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Journal articles on the topic 'Creative Arts'

To see the other types of publications on this topic, follow the link: Creative Arts.

Author: Grafiati

Published: 4 June 2021

Last updated: 21 February 2023

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1

Iovino, Serenella. "Editorial: Creative Writing and Arts // Editorial: Escritura creativa y arte." Ecozon@: European Journal of Literature, Culture and Environment 7, no. 1 (June 15, 2016): 197–200. http://dx.doi.org/10.37536/ecozona.2016.7.1.989.

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2

Zindel, Bonnie. "Creative Literary Arts." Psychoanalytic Perspectives 7, no. 2 (November 2010): 416–17. http://dx.doi.org/10.1080/1551806x.2010.10473104.

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3

김현숙. "Creative Arts and Zen." Korean Journal of Art and Media 14, no. 1 (February 2015): 85–112. http://dx.doi.org/10.36726/cammp.2015.14.1.85.

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4

Jones, Diana. "Creative arts in rehabilitation." International Journal of Therapy and Rehabilitation 18, no. 11 (November 2011): 599. http://dx.doi.org/10.12968/ijtr.2011.18.11.599.

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5

&NA;, &NA;. "PRATT CREATIVE ARTS EVENTS." Family & Community Health 10, no. 4 (February 1988): 84. http://dx.doi.org/10.1097/00003727-198802000-00017.

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6

Brown, Ralph. "Performing Arts Creative Enterprise." International Journal of Entrepreneurship and Innovation 6, no. 3 (August 2005): 159–67. http://dx.doi.org/10.5367/0000000054662836.

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The UK government has recently established the National Council for Graduate Entrepreneurship (NCGE) to promote entrepreneurship in higher education, across all subject disciplines. This article considers the UK government's policy initiative from the perspective of a new project supporting tutors in the performing arts sector, who are working to ‘bridge the gap’ between arts education and professional artistic practice. The article explores, in particular, fundamental issues such as: what is distinctive about cultural entrepreneurship and how can it be taught? It also discusses the role of higher education institutions in developing relationships with the creative industries sector and in developing training and support systems for aspiring professional artists.

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7

Bradt, Joke, and Sheryl Goodill. "Creative Arts Therapies Defined." JAMA Internal Medicine 173, no. 11 (June 10, 2013): 969. http://dx.doi.org/10.1001/jamainternmed.2013.6145.

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8

Daniel, Jamie Levine, and Mirae Kim. "Creative Placemaking: Creating Change by Building Partnerships." Journal of Public and Nonprofit Affairs 6, no. 1 (April 1, 2020): 96. http://dx.doi.org/10.20899/jpna.6.1.96-110.

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Arts, artists, and creative strategies can be critical vehicles for achieving social, economic, and community goals. Creative placemaking is one type of arts-led planning that incorporates the goals of communities with stakeholder participation. Questions exist, however, around who participates in the creative placemaking process and to what end. This study explores a case where a state-sponsored workshop brought together people from diverse backgrounds to facilitate community development and engagement through creative placemaking. The study highlights how a one-shot intervention can reshape perceptions of creative placemaking that are held by planners, nonplanners, artists, and nonartists. The study shows that while pre-workshop participants focused on identifying resource-based challenges, post-workshop participants focused more on initiating collaborations and being responsive to community needs. The different attitudes before and after the state-sponsored workshop demonstrate the importance of not only building stakeholder understanding but also facilitating stakeholder engagement for successful creative placemaking.

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9

Felton, Emma, Krystle Vichie, and Eloise Moore. "Widening participation creatively: creative arts education for social inclusion." Higher Education Research & Development 35, no. 3 (November 20, 2015): 447–60. http://dx.doi.org/10.1080/07294360.2015.1107881.

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10

Ruastiti, Ni Made. "Tourist Performing Arts: Balinese Arts-Based Creative Industry." Mudra Jurnal Seni Budaya 25, no. 3 (September 30, 2010): 293–301. http://dx.doi.org/10.31091/mudra.v25i3.1567.

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Creative industry is part of creative economy, which is the implementation of the attempts made to create sustainable development through creativity. Sustainable development refers to a competitive economic climate with renewable resources. Creative economy refers to the fourth stage evolution after agricultural economy, industrial economy and informational economy. As far as the performing arts performed for tourism are concerned, arts seem to develop sustainably. The performing arts such as Cak, Barong and Legong performed for tourism by the Balinese community is the implementation of the local people’s creative industry in developing their artistic life sustainably. They are packaged as the local traditional performing arts.

