Argues that in addition to citizenship education, social studies should have as one of its goals the development of affective, intuitive, and creative processes in students. (RM)

Three dance performance tests to assess originality, fluency, and flexibility attributes of female dancers were analyzed with divergent-production measures and personological inventories. Variables were noninterrelated in four clusters for dance performance, verbal and visual-figural creativity, and personological information indicating…

Argues that the use of brainstorming sessions in a journalism public relations course can help to stimulate creative ideas. (HOD)

The quality of changes in creative functioning resulting from training in ZEN meditation (Zazen) and relaxation training were compared. Pre-posttest changes in the two groups, as revealed by the General Linear Models Procedure, revealed that the meditation group experienced greater perceived change resulting from new conditions, expression of…

Validation studies of the initial group inventory for finding interests (GIFFI) I and II were carried out with 1,024 students (grades 6-12). Internal consistency, reliability, and validity of the scales, which measure personality and biographical characteristics associated with creativity were substantiated. (CL)

Studies are cited which examine the role of independence in fostering creativity in children. Autonomy in parent-child relations and in teacher-pupil relations is linked to creativity, but the author cautions that the optimum amount of freedom may depend on the task and the type of creativity considered. (CL)

Describes the nature of the creative act and discusses creativity as the foundation of learning. Also examines the qualities of creative teachers and environments. (Author/CM)

Discusses the problems of evaluating creativity, and explains a particular approach used by the author. (JL)

Despite the amount of work done in evaluation in the humanities, there has not been enough clarification of the kind of knowledge or experience that the humanities can yield. More of this clarification must be done before developing even more new evaluation techniques. (MSE)

Gives an overview of creativity by defining it, characterizing the creative person, and identifying ways in which to encourage its development, such as providing creative role models, maintaining a safe and secure environment, avoiding criticism, communicating, and remaining flexible. (DC)

Discusses how the Orff-Schulwerk approach to music education can be applied to the needs of mainstreamed, elementary-level, special education students. The Orff method stresses multisensory experiences, creativity, and individualized instruction. The author shows how an activity from a regular, elementary Orff class can be modified for special…

Describes a reading/writing program that allowed second grade students who were poor readers to invent their own spellings for words as they wrote. Concludes that the program led students to write more, request more help with spelling, and feel better about their writing. (FL)

In an interview, designer and filmmaker Saul Bass discusses the nature of creativity and the creative process and his work in the visual arts and their implications for education. (HTH)

Composition is not a straightforward, linear process; it involves a creative search for meaning that becomes clear only as the writer engages in the composing process. This suggests that teaching not dwell on the correctness of the finished product. (Author/SJL)

In recent years, researchers have shown interest in errors that can frustrate teaching, training, and learning. A discussion of the form an overall theory of error might take is presented in a comparatively discursive and nonrigorous way. Thirty-two references are listed. (Author/CHC)