scriptures is significant, and that the seven sects can work together to reach a solution where all sects can agree on. Furthermore, the Islamic Creativity Framework provided in this study would under Islam be deemed as "good *bid'ah*" or "good creativity," as it seeks to bring Muslims together and looks to advance knowledge and creativity among Muslims to overcome the misunderstandings that have existed between different Muslim sects for centuries.

#### **Author details**

Cameron Iqbal The Islamic College, London, UK

\*Address all correspondence to<EMAIL_ADDRESS>
© 2020 The Author(s). Licensee IntechOpen. This chapter is distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/ by/3.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.

**87**

*Assessing Creativity and Innovation in Islam DOI: http://dx.doi.org/10.5772/intechopen.94110*

[1] U. F. Abd-Allah, (2006) Innovation and Creativity in Islam. Burr Ridge, IL: Nawawi Foundation. See also S. M. Karasneh and A. M. J. Saleh (2010). Islamic Perspective of Creativity: A Model for Teachers of Social Studies as Leaders. Innovation and Creativity in Education, Social and Behavioral Sciences. No. 2. Pages 412-26; A. V. Kharkhurin and S. N. Samadpour Motalleebi.(2008). The Impact of Culture on the Creative Potential of American, Russian and Iranian College Students. *C*reativity Research Journal 20. No. 4: 404-416.

**References**

[11] The Holy Quran 53:2-4.

[12] The Holy Quran 96:1-5.

[13] The Holy Quran 58:11.

no. 6

no. 3656

[14] Al-Tirmidhi, hadith no. 74.

prophecies-of-the-prophet.

[20] The Holy Quran 4:115.

[21] The Holy Quran 4:136.

hadith no. 861.

6466.

4515

[18] Sahih Bukhari, book 49, vol. 3,

[19] Sahih Muslim, book 34, hadith no.

[22] Sahih Al-Bukhari, hadith no 4.667

[23] Sahih Al-Bukhari, hadith no 8.217

[24] Sahih Al-Bukhari, hadith no. 4.712

[26] Sunan of Abu-Dawood, hadith no.

al-Aamadi, *Al-Ihkam Fi Usul al-ahkam*, vol. 4, Dar al-Kotob Al-Ilmiyah: 218.

[25] Sahih Muslim, hadith no. 1885

[27] Imam Ali bin Muhammad

[28] The Holy Quran 49:12.

[29] The Holy Quran 10:36.

[15] Riyadh us-Saleheen, book 13, hadith

[16] Sunan Abu Dawood, book 19, hadith

[17] Salim Al-Hilali, State of the Ummah, The: In the Light of the Prophecies of the Prophet. *Sunnahonline.com*, http://sunnahonline.com/library/ contemporary-issues/317-state-ofthe-ummah-the-in-the-light-of-the-

[2] J. W. Creswell. Third Edition. (2009). Research Design: Qualitative, Quantitative, and Mixed Methods Approaches. London: SAGE

Publications. K. M. Eisenhardt. (1989). Building Theories from Case Study Research. Academy of Management Review 14. No. 4. Page 539. T. N. A. Z. Ariff, (2012). Ethnographic Discourse Analysis: Conversion to Islam Ceremony. Discourse and

Communication 6. No. 3. Pages 295-322.

[3] S. T. S. Salim and E. Woodcock. (2006) 1001 Inventions: Islamic Heritage in Our World. London: FSTC Publisher

[4] Z. M. Al-Mazeidy, Moqaddimah fi Manhaj Al-Ibda': Ro'yah Islamiyyah. (1993). An Introduction to the

Methodology of Creativity: An Islamic Point of View. Egypt: Dar Al-Wafa'

[10] Sahih Bukhari, vol. 1, book 3, hadith

Littiba'a wa Al-Nashr: 306.

[5] The Holy Quran 29:17

[6] The Holy Quran 23:14.

[7] The Holy Quran 17:88

[8] The Holy Quran 11:13

[9] The Holy Quran 2:23.

no. 56 and 98.

*Assessing Creativity and Innovation in Islam DOI: http://dx.doi.org/10.5772/intechopen.94110*

#### **References**

*Creativity - A Force to Innovation*

The Quran, Ahadith, Sunnah and Sharia law are the mechanisms needed to assess creativity in Islam, and these all are authorities that Muslims follow. Islam does not seek to reject a creative product or idea even if the Quran or Sunnah has no guidance relating to it but rather proceeds to the stages of *qiyas* and if needed *ijtihad*, to determine the benefit of a creative product or idea before it is deemed accepted or rejected under Islam. This symbolises that Islam will exhaust all possible options before declaring a creative product or idea non-compliant within Islam. The Islamic Creativity Framework has considered the responses, guidance, and input from seven informants belonging to seven sects. The importance of Islamic Creativity Framework is that all sects can accept that creativity is important in Islam, that reliance on sacred scriptures is significant, and that the seven sects can work together to reach a solution where all sects can agree on. Furthermore, the Islamic Creativity Framework provided in this study would under Islam be deemed as "good *bid'ah*" or "good creativity," as it seeks to bring Muslims together and looks to advance knowledge and creativity among Muslims to overcome the misunder-

standings that have existed between different Muslim sects for centuries.

