Creativity Research in Dance

Press, Carol M.; Warburton, Edward C.

doi:10.1007/978-1-4020-3052-9_87

Cited by 18 publications

(20 citation statements)

References 20 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Therefore, staff balanced support with the encouragement of student autonomy in order to nurture individual creativity. Such an emphasis on the role of the environment supports previous research in dance indicating that wider social and cultural factors can influence, and in some cases are part of, creativity (Chappell 2006;Press and Warburton 2007;Sawyer 2007). …”

Section: Creativitysupporting

confidence: 73%

Developing talent among young dancers: findings from the UK Centres for Advanced Training

Aujla¹,

Nordin-Bates²,

Redding³

et al. 2014

Theatre, Dance and Performance Training

View full text Add to dashboard Cite

Developing talent among young dancers: Findings from the UK Centres for Advanced Training.Theatre, dance and performance training, 5(1): [15][16][17][18][19][20][21][22][23][24][25][26][27][28][29][30] http://dx.doi.org/10. 1080/19443927.2013.877964 Access to the published version may require subscription. AbstractThe identification and development of talent is a key concern for many dance educators, yet little research has been conducted in the area. In order to understand better how to optimise dance talent development among young people, systematic and rigorous research is needed. This paper will summarise and discuss the key findings of a ground-breaking longitudinal interdisciplinary research project into dance talent development. Over two years, almost 800 young dancers enrolled at one of the eight nationwide Centres for Advanced Training (CATs) participated in the project. Physical factors, psychological characteristics, and injury data were collected quantitatively while the students' thoughts and perspectives on commitment, creativity and cultural variables were captured using qualitative methods. The largest study of its kind, the project yielded a wide range of findings with a number of practical implications. The main focus of this paper is on how the project findings apply to important pedagogic topics such as audition criteria, passion and commitment, and teaching behaviour. The area of talent identification and development is complex, yet this research has begun to shed new light on the notion of talent and has provided novel insights to support its development.

show abstract

Section: Creativitysupporting

confidence: 73%

Developing talent among young dancers: findings from the UK Centres for Advanced Training

Aujla¹,

Nordin-Bates²,

Redding³

et al. 2014

Theatre, Dance and Performance Training

View full text Add to dashboard Cite

show abstract

“…Choreographers are often engaged in a balance of imagination and analysis to produce 'something' regarding sense of self, others, physical environments, and the expressive nature of embodied symbolic systems (Press & Warburton, 2007).…”

Section: Design Education Across Design Disciplinesmentioning

confidence: 99%

Feedback in concept development: Comparing design disciplines

Yılmaz

Daly

2016

Design Studies

View full text Add to dashboard Cite

Design feedback is an essential pedagogical tool to promote student design progress, yet little research has focused on what instructor feedback looks like, especially across design disciplines. In this paper, we analyzed feedback provided in dance choreography, industrial design, and mechanical engineering to explore variation in feedback type across disciplines as well as how feedback type encouraged students to take convergent or divergent paths in their design processes. Many common feedback types were observed across the three disciplines, regardless of variance in context and expectations, as well as some notable distinctions. With regards to feedback directing convergent and divergent thinking, feedback suggesting convergent pathways was more prominent across all three disciplines. Keywords: design education, design feedback, design processes, conceptual design HIGHLIGHTS• Feedback session settings, approaches and discussions varied by disciplines.• Convergent and divergent feedback were used across diverse design disciplines.• Convergent-directing feedback was more evident across disciplines.Innovative solutions are often traced to ideation, where diverse creative ideas are initiated and developed (Brophy, 2001;Liu, Bligh, & Chakrabarti, 2003). Design processes facilitate this route to bringing ideas to innovative outcomes (Ottosson, 2001;Soosay & Hyland, 2004), and this path toward innovation hinges on successful concept generation, defined as the creation of multiple and diverse concepts (Akin & Lin, 1995;Atman, Chimka, Bursic, & Nachtman, 1999;Liu et al., 2003;Daly, Yilmaz, Christian, Seifert, & Gonzalez, 2012). Students often engage in design ideation during project-based courses such as cornerstone and capstone engineering design courses and domain specific and interdisciplinary studio courses (Dym & Little, 2004;Oh, Ishizaki, Gross, & Do, 2012;Sagun, Demirkan, & Goktepe, 2001;Uluoglu, 2000). Project-based courses often allow for more freedom in timing and pathways, but instructors must make sure students stay on track. Instructor success relies, in part, on the ability to provide guidance and feedback on students' design paths and processes, allowing them to explore on their own, but facilitating a structure where the students can learn strategies to fully explore and define problems, engage in divergent processes by generating a wide range of solutions and converge on and verify the most promising outcomes.In our work, we investigated instructor feedback in dance choreography, industrial design, and mechanical engineering to compare instructors' approaches to guiding students' work. While the content of the design projects was unique to the disciplines, students engaged in design thinking,