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11

Rueff, Stephen. "Creative Freedom: Arts Entrepreneurship as a Mindset." Journal of Arts Entrepreneurship Education 2, no. 1 (October 16, 2020): 48–52. http://dx.doi.org/10.46776/jaee.v2.57.

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This essay explores the importance of arts entrepreneurship educators in developing curriculum and classroom practices that guide visual art and design students to appreciate the transferability of creative training to various roles in the creative sector. Observation, empathy, critique and iteration are essential elements of the creative process. These skills are also valuable outside the creative sector, providing insights in business and entrepreneurial settings. It is essential that art and design students are exposed to the idea that, for them, business theories, methods and tools provide a means to communicate the inherent value of their creative solutions to non-creatives. When they achieve this level of understanding, students will grow more comfortable knowing they are not simply working in service of business, but are equal creative collaborators who are essential to the success of any project. When developing arts entrepreneurship curricula, educators can better incorporate the skills presented across visual art and design with the language of business. As a result, students may become more confident in seeing their critical thinking and creative problem-solving skills as providing deeper value to a variety of projects beyond their roles as developers of creative content.

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12

Olofsson, B. K., and T. V. Ermolova. "Play and the Creative Arts." Современная зарубежная психология 4, no. 3 (2015): 15–23. http://dx.doi.org/10.17759/jmfp.2015040302.

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The author’s view is that the child's participation in pretence play changes the state of his mind, and plunge him into a kind of a light hypnotic trance. The child’s view seems to become inward-looking, introspective, which allows him to protect his inner world from the surrounding reality. Children are easily controlling the process of transition into the playing state and coming back to reality and they are aware that nothing magical happens to them during the play. At the same time, they are in desperate need of this kind of game protection of their internal world in which reality is creatively transformed by them into something else that has a strictly individual value for each individual child, and therefore extremely valuable for him or her and absolutely necessary for the personal development

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13

Benvegnù, Damiano. "Editorial: Creative Writing and Arts." Ecozon@: European Journal of Literature, Culture and Environment 11, no. 2 (October 6, 2020): 234–37. http://dx.doi.org/10.37536/ecozona.2020.11.2.4019.

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14

Clift, Stephen. "Creative Arts and Public Health." Arts & Health 6, no. 1 (January 2, 2014): 2–4. http://dx.doi.org/10.1080/17533015.2014.886146.

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15

Craven, Sophie. "Fundraising for creative arts projects." Fundraising for Schools 1, no. 164 (February 2, 2015): 14–15. http://dx.doi.org/10.12968/fund.2015.1.164.14.

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16

Craven, Sophie. "Fundraising for creative arts projects." Fundraising for Schools 2015, no. 164 (February 2, 2015): 14–15. http://dx.doi.org/10.12968/fund.2015.164.14.

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17

Peacock, David. "Creative Performance Arts Degree Courses." British Journal of Music Education 4, no. 1 (March 1987): 71–80. http://dx.doi.org/10.1017/s0265051700005738.

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Young musicians wishing to study music in higher education now have a variety of options open to them. One of these, a relatively recent development, is Creative/Performing Arts degree courses, where students can study music in an interdisciplinary setting. This article sets out to trace the emergence of such courses and to present in a descriptive and informative way their philosophy, admissions procedures, general principles of organisation, curricular content and approach, assessment policies and graduate employment possibilities.

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18

Cinnéide, Barra Ó. "Creative Entrepreneurship in the Arts." International Journal of Entrepreneurship and Innovation 6, no. 3 (August 2005): 151–58. http://dx.doi.org/10.5367/0000000054662827.

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The emergence of an unparalleled national economic performance, labelled the Celtic Tiger, has given Irish business educators the challenging task of analysing and recording their country's burgeoning growth over the past decade. As part of this development, Riverdance –an upbeat combination of Irish music and dance – hit the world stage, demonstrating that entrepreneurship and innovation are as much part of the success process within the creative industries as is the case in any other sector of the economy. By researching the advent and ongoing development of Riverdance and the follow-on show, Lord of the Dance, it is believed that invaluable insights can be gained into the creative entrepreneurial process, including the shows' particular characteristics, their development needs, how innovative entrepreneurs work, and the particular barriers they face. This paper shows how, through publishing a series of studies on Riverdance and Lord of the Dance, it has been possible to demonstrate that the evolution of ‘New Age’ Irish dance, with its unprecedented success abroad, can provide an important role model for both the arts/culture sector and the Irish business community in general. Additionally, these entertainment industry cases, among others, provide an opportunity for considering the confluence within Irish music in terms of its traditional, classical and contemporary forms, within the rapidly changing educational, social and cultural landscape of a burgeoning economy that has earned the title, the Celtic Tiger.

