Building passion and potential for creative learning in higher education involves deliberately seeking to understand, appreciate, and teach for creativity. Recognizing the urgent need for creativity and problem solving skills, and understanding that instructors must embrace creative learning for themselves first, is central. Creativity cannot be…

Traditional composition classes teach the tools of choreographic craft, yet leave students in an odd limbo in which they create a special breed of "college dance" that has little to do with the current dance world. In the twenty-first century, choreography teachers must go beyond an emphasis on traditional craft and help students find their own…

Outlines the structure of a weeklong workshop on creativity and intuition. The workshop was designed to provide counseling students with a basic understanding of the usefulness of creative and intuitive abilities. Using experiential exercises, group discussion, lectures, and individual presentations, students are provided with a theoretical and…

In the current teaching activities on curriculum, teachers taught all kinds of computer language at the most of the time. Students also focus on a variety of examinations, but the real time to train students' independent software developing skill is very limited. This has resulted in the students only to copy other people's systems design ideas,…

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)

Recreation programs should provide experiences which feed and care for the indispensable human impulse to play. Campus recreation programs need to tinker with traditional formats and provide program alternatives. (CJ)

The author describes his experiences and philosophy in teaching creativity as an academic subject to university students. (CL)

This article proposes an approach to teaching and learning in the university arts sector that is able to accommodate and assess creative process alongside practice. In arguing thus, romanticized notions of "the spontaneous artist" are exposed to scrutiny, and the creative process itself is made subject to analysis. Notwithstanding its focus on the…

Discusses how microcomputers can aid in higher-level creative processes, enabling students to experience the joy/fulfillment of spontaneous creative expression. "The Magic Melody Box" (Atari) program, in which users choose a rhythm and draw a melody line, is used as an example to illustrate the computer's potential in this area. (JN)

The author proposes an inservice teacher training course on creativity which emphasizes the historical and theoretical aspects of creativity; the environmental contributors to creativity (through biographical analysis of the lives of creative individuals); the identification of creative potential; and the application of creativity theories and…

Examines the effects of a creativity training workshop on the behaviorally defined creative responses (fluency, flexibility, and originality on both unusual uses and problem-solution exercises) of 14 college students. (CM)

The paper describes approaches to the problem of recognizing and cultivating the potential for creative work in college students and providing students with opportunities to channel their creative energy. Discussion focuses on such topics as the origins of creativity, the concept of creativity versus "innovative excellence," and sex differences in…

The University of Notre Dame (Indiana) offers a new Masters of Business Administration course in creativity which uses a student-proactive paradigm that emphasizes skill development in synthesis rather than analysis to help future business managers use their creative potential to survive in the increasingly technical Information Age. (Author/CB)

This paper describes techniques for helping business administration students to explore their creative unknowns by rewarding them for creative thinking and risk-taking in the development of a real business, even if the business failed. The role of trial and error in learning and creativity is explored, along with the importance of sustaining…

Training teachers as artists will develop an understanding of their own cognitive style and a trust in personal intuition. The art student imitates the masters, learns from peers, and develops by experimentation and subjective assessments. Teachers and art students both learn by becoming committed to their work. (JD)