Describes how poetry can be used with the different types of creative drama, including finger plays, pantomime and movement, Readers Theater, sensory awareness, storytelling, choral reading, action poems, role playing, and characterization. (MG)

Describes the Advanced Placement (AP) Studio Art Program for high school students committed to studying art. Outlines portfolio requirements, the evaluation process, and depicts student work. (KM)

Describes the origin and function of Tibetan lineal books. Outlines a lesson plan that can be used by students in all grades to create their own lineal books. (KM)

Maintains that students need to be exposed to different forms of book construction to increase their awareness and conception of books as an art form. Outlines goals, instructional concepts, integrative aspects, and evaluation criteria to help students at all levels design their own books. (KM)

Describes how to create paper cuts and suggests the most appropriate materials for young children that give good quality results. Describes the methods the author, a professional artist, uses to assemble her own paper cuts and how these can be adopted by older students. (KM)

Maintains that, by the time students reach sixth grade, they are tired of painting flowers. By viewing them through the eyes of the artist, Georgia OKeefe, students interests are revived. Students analyzed her methods and then drew and painted their own large scale paintings. (KM)

People in the creative arts are no less scholarly, but their scholarly efforts are less quantifiable. A rationale for accepting creative works as scholarly equivalents is developed by examining creativity, the creative process, and the creative product. An historical viewpoint about creativity, creative works, and their social importance is…

Provides a brief history of the craft movement and the American Craft Council. Information available from the American Craft Information Center is described, including bibliographic sources, reference tools, periodicals and indices, exhibition catalogs, craft registry and database, clipping file, education, business, funding, and appraising…

Four artistic people of various ages were interviewed concerning their conscious and unconscious thought during creative activity, emotions which precipitated creative activity and intermingled with cognition, and intrinsic motivators and rewards. The interviews supported research regarding the internal forces of creativity. (Author/JDD)

Interpretive techniques for encouraging participants to experience a deeper level of environmental growth during outdoor activities include group discussions, creative writing, artistic expression, visualization, sensitization, group activities introducing participants to various aspects of the environment, reflective thinking, the use of…

Examines a coeducational secondary school drama class during collective script creation to determine its stereotypical representations of males. Stereotypes favored by each gender group differed. Preferences appeared to come from textual affinities for certain kinds of reading/viewing material and from the personal and collective fantasy lives of…

Eight sixth grade gifted students verbalized their thoughts as they worked on figural task drawings. Analysis of resulting data indicated that the process variables of Story Weaving, Association Shifting, and Vantage were more frequently evidenced by subjects producing more original products, whereas Content Bound Linking was associated with…

Describes several arts activities in early childhood classrooms, then explains why the activities are or are not creative. Discusses characteristics of creativity and ways for teachers and caregivers to encourage the creative process in children. (BB)

Examines four works of art, created for public spaces, to help students understand the value of public art in the community. Illustrates work by Claes Oldenburg and Coosje van Bruggen, Siah Armajani, Jackie Ferrara, and Deborah Butterfield. Outlines lesson activities for elementary and secondary students. (KM)

Claims that domestic art or hiddenstream art is not referred to in the art classroom because art teachers have difficulty locating resources. Identifies sources for print and nonprint textiles ranging from local community activities to museum collections. Lists resources for Navajo weaving, African-American quilting, and Amish quilting. (KM)