**86**

**Author details**

Cameron Iqbal

The Islamic College, London, UK

provided the original work is properly cited.

\*Address all correspondence to<EMAIL_ADDRESS>
© 2020 The Author(s). Licensee IntechOpen. This chapter is distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/ by/3.0), which permits unrestricted use, distribution, and reproduction in any medium,

[1] U. F. Abd-Allah, (2006) Innovation and Creativity in Islam. Burr Ridge, IL: Nawawi Foundation. See also S. M. Karasneh and A. M. J. Saleh (2010). Islamic Perspective of Creativity: A Model for Teachers of Social Studies as Leaders. Innovation and Creativity in Education, Social and Behavioral Sciences. No. 2. Pages 412-26; A. V. Kharkhurin and S. N. Samadpour Motalleebi.(2008). The Impact of Culture on the Creative Potential of American, Russian and Iranian College Students. *C*reativity Research Journal 20. No. 4: 404-416.

[2] J. W. Creswell. Third Edition. (2009). Research Design: Qualitative, Quantitative, and Mixed Methods Approaches. London: SAGE Publications. K. M. Eisenhardt. (1989). Building Theories from Case Study Research. Academy of Management Review 14. No. 4. Page 539. T. N. A. Z. Ariff, (2012). Ethnographic Discourse Analysis: Conversion to Islam Ceremony. Discourse and Communication 6. No. 3. Pages 295-322.

[3] S. T. S. Salim and E. Woodcock. (2006) 1001 Inventions: Islamic Heritage in Our World. London: FSTC Publisher

[4] Z. M. Al-Mazeidy, Moqaddimah fi Manhaj Al-Ibda': Ro'yah Islamiyyah. (1993). An Introduction to the Methodology of Creativity: An Islamic Point of View. Egypt: Dar Al-Wafa' Littiba'a wa Al-Nashr: 306.

[5] The Holy Quran 29:17

[6] The Holy Quran 23:14.

[10] Sahih Bukhari, vol. 1, book 3, hadith no. 56 and 98.

[11] The Holy Quran 53:2-4.

[12] The Holy Quran 96:1-5.

[13] The Holy Quran 58:11.

[14] Al-Tirmidhi, hadith no. 74.

[15] Riyadh us-Saleheen, book 13, hadith no. 6

[16] Sunan Abu Dawood, book 19, hadith no. 3656

[17] Salim Al-Hilali, State of the Ummah, The: In the Light of the Prophecies of the Prophet. *Sunnahonline.com*, http://sunnahonline.com/library/ contemporary-issues/317-state-ofthe-ummah-the-in-the-light-of-theprophecies-of-the-prophet.

[18] Sahih Bukhari, book 49, vol. 3, hadith no. 861.

[19] Sahih Muslim, book 34, hadith no. 6466.

[20] The Holy Quran 4:115.

[21] The Holy Quran 4:136.

[22] Sahih Al-Bukhari, hadith no 4.667

[23] Sahih Al-Bukhari, hadith no 8.217

[24] Sahih Al-Bukhari, hadith no. 4.712

[25] Sahih Muslim, hadith no. 1885

[26] Sunan of Abu-Dawood, hadith no. 4515

[27] Imam Ali bin Muhammad al-Aamadi, *Al-Ihkam Fi Usul al-ahkam*, vol. 4, Dar al-Kotob Al-Ilmiyah: 218.

[28] The Holy Quran 49:12.

[29] The Holy Quran 10:36.

[30] Imam Ali bin Muhammad al-Aamadi, *Al-Risalah, Kitab al-Risāla Fī Uṣūl al-Fiqh*, n.p: 477.

[31] Sunan Al Tirmizi/Tirmidhi, Hadith Collection, vol. 2, p. 39

[32] The Holy Quran 21:107.

[33] Sunan At-Tirmidhi, hadith no. 1924.

[34] Ariff, T. N. A. Z. (2012). Ethnographic discourse analysis: Conversion to Islam ceremony. Discourse & Communication, 6(3). Pages 295-322

[35] Eisenhardt, K. M. (1989). Building Theories from Case Study Research. Academy of Management Review. 14(4). Pages 532-550 and page 545

[36] Pirzada, M. I. H. (2015). Tafsir Imdad Al Karam, Volume 1-5, Nottinghamhire, Al Karam Publications

[37] Kamali, M. H. Third Edition. (2002). Principles of Islamic Jurisprudence. The Islamic Text Society Publishers

[38] Glaser, B. G. and Strauss, A. L. (1967) The Discovery of Grounded Theory: Strategies for Qualitative Research, Chicago: Aldine De Gruyter

[39] The Holy Quran 18:22

[40] Al Daraqutni, Sunan al-Daraqutni, al-Mutalif wa-l-Mukhtalif, Ilal al-Hadit, and at-Tatabbu.

