Creativity literature was criticized for its bias towards conventional areas (e.g. arts), and creativity studies in domains less concerned about creativity, such as environmental sustainability (ES), are rare. This study aimed to understand the development of "creativity for ES" (pro-ES creativity) of common tertiary students. Based on a pro-environmental behaviour model and a pro-sustainability competence model found in literature, a pro-ES creative learning curriculum was designed and integrated into an existing toy course in a university of Hong Kong. A total of 20 students from three cohorts were interviewed, and their feedback was analysed inductively with open-coding by the consensus of two experts. Together with their affecting factors, five learning outcomes emerged as attributes of pro-ES creativity: sensitivity and problem-finding; creative problem-solving abilities; affinity for self-creating life-style; creative systems thinking and futures thinking; and reconceptualization of creativity and ES. This study discovered that creativity, as a kind of self-actualization, had developed both individual competences and intrinsic motivation, which are conducive to life-long self-determining ES behaviours. This study informs the education field that the five attributes of pro-ES creativity can be enhanced in a curriculum based on a simple everyday theme. As such, pro-ES creativity education can be integrated into many existing curricula. Going beyond ES, this study shed light on creativity studies of other less popular areas. It suggested a dual domain-specific-general creativity education approach and a dual deductive-inductive research approach for developing creativity theories and curriculum of "low-creativity" domains. Copyright © 2019 Elsevier Ltd. All rights reserved.

Creativity in teaching is a significant and complex construct. However, in the local educational context, creativity in teaching has received little attention. This study aimed to investigate the validity, practicality, and benefits of applying a modified consensual assessment technique (CAT) to assess creativity in teaching design. Four hundred and eighty-five written teaching designs were collected from 167 in-service and pre-service primary school teachers in Hong Kong. Instead of expert teachers, "supportive" peers, who had shown support, interest, and initiative in creative teaching were recruited as judges. A warm-up exercise, with no definition of creativity, was given to the judges before beginning their assessments. The results indicated overall consistency in the judges' assessments of creativity, and that creativity factor could be distinguished from pedagogical skills and other technical factors. Most of the peer judges reported personal gains in creative teaching by engaging in the assessment process. On average, each judge spent approximately only 2 minutes rating each written teaching design. The findings confirm that the modified CAT is a valid and economical assessment method with learning benefits for the judges. The special values and implications of using supportive peer judges in consensual assessment are further discussed.
[Copyright © 2015 by the Creative Education Foundation, Inc.]

Though recent curriculum reform of Hong Kong, Mainland China, and Taiwan all include creativity as one of their major learning objectives, however, creativity-enhancing teaching methods are seldom implemented in real classroom practice. This study presents a systematic method for designing Physics learning activities for fostering student creativity in traditional educational context, like Hong Kong. It suggests a comprehensive set of learning objectives, strategies for generating new activity designs, and rationales for selecting activities, and more than 20 different kinds of learning activities that are simple and easy to be infused into normal Physics lessons. To understand teachers’ and students’ opinions on these activities, they were tried-out in two secondary classes, and were introduced to 120 senior Physics teachers of Hong Kong. On the whole, teachers and students gave positive feedback and support the usefulness and suitability of this set of instructional designs. Results also revealed some obstacles in fostering creativity of Hong Kong students and some shortcomings of these activity designs.
[Copyright © 2004 HKIEd APFSLT.]

Personal definitions of creativity are described as the implicit theories of creativity, while the conceptions offered by scholars or researchers are referred to as explicit theories of creativity. The implicit theories of creativity may vary from one person to another, from one field to another, and from one culture to another. In this study, twenty pre-service student teachers and ten teacher trainers of Hong Kong Institute of Education are interviewed or asked to complete a questionnaire. They are invited to give their own opinions on: (1) What is teacher creativity? (2) How can you describe a creative teacher? and (3) How do you decide whether a teaching idea is creative or not? The results of this study reveal that, not only imaginative and novel teaching ideas are considered to be creative, however, flexibility in teaching, modifications and improvements of existing teaching ideas and abilities to solve daily problems are also regarded as forms of teacher creativity. As another difference to creativity defined in other (artistic) fields, respondents refer creativity of teaching ideas not only to their newness, but put strong emphasis on their effectiveness in teaching and how interesting they are to students. Unlike findings in western societies, being humorous is not considered necessarily to be a personality trait of a creative teacher. Study on these implicit theories of teacher creativity are important because they usually act as standards for judging and assessing creative behaviors in teaching, and also serve as the basis for training and self-development in the area of teacher creativity.

Creativity is of growing significance in educational reform worldwide. The Thinking School, Learning Nation policy of Singapore in 1997, the White Paper on Creative Education of Taiwan in 2003, the Learning to Learn educational reform of Hong Kong in 2001 and the report of National Advisory Committee on Creative and Cultural Education of England in 1999 all gave creativity a significant role in education (Craft, 2011; Hui & Lau, 2010). Nevertheless, creativity assessment in schools is always criticized as lagging behind the educational policies (Craft, 2011; Leong, et al., 2012). A tension view of creativity and assessment is common (Cunliffe, 2008). “Does assessment weaken student creativity?” (Beghetto, 2005, p. 254) is a question on the minds of many educators. Yet, Craft (2011) suggested that creativity assessment is multi-faceted. Assessment is not necessarily a negative force, but its influences depend on what kinds of assessment are conducted (Beghetto, 2005). Assessment may even have a strong leverage effect on educational reform, especially in the Chinese context (Cheng, 2010a). Started from the classic study of Black & William (1998), “assessment for learning” is of growing significance in education field. Parallel reforms are widespread around the world (Burnard, 2011; Earl, 2013) and in Hong Kong (Mok, 2010). Assessment is not merely for measuring and grading student achievements. “Assessment is an integral part of learning, guiding the process and stimulating further learning” (Earl, 2013, p. 25). Following this direction, this study explores various assessment practices which may facilitate (or hinder) creative teaching and creative learning. In the Routledge International Handbook of Creative Learning , Burnard (2011) had offered a review chapter titled “Constructing assessment for creative learning.” This article revisits this topic by using classroom improvisation as a lens to search for various forms or possibilities of creativity-conducive assessments