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19

McLaughlin, Dorothy. "Educating the creative arts therapist." Arts in Psychotherapy 13, no. 4 (December 1986): 348–49. http://dx.doi.org/10.1016/0197-4556(86)90037-7.

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20

Gibson, Gwen L. "Reflections: Beyond creative arts therapies." Arts in Psychotherapy 16, no. 3 (September 1989): 219–21. http://dx.doi.org/10.1016/0197-4556(89)90025-7.

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21

Appleton, Leo, Gustavo Grandal Montero, and Abigail Jones. "Creative Approaches to Information Literacy for Creative Arts Students." Comminfolit 11, no. 1 (2017): 147. http://dx.doi.org/10.15760/comminfolit.2017.11.1.39.

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22

Brien, Donna Lee. "Creative Practice as Research: A Creative Writing Case Study." Media International Australia 118, no. 1 (February 2006): 53–59. http://dx.doi.org/10.1177/1329878x0611800108.

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This paper utilises a case study approach to examine practice-led research in a specific discipline of the creative arts by examining the range of research strategies utilised during the author's doctoral studies in creative writing. This personal example is then situated within a broader context through suggestions about the contribution such creative arts-based research practice can make to the development and enhancement of creativity more generally, and an exploration of why this is important.

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23

Lim, Jing Yi, and Shanthi Balraj Baboo. "PERCEPTION OF CREATIVE ARTS PRACTITIONERS ON THE USE OF DIGITAL TECHNOLOGIES FOR CREATIVE PROJECTS AMONG CREATIVE ARTS STUDENTS IN INSTITUTIONS OF HIGHER LEARNING." Journal of Language and Communication 9, no. 1 (April 13, 2022): 102–15. http://dx.doi.org/10.47836/jlc.9.1.07.

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Innovation and continuous development of digital technologies have brought significant changes to learning. The use of digital technologies allows accessibility to a vast array of information and provides students with the opportunities to learn and grow in different ways. While the Malaysian government has constantly put in huge investments for developing Information Communication Technology (ICT) facilities in higher learning institutions to prepare students for new technologies and ‘new’ workplaces, information which focus on creative arts students’ digital competency in staying relevant to creative arts is still limited. This paper aims to explore the use of digital technologies by creative arts students for creative project development. This study employed qualitative methodology where in-depth interview was conducted with five well-known Malaysian creative arts practitioners. Perceptions and views of creative practitioners on creative arts students’ digital competency are gathered and analysed. While students in this day and age are known as ‘digital natives’, creative arts practitioners have different views on creative arts students’ digital competency in creative project development. Majority of the informants noted that digital technologies are helpful for creative arts students, but they also expressed their concerns on the challenges faced by the students. The interviews revealed that practitioners associated several issues in students’ creative projects, such as building collaboration, obtaining constructive and helpful information, as well as identifying goals and copyright concerns. The data collection outcome will enable policymakers and practitioners to identify actions that should be taken to prepare creative arts students with better skills, knowledge and attitudes for meaningful participation in the digital world. This article is written to generate and facilitate discussion on how creative arts students’ digital competency can be further improved for productivity and efficiency in accomplishing their tasks.

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24

Jeffery, Laura, Mariangela Palladino, Rebecca Rotter, and Agnes Woolley. "Creative engagement with migration." Crossings: Journal of Migration & Culture 10, no. 1 (April 1, 2019): 3–17. http://dx.doi.org/10.1386/cjmc.10.1.3_1.

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This article introduces a special issue on arts-based engagement with migration, comprising articles, reflections, poems and images. The introductory article starts by exploring the ethical, political and empirical reasons for the increased use of arts-based methods in humanities and social sciences research in general, and in migration studies in particular. Next, it evaluates participatory methods, co-production and co-authorship as increasingly well-established practices across academia, the arts, activism and community work. It then considers how the outputs of such processes can be deployed to challenge dominant representations of migration and migrants. The authors reflect critically upon arts-based methodological practices and on the (limits to the) transformative potentials of using arts-based methods to engage creatively with migration. Sounding a cautionary note, they concede that even collaborative artistic expressions have limits in overcoming unequal power dynamics, conveying experiences of migration and effecting long-term change in a context in which discourse on migration is dominated by short-term political decision-making, and punitive policies force migrants into precarious forms of existence. While the prospect of influencing the political sphere might seem remote, they advocate for the role and power of the arts in instigating, shaping and leading change by inspiring people’s conscience and civic responsibility.

