The creative dancer

Farrer, Rachel

doi:10.1080/14647893.2013.786035

Cited by 16 publications

(12 citation statements)

References 2 publications

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“…This supports the idea by Corazza (2016) that creativity is related to an ability to see the potential expression of a process. This is in line with the emphasis on the creative process in dance pedagogy ( Butterworth, 2004 ; Farrer, 2014 ), yet suggests that this emphasis may be preventing those who do not have experience of choreography from identifying creativity. Our findings suggest that this level of expertise is essential in evaluator selection; experience in physically dancing or watching contemporary dance does not lead an individual to rate creativity higher.…”

Section: Discussionsupporting

confidence: 60%

“…Typically, each dancer’s material will contribute in some way, through refinement of the movement and changes to timing, resulting in a creative product ( Stevens et al, 2001 ). Farrer (2014) notes that whether improvising, choreographing, transforming a phrase of movement, or completing a task, dancers embody numerous creative roles, yet even dancers themselves do not recognize their creativity. These multiple perspectives highlight a broad lack of awareness of dancers’ choreographic creativity, calling for greater scientific attention to this unique domain of creativity.…”

Section: Introductionmentioning

confidence: 99%

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Expertise in Evaluating Choreographic Creativity: An Online Variation of the Consensual Assessment Technique

et al. 2018

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In contemporary dance, experts evaluate creativity in competitions, auditions, and performances, typically through ratings of choreography or improvisation. Audiences also implicitly evaluate choreographic creativity, so dancers’ livelihoods also hinge upon the opinions of non-expert observers. However, some argue that the abstract and often pedestrian nature of contemporary dance confuses non-expert audiences. Therefore, agreement regarding creativity and appreciation amongst experts and non-experts may be low. Finding appropriate methodologies for reliable and real-world creativity evaluation remains the subject of considerable debate within the psychology creativity research field. Although considerably variant in methodological operationalisation, the Consensual Assessment Technique (CAT) asks individuals to use an implicit definition to assess creativity in others’ work. This study aimed to investigate the role of experience and expertise in the evaluation of choreographic creativity, with a secondary aim of testing the feasibility of an online snowballing methodology for large-scale dance-specific research, informed by the methodology of the CAT. We filmed 23 Contemporary Dance students each performing a 3-min peer-choreographed solo and then recruited 850 online evaluators with varying degrees of expertise and experience in dance and creativity. