背景：一項全港首次進行的「幼兒教育質素意見調查」中，發現培養幼兒「藝術修養」及「創意」被評為最不受重視的教育素質項目。踏入廿一世紀，新科技，新概念不斷湧現，單靠傳統的知識灌輸已不足夠，教育需要與時並進，作出改變。
調查目的：探討如何透過「開放式」美勞活動提升兒童創造力，並研究何種形式的美勞教學方式有效提升兒童的創造力。
調查對象：年齡介乎5-6歲之間的8名幼稚園高班兒童及研究者 (教師)，在兒童進行美勞活動課程時，以個別的形式進行觀察；另該校校長被邀請作為觀察者對教師引導兒童進行美勞活動時的創意行為表現及特性作記錄
方法：採用「隨機抽樣」的方式，由教師 (研究員) 抽出年齡介乎5-6歲之間的8名幼稚園高班兒童，透過直接的觀察法及觀察評量表，在兒童進行美勞活動課程時，以個別的形式進行觀察；另邀請該校校長運用教師教學行為特性觀察評量，記錄教師引導兒童進行美勞活動時的創意行為表現及特性。以攝錄機拍攝活動進行時整個過程，透過錄影帶再附以評量表觀察兒童的行為表現及教師教學行為的特性。
結果：結果顯示「開放式」的美勞活動透過學習環境能有效提升兒童的創造力，創意的教師能有效推動「開放式」的美勞活動，使成為培育兒童創造力的催化劑。
總結：「開放式」的美勞活動能將兒童引入創作的空間，教師扮演的角色、採用的教學模式，和在環境上作出適當的預備和配合，可使兒童的創造力得以發展。
Background: In a territory–wide "quality early childhood education survey" conducted in Hong Kong recently, it was found that nurturing children's "artistic cultivation" and "creativity" has been rated the least quality and attention in the survey. The turn of the century, new technology, new concepts continue to emerge, traditional knowledge alone is not enough, education required to move with the time, and to make changes.
Aim: The study explores how the "open-ended" art and craft activities enhance children's creativity, and to study the mode of art and craft teaching methods that are effective to enhance children's creativity.
Sample: The study includes the researcher (class teacher), 8 randomly selected children aged from 5-6 in the upper class, and the kindergarten principal as the inter-rater.
Method: Direct observations are conducted on 8 children and the class teacher in the art and craft activities. By using direct observation, video-taping and rating scale, children's creative behavior and the characteristic of the class teacher's behavior are observed for further analysis. The principal was invited to be an inter-rater to observe the art and craft activities and score the teacher to establish inter-rater reliability.
Result: The study shows that "open-ended" art and craft activities effectively enhance children's creativity

Background: Recognizing that arts education is important in facilitating learning and in enhancing creativity in students, recent education reform in Hong Kong has sought to promote arts education and efforts to encourage creative expression through different art forms. Among different modes of creative arts expression, drawing has been suggested as the best choice for allowing creative expression by students with high ability in visual arts. Therefore, the connection between students' drawing and creativity warranted investigation.
Aims: This study explored the drawing abilities and creativity of Chinese students in Hong Kong based on their drawing performance, and examined their connection in relation to students' self-perceived artistic characteristics and involvement in drawing activities.
Sample: 105 Hong Kong Chinese primary and secondary school students, nominated by their schools to participate in the gifted programs of the Chinese University of Hong Kong, participated voluntarily in this study.
Method: Students completed two drawing tasks adapted from Clark's Drawing Abilities Test and a self-report questionnaire that included the Artistic Characteristics Scale of the Scales for Rating the Behavioral Characteristics of Superior Students and the Drawing Activity Checklist. The drawings were rated on students' drawing abilities and creativity by three Chinese visual artists as expert judges.
Results: Judges agreed more on their ratings on students' drawing abilities than on students' creativity. Judged drawing abilities and creativity were found to be moderately but significantly correlated. While judged drawing abilities were found to correlate significantly with students' self-reported artistic characteristics and drawing activities, judged creativity was found to correlate minimally with these variables.
Conclusion: This study provided supportive evidence on the connection between drawing abilities and creativity. The findings

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:

Background: Students in Hong Kong often lack creativity when writing compositions. Based on the dual coding theory and the Multidimensional Interactive Creative Imagination Imagery Model, imagery training may help students to write more creatively.
Aims: This study is to investigate the effectiveness of the imagery teaching method imagery as a creative thinking skill.
Sample: 2 classes of students (37 and 36) participated in this pre-test, intervention, post-test writing study. One class received imagery training while the other class did not.
Method: Using hierarchical regressions, path analyses and a structural equation model, their compositions were evaluated in 4 ways: fluency, uniqueness, content, and grammar/convention.
Results: Students receiving imagery training performed better than the other students in the areas of fluency, uniqueness and content, but not grammar. Furthermore, girls were more likely to do well on the content part in the post-test than boys.
Conclusion: Imagery training is useful in enhancing students' creativity in Chinese Composition. Further research is suggested in the following two areas: training program and the process of creative writing by dual-coding theory.
香港的學生在寫作時一般都被認為欠缺創意，基於the dual coding theory 和the multidimensional interactive creative imagination imagery model，意象教學相信有助學生寫出更有創意的文章。本研究請來兩班各有37 及36 名學生，參與了包括預先測試、介入教學及培訓結束考核的寫作教學研究，其中一班受過意象教學訓練，另外一班則未有受訓。透過等級制度的回歸、軌道分析及 結構性的 方程式模型 ，們的作文會就以下四方面得到評核：流暢性、獨特性、內容及語法。結果顯示，受過意象教學訓練的一班學生在流暢性、獨特性、內容等方面的表現均比沒有受過意象教學訓練的一班較佳，但在語法上則沒有影響；同時，在培訓結束考核中，女生在語法的表現亦較男生為佳。
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