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25

Upton, Andrew. "Creative conversations: theatre, the arts, creative learning and the future." NJ 39, no. 2 (July 3, 2015): 159–64. http://dx.doi.org/10.1080/14452294.2015.1127312.

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26

Reynolds, Jackie. "Stories of creative ageing." Working with Older People 19, no. 1 (March 9, 2015): 33–40. http://dx.doi.org/10.1108/wwop-11-2014-0035.

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Purpose – The purpose of this paper is to highlight some of the benefits and issues relating to arts participation in later life. Design/methodology/approach – The paper draws on literature relating to older people's arts participation, and also includes discussion of the author's doctoral research into arts and ageing. The research was a qualitative study, influenced by narrative approaches and life-course perspectives. It involved interviews with 24 participants who have connections with a case-study town in the English Midlands. Findings – The paper focuses on the findings from six participants belonging to a male voice choir. The themes that are discussed include the importance of continuity; issues of identity; mutual support; impact of ill health and the sustainability of group activities. Research limitations/implications – This is a small-scale study, based in one case study town. Care should therefore be taken in generalising to different populations and areas. Potential for future research includes: other geographical locations, including larger urban areas. Specific focus on choir participation, or other art form. Involving people from a wider range of ethnic backgrounds. Social implications – This study adds to a growing body of evidence about the value of arts and culture to society. Originality/value – This study is original in adopting life-course perspectives to understand later life arts participation. It also offers original insights into the nature of arts-generated social capital and how this may be viewed within a wider context of resourceful ageing.

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27

Adi, Sigit Purnomo, Pande Made Sukerta, M. Dwi Marianto, and Sri Hadi. "EARTH'S CREATION STIMULUS: CREATION OF GRAPHIC ARTS WITH USED PLYWOOD MEDIA." ARTISTIC : International Journal of Creation and Innovation 2, no. 1 (November 23, 2021): 33–41. http://dx.doi.org/10.33153/artistic.v2i1.3634.

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Natural phenomena, especially climate change, are increasingly worrying lately. Graphic art can be used to express concern for the environment in response to climate change. The creation of this graphic art work uses the concept of the earth's creation stimulus. The creative methods used include: experimentation, contemplation, and formation. Abstract Expressionism was chosen as the style of personal expression in the creation of this work. The creative technique used is high printing technique with used plywood media. The results of the creation process show that the visualization of the concept of the earth's creative stimulus produces the forms of circles and lines. These forms are the main motif in the creation of graphic art with the stimulation of this earth's creativity

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28

Ting, Su-Hie, Saiful Bahari Mohamad Yusoff, and Nancy Kissam. "INTRODUCTION SECTIONS IN CREATIVE ARTS THESIS." Leksema: Jurnal Bahasa dan Sastra 7, no. 1 (June 30, 2022): 61–71. http://dx.doi.org/10.22515/ljbs.v7i1.5090.

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The content structuring of creative arts thesis is still evolving and has been mainly based on the social science thesis structure. However, the diversity of creative works encompassing music compositions, novels, art works, dance, and painting makes it difficult for the thesis to fit into the conventional content structure. There is also the description of intellectual property and the final product validation which are distinctly different components of creative arts research which need to be documented. In addition, the impetus for the creative arts research may not arise from a gap of knowledge in the field but from ergonomical problems of certain products or designs. The present study examined how the introduction section is written in creative arts thesis. Eleven creative arts theses written by undergraduate and postgraduate students in two Malaysian universities were analysed to identify the impetus or entry point for the research. The results indicate that the research problem in creative arts thesis is inclined towards researcher observation of ergonomic problems with existing products or designs although some students strengthen their case by citing related research findings on the weaknesses of existing products or design to carve a niche for their study. The study suggests that patent search offers useful information that can be used to justify the novelty of innovations and inventions.

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29

Kušnírová, Eva. "Creative Workshop – Creative Activity of Undergraduate Students in The Process of Theatre Creation." Review of Artistic Education 17, no. 1 (March 1, 2019): 159–70. http://dx.doi.org/10.2478/rae-2019-0017.

