幼兒在學前階段無論在何處皆表現出持續的活力與動感。肢體活動是幼兒自然和天生的身體性需要和任務，具有生存、學習、溝通和遊戲之目的。從幼兒教育來看，幼兒透過肢體活動去學習，利用身體動作去探索發現、經驗和接觸周邊的環境和世界。但是香港近年幼兒體育課程之研究顯示，幼體課程缺乏教育性、經驗性、創意性和歡趣性的元素，因此，學前兒童的身心發展受到重大的阻礙。本文旨在介紹一個創新幼兒體育課程模式，揉結了創意、運動技能和運動教育概念的基礎元素，運用跨科綜合法來表達。本研究包括5所香港幼稚園/幼兒園。教師首先接受了4次共12小時綜合培訓，然後教師採用此模式的原則在園內為兒童設計的幼體課堂，而且學會如何正確運用身體去表達自己的感受，創造動感的肢體技能和進行有意義的探索和學習。此外，校長和教師十分贊同此模式的理念和推行原則，並且認為此種課程確能提升兒童的肢體智能、身心健康和創意表達。

背景：近年，亞洲各國的教育模式，都嘗試從過往的填鴨式教育，走向全人教育、強調創造力的發展方向。香港進行了大規模的教育改革，呼籲加強創意人才的培養，但今天香港的學生最大的智能缺陷，就是缺乏創意和想像力，其中是填鴨式的教學模式和沉悶的課程所致，令學生失去學習的興趣。 調查目的：探討如何有效在幼稚園設計一個創意音樂與肢體動作課程，並如何有效地將創意音樂與肢體動作課程在學校內推行。 調查對象：年齡介乎5-6歲之間的10名幼稚園高班學童及其班主任，在音樂-肢體活動課對兒童及教師作出觀察。 方法：採取「隨機抽樣」的方式，由教師(班主任)抽出10名年齡介乎5-6歲之間的幼稚園高班學童，透過直接的觀察及觀察評量表，在他們進行音樂與肢體動作課程時，以攝錄機拍攝整個活動過程，並透過錄影帶再附以評量表觀察兒童的行為表現及教師的特性(該10名兒童的班主任)。 結果：研究結果發現創意音樂與肢體動作課程是一項充滿創意及互動性的活動，透過創意、音樂、肢體動作的串通，能讓幼兒自由想像、發揮創意及主動投入活動中。 總結：創意音樂與肢體動作課程確能提升幼兒各方面的潛能，並能引發及強化幼兒主動參與活動，幼兒在創造行為、動作技能、基礎動作、音樂概念各方面的表現及至教師的特性，均有明顯的進步。透過多元化的音樂與肢體動作課程，確能誘發幼兒主動學習的興趣。"
[Copyright © 2008 New Horizons in Education.]

幼兒喜歡肢體、音樂和美術活動。他們自小便開始自主地、自由地和自發地運用天賦的六種個人獨特工具 (眼、耳、口、鼻、肢體和心靈) 來接觸、探索、發現、和感受周遭的人、事、物。而且，他們也運用這些工具與身邊的人來溝通和分享，甚至表達自己的感受、心聲和思想。在這種全感官的體驗過程中，他們盡情地發揮無限創意和藝術表達。因此，當今幼兒教育的目標也特別強調發展和提昇幼兒的體適能、藝術智能、創意力、表達力和思考力。 本文旨在介紹如何透過創意式和跨學科的幼兒體育課程 (The Creative MAP Curriculum) (M for Music; A for Art; P for Physical Education) 去達成廿世紀之幼教的目標。作者除了闡明該課程的理念、架構、要素和特色外，更結合在香港幼稚園試行的實例，明確地與幼教同工分享推行的策略和評估的結果。綜合的結果顯示，學生和教師均能享受學與教的歡趣和喜悅。最重要的是：學生的身、心、靈的教育範疇；體、音、美的學術領域：創意空間和藝術元素都獲致適切的發展和提昇。

