Foreword -- Preface -- Contents -- List of Contributors -- Chapter 1. Creativity: A Meeting Between the East and the West Sing LAU, Anna N. N. HUI and Grace Y. C. NG -- 1. Introduction -- 2. Focus and Structure -- 3. The Meeting of East and West: When and How? -- References -- Chapter 2. Personal Creativity and Culture Mark RUNCO -- 1. Introduction -- 2. Consensual versus Personal Creativity -- 3. Culture-Specific Investments -- 4. Support for Creativity -- 5. Culture as Constraint -- 6. Implicit Theories -- 7. Conclusion -- References -- Chapter 3. Creativity: Developmental and Cross-Cultural Issues Todd I. LUBART and Asta GEORGSDOTTIR -- 1. Introduction -- 2. Developmental Issues -- 2.1. What is creativity in this approach? -- 2.2. Cognition and development -- 2.3. Conation and development -- 2.4. Environment and development -- 3. Cross-Cultural Issues -- 3.1. Definition -- 3.2. Cultural context and the amount of creative activity -- 3.3. Cultures channel creativity -- 4. Integrating Developmental and Cross-Cultural Perspectives -- 4.1. Ways that culture defines creativity during development -- 4.2. Ways that culture influences the amount of creativity during development -- 4.3. Ways that culture channels creativity during development -- 5. Conclusion -- References -- Chapter 4. Creativity among Chinese People: Beyond Western Perspective Elisabeth RUDOWICZ -- 1. Introduction -- 2. Creativity: An Individual and Social Phenomenon -- 3. Conceptualization of Creativity within the Chinese Cultural Context -- 3.1. Explicit concepts of Chinese creativity -- 3.2. Chinese implicit concepts of creativity -- 4. Value Attached to Creativity and Domains of Creative Expression in Chinese Populations -- 5. Chinese Socialization Goals and Practices and the Development of Creativity -- 6. Level of Creative Development among the Chinese -- 7. Conclusion.

References -- Chapter 5. Why is there a Paradox in Promoting Creativity in the Asian Classroom? Aik Kwang NG and Ian SMITH -- 1. Elizabeth's Email -- 2. An Anomaly in Education -- 3. The Nature of Learning in the East -- 4. The Cultural Context of Learning in the East -- 5. Why is there a Paradox in Promoting Creativity in the Asian Classroom? -- 6. A Cultural Model of Creativity in the Classroom -- 7. The Authoritarian Nature of Learning in the Confucian Tradition -- 8. Lessons from Dead Poets Society -- 9. Nurturing Independent Yet Socially Responsible Creators in the Asian Classroom -- 10. Conclusion -- References -- Chapter 6. Creativity and Innovation: East-West Comparisons with an Emphasis on Chinese Societies Kwok LEUNG, Al AU and Beeto W. C. LEUNG -- 1. Introduction -- 2. Creativity as a Cultural Phenomenon -- 2.1. What is creativity: A personality trait or a social process? -- 2.2. Universality of creativity measures -- 2.3. East-West differences in the conception of creativity -- 3. Cross-Cultural Research on Creativity -- 3.1. Creativity research in educational settings across cultures -- 3.2. Creativity and innovation in the workplace -- 3.3. A cross-cultural analysis of organizational innovation -- 3.4. Integrating creativity research in educational and work settings -- 4. Conclusion -- 4.1. Implicit theories of creativity and the measurement of creativity performance -- 4.2. Chinese culture and creativity -- 4.3. Interplay between motivational and cognitive factors -- 4.4. Creativity as a life-long performance -- References -- Chapter 7. Progress from Traditional to Creativity Education in Chinese Societies Vivian M. Y. CHENG -- 1. Introduction -- 2. Criticisms on Traditional Chinese Education -- 2.1. Philosophy in education -- 2.2. School curriculums -- 2.3. Teachers and teaching methods.