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Abstract Within the frame of the study field of Aesthetics at Faculty of Arts Prešov University in Prešov, the students have an opportunity to acquire abilities and skills also in creative artistic activities. One of the possibilities is to participate in the creative workshops as the part of Academic Prešov Festival that is very popular with the participants. The actors of a creative workshop can experience, in a short period of time (mostly weekly), an intense creative process in which a young undergraduate student headed by a professional, in the amateur communication with a professional, can experience an unrepeatable experience of creativity, creation of theatrical work as well as the distinctive level of theatrical communication on the axis of participant-lecture-process-making-theatrical work-viewer. In this way, he discovers potential artistic, authentic, and generationally specific dispositions.

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30

TARAKCİ EREN, EMİNE. "Creative Thinking Skills In Visual Arts." Social Sciences Studies Journal 5, no. 53 (January 1, 2019): 7451–61. http://dx.doi.org/10.26449/sssj.2045.

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31

Robkin, Rochelle. "Adolescents' Creative Productivity in the Arts." Marilyn Zurmuehlen Working Papers in Art Education 6, no. 1 (1987): 135–40. http://dx.doi.org/10.17077/2326-7070.1167.

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32

Bristow, Macy. "The creative arts in dementia care." Journal of Mental Health 22, no. 4 (July 23, 2013): 396. http://dx.doi.org/10.3109/09638237.2012.734661.

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33

Olubunmi Odewumi, Michael, Ayotunde Atanda Falade, and Adewale Olusegun Adeniran. "Learning creative arts via instructional television." Revija za elementarno izobraževanje 11, no. 4 (December 2018): 357–72. http://dx.doi.org/10.18690/rei.11.3.357-372.2018.

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34

Cummings, Jessica. "The Creative Arts in Dementia Care." Canadian Art Therapy Association Journal 24, no. 1 (March 2011): 32–34. http://dx.doi.org/10.1080/08322473.2011.11434792.

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35

Lusebrink, Vija. "Using the Creative Arts in Therapy." Art Therapy 2, no. 3 (October 1985): 139–40. http://dx.doi.org/10.1080/07421656.1985.10758808.

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36

Herbert, Doug. "Arts Education and the Creative Economy." Journal of Dance Education 6, no. 2 (April 2006): 37–40. http://dx.doi.org/10.1080/15290824.2006.10387310.

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37

Gallagher, Lisa. "Creative arts therapies for palliative medicine." Progress in Palliative Care 21, no. 2 (May 2013): 63–64. http://dx.doi.org/10.1179/0969926013z.00000000073.

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38

Cowdroy, Rob, and Anthony Williams. "Assessing creativity in the creative arts." Art, Design & Communication in Higher Education 5, no. 2 (January 12, 2007): 97–117. http://dx.doi.org/10.1386/adch.5.2.97_1.

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39

Mason, Rachel. "Creative education through arts and crafts." International Journal of Education through Art 1, no. 1 (April 2005): 3–8. http://dx.doi.org/10.1386/etar.1.1.3/0.

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40

Yeung, Alexander Seeshing, Dennis M. McInerney, and Deirdre Russell-Bowie. "Hierarchical, multidimensional creative arts self-concept." Australian Journal of Psychology 53, no. 3 (December 2001): 125–33. http://dx.doi.org/10.1080/00049530108255134.

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41

Abreu, Maria, and Vadim Grinevich. "Academic Entrepreneurship in the Creative Arts." Environment and Planning C: Government and Policy 32, no. 3 (January 2014): 451–70. http://dx.doi.org/10.1068/c11144r.

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42

Greenhalgh, Liz. "From Arts Policy to Creative Economy." Media International Australia 87, no. 1 (May 1998): 84–94. http://dx.doi.org/10.1177/1329878x9808700110.

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This article considers the may the Labour Party, since its election in May 1997, has promoted ideas about the value of the creative economy to Britain's industrial future. It argues that the Party's approach to the creative economy has more in common with new business and management theories, rather than being a fully worked-out approach to cultural policy. There is now a disjunctive between the recognition of the creative economy and the continued existence of traditional arts policy-making institutions. New government initiatives around the idea of re-branding Britain and promoting Britain's creative economies through the public spectacle and millennium celebrations have opened up this incipient gap between traditional arts policies and new thinking about the creative economy. The article notes that much of the pioneering work developing the idea of cultural industries was carried out more than a decade ago by city councils in Britain, which sought to sustain their small cultural businesses with limited programs of investment and business support. At the time, this work was largely ignored by traditional arts policy bodies. The paper concludes by speculating about whether the Labour Party can turn its rhetoric about the creative economy into a more substantive policy which brings together the mixed economy of public and private in the cultural sector.