[41] The Holy Quran 6:125

[42] The Holy Quran 6:117

[43] Abd-Allah, U. F. (2006). Innovation and Creativity in Islam. Burr Ridge, IL: Nawawi Foundation: 7.

[44] Al-Karasneh, S. M., and A. M. J. Saleh. (2010). Islamic Perspective of Creativity: A Model for Teachers of Social Studies as Leaders. Innovation and Creativity in Education, Social, and Behavioral Sciences 2, no. 2: 412-26.

[45] Sahih Bukhari, vol. 3, book 49, hadith no. 861.

[46] The Holy Quran 4:80.

[47] Sahih Muslim or Musnad Ahmad, hadith no. 12086.

**89**

Section 3

Creative Theories

and Approaches

Section 3

## Creative Theories and Approaches

*Creativity - A Force to Innovation*

[30] Imam Ali bin Muhammad

*Uṣūl al-Fiqh*, n.p: 477.

Collection, vol. 2, p. 39

[32] The Holy Quran 21:107.

[34] Ariff, T. N. A. Z. (2012). Ethnographic discourse analysis:

Pages 532-550 and page 545

al-Aamadi, *Al-Risalah, Kitab al-Risāla Fī*

and Creativity in Education, Social, and Behavioral Sciences 2, no. 2: 412-26.

[45] Sahih Bukhari, vol. 3, book 49,

[47] Sahih Muslim or Musnad Ahmad,

[46] The Holy Quran 4:80.

hadith no. 861.

hadith no. 12086.

[31] Sunan Al Tirmizi/Tirmidhi, Hadith

[33] Sunan At-Tirmidhi, hadith no. 1924.

Conversion to Islam ceremony. Discourse & Communication, 6(3). Pages 295-322

[35] Eisenhardt, K. M. (1989). Building Theories from Case Study Research. Academy of Management Review. 14(4).

[36] Pirzada, M. I. H. (2015). Tafsir Imdad Al Karam, Volume 1-5,

[37] Kamali, M. H. Third Edition. (2002). Principles of Islamic

[38] Glaser, B. G. and Strauss, A. L. (1967) The Discovery of Grounded Theory: Strategies for Qualitative Research, Chicago: Aldine De Gruyter

[39] The Holy Quran 18:22

[41] The Holy Quran 6:125

[42] The Holy Quran 6:117

Nawawi Foundation: 7.

and at-Tatabbu.

Publishers

Nottinghamhire, Al Karam Publications

Jurisprudence. The Islamic Text Society

[40] Al Daraqutni, Sunan al-Daraqutni, al-Mutalif wa-l-Mukhtalif, Ilal al-Hadit,

[43] Abd-Allah, U. F. (2006). Innovation and Creativity in Islam. Burr Ridge, IL:

[44] Al-Karasneh, S. M., and A. M. J. Saleh. (2010). Islamic Perspective of Creativity: A Model for Teachers of Social Studies as Leaders. Innovation

**88**

**91**

**Chapter 6**

**Abstract**

museum institutions.

**1. The design concept**

meanings, evolving.

creativity

A Design Thinking Approach for

In these recent years, museum institutions are facing challenges such as deepening diversity among audiences and within the workforce, shifting authority and keeping pace with the creation of a digital offering to be provided in the new shared economy. Additionally, museums cannot just deliver knowledge as information anymore. They are forced to seek to be relevant and meaningful for the audiences and the society. Thus, a visitor-centered approach needs to be developed. The design thinking framework can help museum professionals to face the challenges they handle in today's world. Indeed, this approach is focused on people and not on a specific product or service. The goal is to understand the needs of customers, their wishes and, based on this information, find the best solution to respond to the type of problem identified or the strategy to be developed. For this reason, the ratio of this discipline provides that people are stimulated to find alternative, creative, and innovative solutions designed and built on the reality of the facts and not dictated by instinct. The aim of this chapter is to investigate the characteristics of the design thinking approach and to analyze how this framework can be implemented in

**Keywords:** design thinking, museum institutions, visitor-centered approach,

Design is an extremely versatile discipline characterized by different interpretations in philosophy and practice which involve considerable efforts to understand its nature. Defining design uniquely is controversial, both because the designers themselves are unable to give a distinctive definition capable of gathering all the themes related to it, and because, over the decades, the term has had different

The history of design is not simply a history of objects but of changing points of view on what is the object of the design itself [1]. A starting point on the study is represented by the thought of Herbert Simon [2] who defines design as the elaboration of artifacts to achieve goals. His reflection leads to the relationship between the natural world and the artificial one. "A forest may be a phenomenon of nature; a farm certainly is not. The very species upon which we depend for our food our corn and our cattle are artifacts of our ingenuity" [2]. The artificial object synthesized by men with the desired properties which can or may not imitate nature can be defined as an artifact, created by using the same basic natural materials or different ones.

