A speech delivered before open meeting of Yale School of Drama (New Haven, Conn., January 15, 1969) and published in Yale Alumni Magazine," April 1969; interview conducted July 14, 1969, and published in yale/theatre," Winter 1969. (Editor/RD)

Five articles on art education for the gifted touch on topics which include identifying artistic talent, encouraging aesthetic development, using art as a means of visual communication, career decision making for the artistic student, and creative learning and teaching through sketchbooks. (SB)

Studying the validity of the Developmental Indicators for the Assessment of Learning (DIAL), 53 kindergartners took the DIAL before school entrance and then had their Slosson Intelligence Test scores and Metropolitan Readiness Tests monitored for the school year. Preschool screening programs and their relation to the DIAL are discussed. (CE)

Organizational barriers to creativity are examined. It is noted that resistance to change is a major impediment to creative problem solving in most organizations. Understanding the barriers to change that exist is viewed to help people exercise and develop their creativity more fully and effectively. (MP)

Investigates the effectiveness of a creativity training workshop. Results indicate training for creativity in one area, unusual uses, can transfer to responding in another area, problem solutions. Suggests operationally defined creative responses can be increased by behavioral techniques and may transfer to other settings. (JAC)

Describes a program to heighten self-esteem, interest in school, and creativity of gifted/talented children. Identity, inquiry, and interaction are presented as primary motivations to learning. The curriculum includes group sessions to foster self-image development, a media center to stimulate inquiry and eliminate boredom, and activities to…

Presents suggestions for improving the teaching of communication: use written messages, provide purposeful activities, build student confidence, encourage "special" students, be enthusiastic, have a positive attitude, and allow students to be creative. (CT)

The individual uniqueness of every student forms the foundation for expressive activities. Our number one priority as art teachers is to assist our students in identifying their creative expressive potential. (Author/SJL)

Through a variety of teaching methods, dance and movement education may be used to stimulate students' personal and creative growth and to integrate such diverse curricula as language arts, mathematics, and social studies. (LH)

Encouraging children to develop their imagination through using poetic imagery and pantomime widens and enriches their view of the world. (JD)

Studied the relationship between performance of challenging out-of-school activities and real-world talent in art, drama, social leadership, and dance in four separate studies of high school students (total n=222) in grades 9 through 12. The strong relationship between predictor and criterion in each of the four domains demonstrated the concurrent…

Identifies four characteristics of the creative endeavor: (1) musical imagination; (2) model of the creative process; (3) measures of creative aptitude; and (4) the observation of creative behavior. Examines the role of technology in creativity, and contends that creative thinking can be measured. Includes suggested readings. (RW)

The essay examines trends in attitudes toward creativity in education and business, problems in studying creativity in natural situations, creativity programing for school-age children, current efforts to encourage innovation in business, and the need to nurture creativity in every individual. (DB)

Describes the rise of musical notation in the West, showing the relationship between that development and the origin of music literacy in China. Suggests that the balance of oral and literate means of music learning may foster creative expression in performance. Encourages the study and practice of orality in the training of young musicians. (LS)