show abstract

“…Such a result could have been expected keeping in mind the basic concepts of modern ballet, which are communicated through its formal characteristics of expressing human existence (Au, 2002;Huxley, 1994;Jowitt, 1994;Press & Warburton, 2007) and the complexity of human nature (Duncan, 1981;Graham, 1991;Huxley, 1994;Jowitt, 1994). It may be understood that the freedom to use space and the freedom to use dance figures are significant pillars of these fundamental ideas of modern ballet, since it has previously been showed (Camurri, Lagerlöf, & Volpe, 2003) that the expression of basic emotions (anger, fear, grief and joy) are easily recognizable in modern ballet.…”

Section: Discussionmentioning

confidence: 99%

“…Since creativity accompanies all aspects of dance, from choreography to performance via dance education, creativity in the field of dance has been studied from these different aspects (see more in Press & Warburton, 2007). The results of different studies on creativity in choreography were summarized by Hagood and Kahlich (2007).…”

Section: Palabras Clave Descriptoresmentioning

confidence: 99%

An Audience’s Subjective Experience of the Freedom of Artistic Expression in Different Dance Forms from the Perspective of the Cultural Psychology of Creativity

Vukadinović¹

2013

Univ Psychol

View full text Add to dashboard Cite

A b s t r A c tPrevious studies on different dance forms, including classical ballet, modern ballet and flamenco, show that the objective classification of these forms of dance is subjectively relevant, or in other words, the subjective categorization of dance is based on its formal properties. Based on this standpoint, this study aims to examine the audience's subjective experience of the freedom of artistic expression in three dance forms: classical ballet, modern ballet and flamenco. This study also aims to place an audience's subjective experience of the freedom of artistic expression in different dance forms, into the context of the cultural psychology of creativity. Sixtynine participants assessed three choreographies from each dance form. The participants observed the choreographies audio-visually. The assessment of the freedom of artistic expression included seven-point scales of freedom to use space, use different figures and to express different emotions. The results showed that the dance form effects the assessment of an audience's subjective experiences (using these 3 criteria) in relation to the freedom of artistic expression. Likewise, Choreography has a marked effect on the assessment of subjective experience within the aforementioned criteria for the freedom of artistic expression within each observed dance form. In conclusion, a dance form determines, by its formal characteristics, not only how certain choreography will be created, but also how an audience will experience the choreography. The various implications of the research results on creativity in the field of dance, and the importance of understanding the complex dialogical connections between particular dance forms, choreographers, choreographies and audience in the context of the cultural psychology of creativity were discussed. Key words authorSubjective experience, dance, the freedom of artistic expression, university students (audience). Social and Cultural Psychology, Qualitative Research, Creativity. r e s u m e n Este artículo tiene por objeto examinar la experiencia subjetiva del observador de la libertad de expresión artística en tres formas de danza: ballet clásico, ballet moderno y baile flamenco; adicionalmente, pretende situar la investigación en el contexto de la psicología cultural de la creatividad. Los 69 participantes evaluaron tres coreografías para cada forma de danza, Key words plus

show abstract

Creativity Research in Dance

Cited by 18 publications

References 20 publications

Developing talent among young dancers: findings from the UK Centres for Advanced Training

Developing talent among young dancers: findings from the UK Centres for Advanced Training

Feedback in concept development: Comparing design disciplines

An Audience’s Subjective Experience of the Freedom of Artistic Expression in Different Dance Forms from the Perspective of the Cultural Psychology of Creativity

Contact Info

Product

Resources

About