Museum Institutions

*Luigi Nasta and Luca Pirolo*

#### **Chapter 6**

## A Design Thinking Approach for Museum Institutions

*Luigi Nasta and Luca Pirolo*

#### **Abstract**

In these recent years, museum institutions are facing challenges such as deepening diversity among audiences and within the workforce, shifting authority and keeping pace with the creation of a digital offering to be provided in the new shared economy. Additionally, museums cannot just deliver knowledge as information anymore. They are forced to seek to be relevant and meaningful for the audiences and the society. Thus, a visitor-centered approach needs to be developed. The design thinking framework can help museum professionals to face the challenges they handle in today's world. Indeed, this approach is focused on people and not on a specific product or service. The goal is to understand the needs of customers, their wishes and, based on this information, find the best solution to respond to the type of problem identified or the strategy to be developed. For this reason, the ratio of this discipline provides that people are stimulated to find alternative, creative, and innovative solutions designed and built on the reality of the facts and not dictated by instinct. The aim of this chapter is to investigate the characteristics of the design thinking approach and to analyze how this framework can be implemented in museum institutions.

**Keywords:** design thinking, museum institutions, visitor-centered approach, creativity

#### **1. The design concept**

Design is an extremely versatile discipline characterized by different interpretations in philosophy and practice which involve considerable efforts to understand its nature. Defining design uniquely is controversial, both because the designers themselves are unable to give a distinctive definition capable of gathering all the themes related to it, and because, over the decades, the term has had different meanings, evolving.

The history of design is not simply a history of objects but of changing points of view on what is the object of the design itself [1]. A starting point on the study is represented by the thought of Herbert Simon [2] who defines design as the elaboration of artifacts to achieve goals. His reflection leads to the relationship between the natural world and the artificial one. "A forest may be a phenomenon of nature; a farm certainly is not. The very species upon which we depend for our food our corn and our cattle are artifacts of our ingenuity" [2]. The artificial object synthesized by men with the desired properties which can or may not imitate nature can be defined as an artifact, created by using the same basic natural materials or different ones.

The artifact is also considered as an interface between the internal environment, i.e. the organization and the design of the artifact itself, and the external one, i.e. the environment in which it is located. "If the inner environment is appropriate to the outer environment, or vice versa, the artifact will serve its intended purpose" [2].

The most obvious and popular definition regarding design is that it represents the shape of products and therefore refers to style and esthetics. In fact, design is often associated with the shape of the product and not with its function [3]. However, despite numerous criticisms, the term has always remained closely linked to the esthetic aspects, reducing it to the exaltation of beauty since, as Raymond Loewy claimed, "ugliness doesn't sell".

Reducing design to simple esthetics distances the concept from innovation. It is a recent trend to extend the meaning of design, following broader meanings that concern various areas of knowledge [4].

Design is described as a problem-solving activity [5], a process that becomes a prescriptive sequence of activities related to the cognitive process of exploration [6]. Over time, the practical applications of design have extended to anything capable of producing artifacts deriving from the usage of creativity to generate a product, a service, or a process innovation [4]. Companies like IDEO, Apple and Decathlon think about the product no longer and not only as an object for which to design a shape, but as an experience and bearer of meanings [7]. Kotler and Rath [8] suggest that product design is a strategic tool for optimizing consumer satisfaction and corporate profitability through the combination of performance, shape, durability, and value in relation to environments, information, and identities. Consumers buy products for several often not obvious reasons which include both functional utility and psychological satisfaction.

The interpretation of design linked to the function can be found in Maldonado [9]. Designing the shape means coordinating, integrating, and articulating all those factors which in one way or another participate in the constitutive process of the shape of the product. More precisely, it alludes to factors relating to the use, function and individual or social consumption of the product, as well as to production. In this sense, design is interpreted as an activity capable of combining all the factors involved in the realization of the shape of the product, referring both to the technical, functional, economic and productive aspects, as well as to the symbolic, cultural and social ones.

The dimension linked to meaning is revealed with Krippendorff [10]. He involves design with the meaning of the products attributed by users and by the relationship with the surrounding environment. Therefore, the meanings depend on the context and the culture. The same artifact can invoke different meanings at different times, in various contexts of use and for different people. Since the meaning is not univocal, it is the responsibility of the designer to observe the actions that imply it, understand them, and establish a dialog with the interested parties.