The purpose of this article is to propose a theoretical framework for creative education, which consists of three dimensions: initiation, operation, and content. I will first review the creativity literature in education, and then go on to demarcate three levels with several components that are necessary to a pedagogical practice for creative…

Creativity has and always will be at the heart of American culture. It is evidenced in our daily lives thanks to the contributions of society's most revered icons. For decades, creativity has languished in the educational system. Creativity is not the norm in schools, and seems to only survive in classrooms or enrichment programs when highly…

Historically, music programs in K-12 schools have emphasized performance opportunities for children and young people. Until the release of the 1994 National Standards in Music, targeted instruction in composition was frequently overlooked due to the emphasis on performance as well as the expectations of what a school music program ought to produce…

Art educators are concerned with exposing their students to contemporary art making practices. They aim to create fresh lessons that expand their understandings of art in today's world while highlighting the importance of imagination. With a personal interest in performance and street art (art forms that have gained popularity in recent years),…

Building passion and potential for creative learning in higher education involves deliberately seeking to understand, appreciate, and teach for creativity. Recognizing the urgent need for creativity and problem solving skills, and understanding that instructors must embrace creative learning for themselves first, is central. Creativity cannot be…

The best corporations know that innovative thinking is the only competitive advantage that cannot be outsourced. The best schools are those that create cultures of imagination. Now in paperback, "Imagination First" introduces a wide-variety of individuals who make a habit of imaginative thinking and creative action, offering a set of universal…

In the continuing debate about American competitiveness in the global economy, politicians and educators alike have pointed not to students' test scores, but to their creativity and ingenuity, as models for the rest of the world. Teaching creativity has been a hot-button topic this fall, from the National Academy of Education's annual meeting in…

This article features five schools (John P. Oldham Elementary, Norwood, Massachusetts; R. J. Richey Elementary, Burnet, Texas; Pittsburgh Carmalt Science and Technology Academy, Pittsburgh, Pennsylvania; John D. Shaw Elementary, Wasilla, Alaska; and Springville K-8, Portland Oregon) that offer five promising practices. From fourth graders learning…

This article proposes an approach to teaching and learning in the university arts sector that is able to accommodate and assess creative process alongside practice. In arguing thus, romanticized notions of "the spontaneous artist" are exposed to scrutiny, and the creative process itself is made subject to analysis. Notwithstanding its focus on the…

Training teachers as artists will develop an understanding of their own cognitive style and a trust in personal intuition. The art student imitates the masters, learns from peers, and develops by experimentation and subjective assessments. Teachers and art students both learn by becoming committed to their work. (JD)

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…

Project development activities centered on the components of teacher in-service, classroom activities, curriculum materials, parent/community involvement, and student evaluation. After three years of operation, test scores showed increasingly superior performance in creative thinking on the part of the students. (DLS)

This monograph is designed to be a tribute to E. Paul Torrance, a renowned creativity researcher, university teacher, and mentor. It is presented in three sections, the first of which is a discussion of Torrance's life. It reviews his childhood in rural Georgia, his academic accomplishments, the emergence of his interest in creativity and the…