3. Increasing Concern on Creativity in Chinese Societies -- 3.1. Chinese conception of creativity -- 3.2. Assessment of creativity -- 3.3. Cross-cultural comparison of creative competence -- 3.4. Teachers and teaching methods -- 3.5. School culture -- 3.6. Programs for developing creativity -- 3.7. Alternative views on traditional Chinese culture -- 4. Formal Change towards Creativity Education -- 4.1. Change in formal curriculum -- 4.2. Change in school management -- 4.3. Changes in teacher training -- 5. Challenges ahead in the Creativity Reform -- 5.1. Gap between formal and implemented curriculums -- 5.2. Suggestion for future research -- 5.3. Towards a Chinese model of creativity education -- 6. Conclusion -- References -- Chapter 8. Recognizing and Nurturing Creativity in Chinese Students Jing-Jyi WU -- 1. Introduction -- 2. Why is Chinese Students' Creativity Still Like "Crouching Tiger and Hidden Dragon"? -- 2.1. Overemphaszing IQ and neglecting creativity -- 2.2. Stressing extrinsic motivation and overlooking intrinsic motivation -- 2.3. Focusing on lecturing by authoritative figures and ignoring active construction of meaning -- 2.4. Underscoring competition for high scores and individual struggle, and discouraging cooperative learning and knowledge sharing -- 2.5. Emphasizing examination outcomes and ignoring the process of learning -- 2.6. Accentuating the ability to memorize and perform on paper and pencil tests, and overlooking authentic and multiple assessments -- 2.7. Focusing on "nice boy and girl" behavior and standard answers, and slighting curiosity, exploration and independent thinking -- 2.8. Stressing creativity taught as knowledge and neglecting creativity inspired through the process of involvement -- 2.9. Highlighting a strict focus on effort and seriousness while disregarding the enjoyment of learning.

2.10. Emphasizing the verbal demands of creativity and overlooking informal and implicit learning -- 2.11. Focusing on subject-based curriculum and neglecting curriculum integration -- 3. How to Identify Creativity in Chinese Students? -- 3.1. Recognizing students' creativity from their multiple indications of creative behavior and achievement -- 3.2. Emphasizing creativity tests based on Chinese cultural characteristics -- 3.3. Highlighting the assessment of a positive attitude toward creative lifestyles -- 3.4. Emphasizing the assessment of creative culture (including motivational climate) -- 3.5. Paying special attention to the influence exerted by gatekeepers of creativity -- 4. How to Nurture Creativity in Chinese Students? -- 4.1. Actively creating proper value and attitude toward creativity -- 4.2. Sculpturing lifestyles based on creativity -- 4.3. Employing multiple intelligence theory as a framework to cultivate creativity -- 4.4. Adopting the confluence approach and maintain an interdisciplinary perspective to study creativity -- 4.5. Gradually shaping a creative culture that allows informal and implicit learning of creative behavior -- 4.6. Selecting appropriate gatekeepers when necessary -- 4.7. Showing tolerance and respect toward diversity and individual difference -- 4.8. Creating opportunities for experiential learning and emphasize the enjoyment of learning -- 4.9. Infusing creativity into different disciplines of the curriculum and focusing on its integration -- 4.10. Teaching both creativity-relevant skills and domain-relevant skills -- 4.11. Emphasize both multiple and authentic assessment of individuals, teams, process, and product -- 4.12. Keeping in mind that mentoring is more effective than controlling -- 5. Conclusion -- Reference.

Chapter 9. The Social Psychology of Creativity: The Beginnings of a Multicultural Perspective Beth A. HENNESSEY -- 1. The Social Psychology of Creativity in the Classroom: The Beginnings of a Multi-Cultural Perspective -- 2. Some Background -- 3. The Operationalization of Intrinsic and Extrinsic Motivation -- 4. The Basic Research Paradigm -- 5. The Consensual Assessment Technique (CAT) -- 6. "Killers" of Creativity - A Review of the Literature -- 7. A Proposed Mechanism for These Undermining Effects -- 8. A Blueprint for the Typical American Classroom? -- 9. Moving Toward a Multi-cultural Perspective -- References -- Chapter 10. Beauty is in the Eye of the Creator - A Psychological and Cross-Cultural Account of Children's Understanding of Pictorial Art Siu Fung LIN -- 1. Introduction -- 2. A Framework: The Interplay of World-Artist-Picture-Beholder -- 2.1. What is a work of art and what makes an artist? -- 3. The Child as Creator -- 3.1. When do children draw? -- 3.2. Why do children draw? -- 3.3. What do children draw? -- 4. The Child as Beholder -- 4.1. HK-UK comparisons of children's responses to different genres of art -- 4.1.1. The top 5 -- 4.1.1.1. HK children -- 4.1.1.2. UK children -- 4.1.2. What makes you like this picture? -- 5. Beauty is in the Eye of the Creator: The Child as Artist and as Beholder -- 5.1. What is in the eye of the child-beholder? -- 5.2. The child as artist and as beholder -- 6. Conclusion -- Acknowledgement -- References -- Chapter 11. Blue Apples and Purple Oranges: When Children Paint Like Picasso Kay Cheng SOH -- 1. Are Children Creative? -- 2. What Is Creativity? -- 3. How Can We Maintain Children's Spontaneity? -- 3.1. Stimulation -- 3.2. Opportunity -- 3.3. Freedom -- 3.4. Time -- 4. Should Spontaneity and Social Responsibility Go Together? -- 4.1. Time and place -- 4.2. Others and self -- 5. Art and Beyond.

6. Conclusion.