This book provides higher education faculty and administrators a scholarly resource on the most salient aspects and emerging trends in creative learning in higher education today. International contributors explore ways to foster creativity in any student, regardless of academic discipline or demographic characteristics and demonstrate that creativity is a skill all students can and should learn. Chapters analyzes how different countries and cultures implement creative learning, exploring issues of instruction, assessment, and ultimately how these practices are transforming learning. This important book helps higher education professionals understand and cultivate creative learning across disciplines in any college and university setting.

Recently, a new understanding of creative thought and creative performance has surfaced. It has also attracted the attention of early childhood professional organizations and researchers. Professional organizations have included it in their publications and conferences. While current creativity researchers have initiated a far more sophisticated understanding of young children’s creative thinking, ways to assess creativity, strategies to promote creativity, and research methodologies. The purpose of this volume is to present a wide range of different theories and areas in the study of creativity to help researchers and theorists work toward the development of different perspectives on creativity with young children. It focuses on critical analyses and reviews of the literature on topics related to creativity research, development, theories, and practices. It will serve as a reference for early childhood education researchers, scholars, academics, general educators, teacher educators, teachers, graduate students, and scientists to stimulate further “dialogue” on ways to enhance creativity. The chapters are of high quality and provide scholarly analyses of research studies that capture the full range of approaches to the study of creativity --- behavioral, clinical, cognitive, cross-cultural, developmental, educational, genetic, organizational, psychoanalytic, psychometric, and social. Interdisciplinary research is also included, as is research within specific domains such as art and science, as well as on critical issues (e.g., aesthetics, genius, imagery, imagination, insight, intuition, metaphor, play, problem finding and solving). Thus, it offers critical analyses on reviews of research in a form that are useful to early childhood researchers, scholars, educators, and graduate students. It also places the current research in its historical context. The volume is also of interest to the general readers who are interested in the young children’s creativity. The chapters are authored by established scholars in the field of young children’s creativity.

Exceptional education, also known as special education, is often grounded within exclusive and deficit mindsets and practices. Research has shown perpetual challenges with disproportionate identification of culturally and linguistically diverse students, especially Black and Indigenous students. Research has also shown perpetual use of inappropriate placement in more restrictive learning environments for marginalized students, often starting in Pre-K. Exceptional education practitioners often engage in practices that place disability before ability in instruction, behavior management, identification and use of related services, and educational setting placement decisions. These practices, among others, have resulted in a crippled system that situates students with exceptionalities in perceptions of deviance, ineptitude, and perpetuate systemic oppression. The Handbook of Research on Challenging Deficit Thinking for Exceptional Education Improvement unites current theory and practices to communicate the next steps to end the current harmful practices and experiences of exceptional students through critical analysis of current practices, mindsets, and policies. With the information this book provides, practitioners have the power to implement direct and explicit actions across levels to end the harm and liberate our most vulnerable populations. Covering topics such as accelerated learning, educator preparation programs, and intersectional perspectives, this book is a dynamic resource for teachers in exceptional education, general teachers, social workers, psychologists, educational leaders, organizational leaders, the criminal justice system, law enforcement agencies, government agencies, policymakers, curriculum designers, testing companies, current educational practitioners, administrators, post-grad students, professors, researchers, and academicians.

In this thought-provoking practical guide, a noted artist and educator demonstrates that learning to violate the rules of perspective (profitably) is as important for the practicing artist as learning the principles of perspective themselves. Only in this way can students free themselves from the constraints of tradition and find their own imaginative paths. However, it is vital that students first have a solid grasp of classical perspective before they can think about adapting it creatively. In presenting the principles of perspective drawing, Mr. Watson devotes a chapter each to step-by-step discussions of such topics as the picture plane, foreshortening and convergence, the circle, the cone, three-point perspective, universal perspective, figures in perspective, and much more. To illustrate his points he offers expert analysis of the works of such leading illustrators as John Atherton, V. Bobri, R. M. Chapin, Jr., Albert Dorne, Robert Fawcett, Constantin Guys, W. N. Hudson, Carl Roberts, Ben Stahl, and Aldren A. Watson, as well as drawings by Pieter de Hooch and Paul Cézanne. The result is a ground-breaking study that artists, illustrators, and draftsmen will find invaluable in learning to create works with convincing perspective. Ernest W. Watson taught at Pratt Institute for over 20 years, co-founded and served as editor-in-chief of the magazine American Artist, and co-founded the prestigious art publishing house of Watson-Guptill.

This edited volume explores how selected researchers, students and academics name and frame creative teaching and learning as constructed through the rationalities, practices, relationships, events, objects and systems that are brought to educational sites and developed by learning communities. The concept of creative learning questions the starting-points and opens up the outcomes of curriculum, and this frames creative teaching not only as a process of learning but as an agent of change. Within the book, the various creativities that are valued by different stakeholders teaching and studying in the higher music sector are delineated, and processes and understandings of creative teaching are articulated, both generally in higher music education and specifically through their application within the design of individual modules. This focus makes the text relevant to scholars, researchers and practitioners across many fields of music, including those working in musicology, composition, performance, music education, and music psychology. The book contributes new perspectives on our understanding of the role of creative teaching and learning and processes in creative teaching across the domain of music learning in higher music education sectors.