Defines creativity by exploring the four components of creativity: person, product, process, and persistence. Illustrates the characteristics of the creative person and examines blocks to creativity. Applies the creativity concepts to music education. (RW)

The promotion of creativity in young children has been included in the agenda of the educational authorities in mainland China since 2001. Since then, attempts to implement this policy have appeared in different forms. The educational bureaux take measures by publishing documents and guidelines on the subject. While some kindergartens endeavour to…

The following is a rather creative approach to book reviewing. The book is entitled Handbook of Learning Exercises, Herbert Engel; Houston, Gulf Publishing Company, 1973. (Editor)

Living the credo of its famous forerunner, a creative education program on Maryland's Potomac shore is "sending people away with more than they had when they came". (Editor)

The authors assert that history can be approached from a creative perspective; the student need not merely report what has already been written. Instead, students may make an original contribution by becoming a practicing historian. Strategies and examples of ideas to motivate students toward this level of productivity are described. (Author/CL)

This book explores creativity in the context of education, focusing on what creativity is, how it works, and how it can be fostered. The book sets forth general principles for encouraging creativity in schools, higher education, and the family. The chapters are: (1) "Creativity: Basic Concepts"; (2) "The Role of Thinking in Creativity"; (3)…

Aspects covered include introducing the equipment, planning the movie, shooting the picture, editing the film, recording the sound track, and presenting the finished film to an audience. The steps involved in making an animated film are also outlined. (DLS)

The author reviews research on Kirlian photography (a method of converting non-electrical properties of an object into electrical properties which are then captured on film), and suggests that the Kirlian photography process can provide the gifted student with an additional avenue for the development of creative capacities. (SBH)

A teacher describes how she uses storytelling in her fifth grade classes, because storytelling combines listening skills and imagination with the nuances of language, history, culture, and values. Resources are listed. Two insets discuss the benefits of storytelling and offer tips on becoming a storytelling teacher. (MT)

The author identifies and describes what he regards as 25 of the most significant outcomes or products of 25 years of creativity research. Some were selected for the influence they have had on educational practices; others were selected for their potential in making a difference in future educational practice. (JN)

Reading for primary level gifted children should provide for more appropriate experiences than by mere adaptations of the regular reading program. Early identification should be followed by small group instruction in which gifted students are encouraged to read widely, creatively, and critically. (CL)

Creative problem solving (CPS) can be an effective tool in teaching gifted, creative, and talented students. One approach to CPS consists of five steps: fact finding, problem finding, idea finding, solution finding, and acceptance finding. Process techniques for each step are delineated. (CL)

The author summarizes the contributions which aesthetic or arts education can make, both to academic competence and personal creativity, for learning disabled students. Vignettes illustrate the potential of various art forms, including manual arts, music, dance, drama, and filmmaking. (SBH)

The author describes her work as a Poet-in-the-Schools for the Ohio Arts Council particularly in relation to inspiration in the creative process. Stressed is the need for educators to recognize that creative production most often takes place after reflection on inspiration and to provide situations conducive to preparation and incubation. (SBH)

Explains that an important aspect of dance history is lost by not recording dance rehearsals. Argues that recording rehearsals can reveal the creative process and illuminate the environment that engendered this art form. Concludes that a transformed dance history will influence curriculum development. (GG)