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Show 22 IJA the part of pup l l The this schools made performance. Lincoln School creative and as interested in he discussed ideas and Coleman objects, and answers, in others of body a his his work impressive body 1) assumed that: in medium and some have in music. abi lities creating can a of mood and Mearns. p. and Mearns 567): schools." was and the student five led theater to and sensitive to its workers, Out of "artist", development Satis progressive schools and musicians it a by 1930 had considerable progressive education an crea manipulate to hypotheses, buttressed by The a Creative Youth origial questions In other at vitally contributes (1929) sensitive taught 'fter Mearns that creative acts. the teacher must be be either expression One time. published examples that invent or experience. creative and some of this at by the teacher of such-activities. the encouragement of educational appreciation for which allows became teachers of the arts and amount order of books Creative Power search for in important contribution the mind painters, sculptors, poets, novelists, an on conditions which Hughes was the nature of learning to paralleled emerged enterprises educational high a the nation1s across In build and new expressed by Rugg (1947, exploring performance. (1925) creative creative master a by producing revolution a discovery of as capacity it be Many creative teachers emerged importance the creative changed the creative acts and that achieved years work should ;!' progressive permit creative tive s school period; namely, in would to of significant part in a master movement of expression oters; 2) all children appreciative capacity; J) ceative and expressive inhibited or encouraged; 4) the importance·of providing opportunity for creative expression, a |