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43

Blatner, Adam. "Theoretical principles underlying creative arts therapies." Arts in Psychotherapy 18, no. 5 (January 1991): 405–9. http://dx.doi.org/10.1016/0197-4556(91)90052-c.

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44

Johnson, David Read. "Shame dynamics among creative arts therapists." Arts in Psychotherapy 21, no. 3 (January 1994): 173–78. http://dx.doi.org/10.1016/0197-4556(94)90046-9.

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45

Cutler, David. "Creative ageing at the crossroads." FPOP Bulletin: Psychology of Older People 1, no. 152 (October 2020): 6–11. http://dx.doi.org/10.53841/bpsfpop.2020.1.152.6.

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This article looks at the expansion of creative ageing activity, mainly led by arts organisations, over the last decade in the UK, with brief reference to work abroad. It is written largely from the vantage point of a specialist arts funder. While this work has expanded markedly and become much more mainstream, the crisis in the arts caused by the Covid-19 pandemic puts this expansion at risk.

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46

McNiff, Shaun. "Developing arts and health – Within creative-arts therapy or separately?" Journal of Applied Arts & Health 4, no. 3 (January 1, 2014): 345–53. http://dx.doi.org/10.1386/jaah.4.3.345_1.

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47

Seeley, Ken. "The Arts and Talent Development." Gifted Education International 11, no. 3 (September 1996): 136–38. http://dx.doi.org/10.1177/026142949601100305.

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The writer argues for the importance of the creative arts which cross all boundaries of culture and human motivation. The article defends the holistic nature of the creative arts which synthesises the whole range of human potential. The author proposes that the creative arts are a basis for understanding both the self and society.

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48

Bernal, Raul Niño. "Evolutionary Immersion, Digital Arts, Science and Technology." ARJ – Art Research Journal / Revista de Pesquisa em Artes 2, no. 2 (September 25, 2015): 11–122. http://dx.doi.org/10.36025/arj.v2i2.7287.

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A theoretical defense of aesthetics as an open science, of knowledge from the perspective of computational information and electronic networks. The transformation of technologies vis-à-vis the evolutionary creation and immersion of digital arts and the use of computing poses a wider conception about interaction, participation and visual concepts in terms of an event horizon. Artists and scientists who use the digital medium face two transformation processes in the creative milieu: in the first place, understanding the transformation of the matter used in the past to represent objects and works of art, now with information bytes, computing codes and algorithms. On the other hand, computational technologies used in order to share and transfer knowledge on the Internet, establishing social, academic and scientific ties leading to the creation of immersive relationships that explain a technological and creative evolution. Revision: Leslie H. Damasceno

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49

Yurieva, Marina N. "Development of creative thinking of a student by means of staging activities at universities of culture and arts." Tambov University Review. Series: Humanities, no. 3 (2022): 599–607. http://dx.doi.org/10.20310/1810-0201-2022-27-3-599-607.

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The issues of the development of creative thinking of a student by means of staging activities in the universities of culture and arts are considered. A number of prerequisites for the development of creative thinking of a student are revealed. The features of the structure of creative thinking in foreign and domestic studies are analyzed. The staging activity of a student in the universities of culture and arts, implemented as part of the study of a number of disciplines “Composition and Staging of Dance”, “Staging Workshop”, “Skill of a Choreographer”, etc., is characterized. As a result of the study, the types of thinking that, in the context of various approaches, are decisive, that is, dominate in the process of creating choreographic compositions, are considered, among them: figurative, spatial, associative, kinesthetic thinking. A brief description of the block of creative problem tasks, etude works aimed at the development of creative thinking of a student at universities of culture and arts.

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50

Aprotosoaie-Iftimi, Ana-Maria. "3. The Role of Arts in School Education." Review of Artistic Education 20, no. 1 (April 1, 2020): 198–203. http://dx.doi.org/10.2478/rae-2020-0024.

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AbstractContemporary psychologist Didier Anzieu220 speaks of five phases of the process of creation: creative emotion, gaining consciousness, transposition, elaboration, and exposure. Each of the five phases has a correspondent in the stages of development of visual-plastic educational activities, and the role of the teacher is essential in each of them. Starting from the five phases, we propose an approach pattern to the creative process, adapted and developed during the years of experience in pre-university educational environment, and refined throughout the research activity carried out in the university environment.

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