??t an agency-centric outcome for them to wait till the arrival of Godot; neither do they have to transcend conventions by imposing on men’s existence. The exponential function of creativity has both an individual psychological dimension and a societal phenomenal dimension.
On the other hand empowerment is defined as “the process of increasing the capacity of individuals or groups to make choices and to transform those choices into desired actions and outcomes” (Empowerment, www.woldbank.org). Causative factors of change that the process of empowerment entails are either the direct or indirect results of agents’ actions that require intervention in social processes.
The conceptual and theoretical structure of this paper would thus focus on the causal correlations between the concepts of women’s empowerment and creativity so as to bring out the most relevant and significant issues to the fore. In other words the argumentative posture of the essay would be facilitated by an examination of the impact and its extent of creativity in bringing about empowerment as an essential precondition for real change among women. However the essay would not focus on the consequences of such change for it’s beyond the remit of it.
The primacy and immediacy of women’s empowerment strategies are basically determined by an invariably orthodox dichotomous approach based on gender related prejudices and the attendant beliefs. Creativity as a tool of empowerment marks essentially a paradigm shift away from this orthodox belief and therefore engenders a pivotal transition from the abstract methodologies to more concrete structural factors of change. Creativity is a fundamental conceptual element in societal transformation and is informed by a system of norms and mores that underlie an otherwise dynamic process of women’s empowerment.
Empowering women is associated with a set of a priori and a posteriori factors of influence. Women have been seeking to break free of the