Background: Creativity is associated with many pet beliefs, unfounded or based on limited personal experiences and observations.
Aims: The intention of the present study is to take the research one step backward to look at possible antecedents of beliefs regarding creativity, as such knowledge has implications for education where creativity is concerned. The present study attempts at uncovering the beliefs regarding various aspects of creativity among tertiary students in Hong Kong.
Sample: Students (N=139) from a teacher education institute (67.6%) and a university (32.4%) in Hong Kong were asked to complete a questionnaire about beliefs in creativity. Participation was voluntary and the respondents were assured of anonymity. As the respondents formed a convenient sample (as is true of many studies of similar nature), no representation is claimed.
Method: A questionnaire of 30 items that included 15 aspects of beliefs in creativity was presented to the respondents in the form of a series of six-point Likert scales. To avoid possible carrying-over effect, the two items for the same aspect were separated systematically, with items for the other aspects intervening. Surveys were conducted and the general written responses received from the respondents were tabulated.
Results: The respondents agreed more strongly that creativity (a) is dependent of culture, (b) is the result of consistent effort, (c) can be found in everyone, and (d) is general across many fields. On the other hand, they disagreed that creativity has to do with gender and birth order. Five aspects were dropped due to inappropriate reliability.
Conclusion: In view of the complexity of the findings, efforts in developing creativity in tertiary students need to take into account their demographic backgrounds so that correct beliefs can be further strengthened and incorrect ones can be rectified early in the creativity training programmes.
背景：創意常與一些無理由或根據有限的個人經驗和觀察的信念聯繫在一起

背景：在幼兒課程中，韻律活動 (rhythmic activity) 是音樂和體能活動不可缺少的主要學習經驗，但是從筆者的視導經驗和近期研究結果 (Wong & Chu，2001) 均顯示現在香港的學前韻律活動明顯地缺乏創意感、韻律感和運動感。加上目前香港學前的韻律活動課程的推行受到外在和內在因素的限制，是時候需要將非創意及系統化的韻律活動課程作出改革。
目的或討論焦點：本文旨在與讀者分享「創意韻律教育」(Creative Eurhythmic Education) 的理念、原則和推動方法，讓幼教工作者能夠嘗試採用「創意韻律教育」提升她/他們的教學效能; 設計此創意韻律教育課程模式之目的是改革現在香港的音樂律動課程，將普遍老師們已遺忘的韻律元素再次重述，引起她們的關注。
論點/評論/建議：本文強調，在課程的發展中運用嶄新的幼兒運動-音樂課程模式： 創意(Creativity)、音樂技能與概念 (Musical Skills & Concepts)、運動技能與概念 (Movement Skills & Concepts)、暢態與綜合活動 (Flow-Integration) 等元素，教師能提升兒童自我表達的能力，並能帶領兒童在各方面進行創作; 作者亦確信透過每天有系統的課程安排，兒童在創意韻律教育方面得益甚豐。嶄新的課程模式更強調創意的教育價值，將韻律課程發展於適合學生的能力、興趣、意欲和需要，而主題綜合活動則聯繫各獨特之韻律元素，使它們成為有生機和互動相連的全方位課程。最後，整個音樂律動課程的改革帶給教師們「暢態」的忘我歡暢之意境。
總結：新穎課程能成功的推行有賴教師的投入程度、擁有足夠的運動-音樂專業知識、技能和態度、重視教學的過程和多給予「鷹架作用」刺激兒童挑戰自我極限; 創設適切的運動-音樂學習環境，足夠的教學資源、器材和設施、教學時數和每週次數、專業支援與協助和校本的運動-音樂文化也是推行新穎課程的重要外在因素。
Background: In the preprimary curriculum, rhythmic activity is an essential learning experience in music and movement activity. From the supervision experiences and recent researches of Wong & Chu (2001), it is found that the rhythmic activity conducted in kindergarten is obviously lack of creativity, sense of rhythmic and sense of movement. Moreover, some external and internal factors and have hindered the implementation of rhythmic activity in kindergarten. There is a need to have a change from uncreative and tradition curriculum to an innovative one.
Objectives and Focus: This study aims to share with the readers the philosophy of Creative Eurhythmic Education, its principles and ways of implementation which encourages preprimary teachers and workers to adopt the Creative Eurhythmic Education Model in order to improve their teaching effectiveness. The aims for designing such kind of Creative Eurhythmic Education model are to make changes to Hong Kong music and movement curriculum, and to arouse kindergarten teachers' the concerns to integrate the rhythmic elements during the music movement activity.
Comment/Suggestions: