Paper presented at 18th Annual Convention of the National Association for Gifted Children, Chicago, Illinois, May 7, 1971. (CB)

Assumptions upon which to base the philosophy and plans for creative college are presented. (DB)

Discusses how microcomputers can aid in higher-level creative processes, enabling students to experience the joy/fulfillment of spontaneous creative expression. "The Magic Melody Box" (Atari) program, in which users choose a rhythm and draw a melody line, is used as an example to illustrate the computer's potential in this area. (JN)

The need to use images and imagery in language in schools, and to recognize and measure such aptitudes are discussed. Tests of imagination are presented, and the San Francisco Art Institute Study of predictors of ability in art illustrates methods and implications for measurement of creativity in educational programs. (CM)

The requirements for gifted education programs in the visual and performing arts are discussed, stressing the need for comprehensive assessment of aptitude, achievement, and attitudes of gifted students. The unique nature of learning activities and inservice programs for teachers in the arts are considered. (CM)

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…

Reports on the creative productivity scores achieved by advertising students in a creative strategy course. (HOD)

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)

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)

Adapting the cognitive behavior modification work of Bandura and Mahoney, the author suggests a "mediational approach" to teaching creativity in the art classroom; here the desired behavior is modeled, guided experience is offered for practice, then reward in the form of approval is given for successful completion of the event. (Editor/SJL)

The author critically examines nine assumptions about creativity commonly held by preservice elementary art teachers, such as "all children have creativity,""creativity can be taught and learned,""art skills hinder creativity," and "creativity is good." (SJL)