Uses a systems approach to creativity to study one student as that person learned to make art in an university-level introductory sculpture class. Shows ways that the class was an open system that modeled and encouraged artistic creativity and provided constraints and opportunities for the student to construct knowledge. (DSK)

The extensive use of improvisational techniques in rehearsals for chamber theatre productions develops for the performer a strong engagement with the text. The director can channel the movement and gestures that emerge from these techniques into the production itself, with results that more effectively convey the literature than traditional…

This one-time elocution school flourishes on a unique educational philosophy - that innovative learning and joy are one and the same. (Editor)

Describes a color theory class at Memphis College of Art (Tennessee) that uses computers to stimulate student interest. Notes that computer knowledge and skills are becoming essential for the graphic art student. Suggest that the computer is another tool, much like the printing press, the Jacquard Loom, and the camera, to be utilized by the…

Arguing that creativity in doctoral research has been underemphasized, this article offers five principles drawn from theoretical and research literature for advisors cultivating creative dissertation work and examines each principle from three contextual perspectives: individual psychology, theoretical-methodological, and institutional. (PB)

Ways in which to revive and promote creativity in campus activities programming are offered. Specific steps to take, particularly in committee meetings, to energize individual thinking and group processes and to improve programming and publicity are detailed. (MSE)

An underinvestigated aspect of advertising education is the consideration of methods by which groups effectively solve creative problems. Brainstorming has been popularly used by teams in classes to generate ideas; yet, little research exists that compares small group structures for creative problem solving. Bridging this gap, a study compared…

This collection of materials, a summary of a workshop, is divided into five sections, framed by introductory and concluding remarks. The sections are: (1) a panel on "What Is the Domain Beyond?"--panelists discussed their particular interests in areas that could not be traditionally classified as "cognitive" and related those…

A study was conducted in 1986 to ascertain factors associated with creative summer session programs among U.S. universities and colleges. All were classified by Carnegie type as Doctoral granting, Research, and Comprehensive; all similar Canadian universities were considered, and 14 were included. Areas examined included: institutional…

Suggestions for teaching improvisational dance in a nonthreatening way are offered. (DF)

The use of creative drama in a multicultural classroom can allow a teacher to establish a student-focused base for experiential learning and can allow students from various cultures to use drama as a way of expressing their individual cultural differences. Using literature about various ethnic groups in creative drama can contribute to the…

Five different perspectives on creativity in teaching are examined: (1) Creativity is developed by making teaching methods from almost nothing. (2) Creativity is fostered by idealizing without constraint. (3) Creativity can be developed through analogs. (4) Creativity can mean to reorganize or modify. (5) Creativity can be fostered using a forced…

Uses learning style assessments to justify more extensive use of creative work and asks why creative work appears to be difficult to initiate. Evaluates three case studies that provide evidence that creative work can be integrated into lessons with interesting consequences. (DDR)

Describes Weekend Workshops offered by the Carnegie Mellon Institute for Talented Elementary Students. The purpose of the three-hour workshops is to offer academically talented students an interesting and challenging experience. The philosophy and goals of the program and course descriptions are provided. (CR)

Presents an interview with Ruth Beall Heinig, author of "Creative Drama for the Classroom Teacher," about her role as a teacher of creative drama and as a teacher-educator preparing teachers to use creative drama. Describes the development of her career in creative drama. Offers information on books about the subject written by other authors. (CR)