Describes a particular method for visualizing and presents related classroom art activities requiring careful observation of an external reality and the embellishment of it through purposeful imagination. (Author/SJL)

Discusses how the eloquent "I" cultivates a deepened self-dialogue and offers students an epistemological and rhetorical discipline. Reconfigures Mikhail Bakhtin's ethics of "otherness" and his dialogic-prompted way of knowing. Discusses looking for the eloquent "I" in the writing classroom. (SG)

Suggests allowing children to draw on their experiences with doctors and dentists and encouraging pretend play centered around medical settings such as clinics and hospitals. Provides guidelines to involve children's participation in such play, and provides detailed information on setting up appropriate play centers. (BAC)

Suggestions are made to teachers for using daydreaming, guided as fantasy, to prepare students to concentrate, to enrich the curriculum, and to increase self-knowledge. (Author/SJL)

Presents a series of classroom exercises and activities that stimulate children's creativity through the use of visualization. Discusses procedures for guided imagery and offers some examples of "trips" to imaginary places. Proposes visualization as a warm-up exercise before art lessons. (DR)

A series of conversations depicts the kind of encounters an imaginary immigrant might have with French people. (MSE)

Notes that the process of creating a poem not only demonstrates the inherent characteristics of the imaginative experience, but when it is written and shared in a supportive group, it validates diverse student voices and establishes the foundation for a classroom community. Presents three techniques that are important and valuable methods to…

Outlines "The Imagination Station," a project which develops, implements, and evaluates an early drama curriculum for children ages three to five and an imaginative play skills building program for preschool teachers. Examines how a project such as "The Imagination Station" could serve as a means for educating teachers. (PM)

Defines "guided imagery" as an experience/exercise led by a teacher/facilitator that allows participants to more fully use their imaginations. Discusses some important dimensions of guided imagery, including safety issues, building skills, respecting individual response, dissent, debriefing, emotion and imagination, scripting, pacing,…

Most children require experience for effective environmental education and informational literature is not the most effective means. Uses stories to provide experiences in learning leading to inquiry in teaching and fostering the student imagination. Makes suggestions for the story selection process. (YDS)

Describes a step-by-step guide to assembling a costume wardrobe. Explains how to organize a student costume crew; how to gather information for sizing, period, and storage needs; where to buy inexpensive costume pieces; and how to organize a database. Concludes that creating a core costume wardrobe can be as much a curricular area of study as any…

An art teacher paired off his elementary classes and had one team member lead the other blindfolded through an obstacle course with a jungle theme. Students then painted their impressions. The object was to foster imagination and to build trust between partners. (SJL)

Reveals ways to help students learn that writing can be similar to play, in that they can use their imaginations to create new settings and even new worlds. Suggests using toys, imaginary trips, and including friends in stories as inspiration for writing. (SKC)

Presents a series of exercises that can be used with any age level to stimulate visioning skills (e.g., dreaming, creating, intuiting, and imaging). The exercises focus on building imagination skills, guided imaging, envisioning the future that students would prefer, and creating a futures wheel. (DMM)

New lines of understanding and self expression are two facets of drama which are useful in teaching reading and writing. Techniques of creative drama offer an engaging way of enforcing writing process concepts. Drama can be a vehicle to get listening, speaking, reading and writing to interact in a creative and holistic way. Curricular objectives…