This article presents different perspectives of the discussion on the relationship between creativity, emotion and education. As part of the debate between cognition and affectivity, it understands creativity and emotion to be essential for accessing the whole person in education. Emotion and creativity can be understood as a link between higher mental functioning and corporeality. Emotion and creativity develop in a historical, cultural, and social context and, in this sense, the role of education stands out as fundamental for their development and expression.

In times of liquid modernity (^{BAUMAN, 2003}) and in the current 21st century, it can be said that the most important abilities to be developed by schools are creativity and emotion. Interest in studying creativity, which began in the second half of the 20th century, focuses primarily on the creative person, his or her personality and attributes (^{TORRANCE; 1983}; ^{SCHLEDER, 1992}; ^{STOLTZ, 1999}; ^{FLEITH, 2001}). In the United States, a country that stands out for its studies on creativity, the 1950s were marked by the funding of research with the aim of identifying and promoting talents in areas of interest (^{FLEITH, 2001}).

In the 1960s and 1970s, after a period of exacerbated criticism in relation to schools, due to their creativity inhibiting character, the humanist movement or the Third Force in Psychology (^{MASLOW, 1968}; ^{ROGERS, 1985}; ^{STOLTZ, 2000}), provided an important impulse towards creativity development at school, since every human being has the potential to be creative, according to this theoretical perspective. During this period, interest around creativity was focused on promoting the development of individual creative potential.

It was with effect from the 1970s and 1980s that cognitive psychology began to predominate in studies about creativity. The focus fell on the creative process, seeking to identify the variables of the social context responsible for the development of that process. Many theories of creativity began to be developed (^{FLEITH, 2001}; ^{FELDMAN; CSIKSZENTMIHALYI; GARDNER, 1994}; ^{GARDNER, 1993}; ^{CSIKSZENMIHALYI, 1996}).

As of 1980, according to ^{Fleith (2001}), the systemic view of creativity (^{CSIKSZENTMIHALYI, 2014}) became predominant, which understands creativity to be a result of the interaction between the individual and the historical, social, and cultural context. Currently, it is not possible to talk about creative people without alluding to the context that enables the development of this ability. In particular, the work of ^{Renzulli (1992}, ¹⁹⁹⁴) with his Schoolwide Enrichment Model stands out. There is, therefore, a significant body of research that points to ways of developing creativity, considering the historical, social, and cultural context (^{ALENCAR, 1990}, ¹⁹⁹⁷, ¹⁹⁹⁹; ^{ALENCAR; FLEITH, 2009}; ^{GARDNER, 1993}; ^{AMABILE, 1996}; ^{CSIKSZENMIHALYI, 1996}, ²⁰¹⁴; ^{NEVES-PEREIRA; BRANCO, 2015}; ^{PISKE et al., 2014}; ^{PISKE et al., 2016}; ^{PISKE et al., 2018}; ^{VIRGOLIM, 2018}; ^{VIRGOLIM; FLEITH; NEVES-PEREIRA, 1999}; ^{PISKE et al., 2020}; ^{PISKE; STOLTZ, 2020}; ^{STOLTZ; WIEHL, 2021}) among others. Why, then, does the development of creativity remain a great challenge for schools and for society?

^{Baudson & Haager (2019}) propose a set of aspects that answer this question:

The aspects mentioned above distance schools from the development of creativity. As a way of countering this state of affairs, ^{Baudson and Haager (2019}) suggest:

It is precisely in the move towards a new school, one that prepares people for the 21st century, that working with emotion, alongside working with creativity is fundamental. "Emotion or affect refers to feelings that involve, in the face of environmental stimuli or situations, not only the subjective evaluation of those stimuli or situations, but also somatic-bodily processes and cultural beliefs" (^{FONSECA, 2016}, p. 366, our translation).

Unlike computer information processing, human information processing evaluates from an emotional perspective and not just from a rational algorithmic perspective. Human information processing gives affective coloring to information and subjectively guides it to make decisions. ^{Damasio (2012}) suggests that cognitive functions are guided by emotion and the evaluation and judgment of the consequences of actions. In the case of learning, emotion comes before cognition and accompanies it, since the brain acts systemically as a functional and harmonious whole. Thus, schools should be concerned with the social and emotional context.

When mentioning emotion, one cannot fail to cite imagination. Imagination is linked to emotion. Imagination takes its material from reality and, by giving it new meanings gives back to culture renewed readings of the same reality. Imagination is intellectual and emotional, which also denotes creativity (^{NEVES-PEREIRA; BRANCO, 2015}). What arises from the encounter between a person and their culture is characterized as new and original. Within a cultural-historical perspective, creativity can be seen as the mark of uniqueness in ontogenesis. Personal culture and collective culture interact, giving rise to new subjective and collective configurations. Creativity is thus understood as a higher psychological function, within a perspective of socio-historical development (STOLTZ, et al., 2015; ^{PISKE; STOLTZ, 2020}).

With this brief introduction, the papers presented in this dossier seek to discuss perspectives of understanding creativity and emotion and their repercussions in the field of education based on theoretical and empirical research.

Amidst the uncertainty and complexity of present times, it becomes fundamental to invest in the development of creativity in education. Emotion is directly related to creativity, because it works with a different logic. It is when education is based on emotions and creativity that it becomes meaningful. How to understand creativity and emotion in education? How to work in education contributing to the development of creativity and emotion?

The set of papers in this dossier is socially justified by the urgent need to integrate the dimension of creativity and emotion into educational work (^{STOLTZ; WEGER; VEIGA, 2017}; ^{STOLTZ; WIEHL, 2021}). The first article that comprises the dossier is by Merav Dechaume and Todd Lubart. It deals with Parenting style and creative potential of children. It argues that stimulating creative skills in children and adults constitutes an important goal for educators and professionals. In this sense, parenting style, which includes child-rearing practices, creativity-specific parent-child interactions, and perceptions about creativity, is closely related to the development of creative potential. Fifty-eight families participated in this study. A statistically significant relationship was indicated between creativity-specific parent-child interactions and parents' perceptions in their children's self-efficacy questionnaires. The study brings indications of constructs linked to the creative environment of the home and related to the transmission of creativity in society

The second article, by Vasiliki Beloyianni and Dimitrios Zbainos, is entitled: What hinders creativity? Investigating middle school students’ perceived influence of barriers to creativity for improving school creativity friendliness. This article focuses on the barriers that impede the expression of creative ability in the school context. These barriers may vary in relation to cultural context and individual creative ability. The study investigated barriers to creativity among high school students in Greece. The results indicate barriers such as lack of time and opportunities, inhibition, shyness and lack of motivation as obstacles to creativity, which reflect a climate not conducive to the development of creativity in Greek schools.

The third article, by Lola Prieto, Mercedes Ferrando and Carmen Ferrándiz, is entitled: Creativity. Emotional intelligence. Educational Implications. The authors propose a study of the relationship between creativity and emotional intelligence in 187 high-ability students (gifted and talented). The results indicate that the intrapersonal dimension shows stronger correlations with divergent thinking, and is able to predict creativity to a certain extent. Differences between high ability students and their peers are statistically significant for humor and adaptability. Finally, the article presents educational implications for developing creative potential through emotions.

The vulnerabilities of gifted and talented students: socio-cognitive and socio-affective issues are covered by the fourth article written by Angela Virgolim. Virgolim notes the need for a complex and systemic look at talentedness and giftedness, considering the heterogeneity of this group. In response to this complexity, maladjusted social behaviors, hostility, aggression, low self-concept, insecurity, frustration, anger, and feelings of inadequacy can be observed. These characteristics, if not worked on, can lead to a situation of vulnerability and socioemotional risk. Knowledge of the different affective characteristics of these students and their needs can help parents and teachers to build a more appropriate environment for their development.

Following this, Tatiana de Cassia Nakano, Ricardo Primi and Rauni Jandé Roama Alves present their article entitled 21 ^st Century skills: Relationships between creativity and socioemotional skills in Brazilian students. The authors analyze the creativity and socioemotional competencies of 362 3rd and 5th grade students aged 08-15 years from municipal public schools in the state of Pernambuco, Brazil. The results indicate significant correlations between figural creativity and four socioemotional competences (conscientiousness, agreeableness, openness to experience, and locus of external control) and verbal creativity with two socioemotional dimensions (conscientiousness and agreeableness). They indicate the need to stimulate both in the educational context.

Continuing the dossier, Fernanda Hellen Ribeiro Piske and Tania Stoltz present the article: Creativity in the Sociointeractionist Approach and in Waldorf Pedagogy: implications for working with the gifted. The objective of the paper is to investigate the development of creativity in Social Interactionist Education and Waldorf Education and its implications for working with gifted students. Vygotsky's and Steiner's proposals meet the needs of gifted students, especially when considering meaningful teacher mediation. The proposals present creative and esthetic teaching aimed at love of knowledge and life.

The seventh article, by Ervin Karademir, from Turkey, addresses Creativity as a skill. Creativity, one of the most important skills in education, is a high-level, interdisciplinary skill in which individuals produce new and useful products from interaction between skill, process, and environment. The first objective of this paper is to conduct a review of theoretical and experimental studies on classifications and definitions of skills and their dynamic nature. The second objective turns to the development of a classroom practice to enhance the creativity of gifted students. The result of the classroom practice study revealed that creative ability can be developed through design and project based activities.

Cristina Costa-Lobo, Susana de Sá and Alexandra Ribeiro are the authors of Talent Promotion & Psychological Intervention: literature contributions. Considering talent to be related to the study of creativity, the authors propose to contribute, by means of a systematic review, to a critical and interpretative reading of the plural lines of research around the construct of talent. Based on the selection of 132 studies, the results indicate that the existence of innate talent is not enough in itself. Talent must be worked from different variables, in an adjusted way, aiming at its growth. They conclude that there is a concrete need to systematize the contributions of Psychology and Educational Sciences to the study of talent.

This dossier brings together articles covering six nationalities: France, Greece, Turkey, Spain, Portugal and Brazil. From Brazil, it brings articles from the Midwest, Southeast and Southern regions of the country. It has brought together group of authors specialized in the theme of creativity and/or emotion in education. Our special thanks go to Dr. Fernanda Hellen Ribeiro Piske for her contribution to organizing the dossier. We hope the dossier will inspire creative thinking, feeling and actions at school, in social groups and in society.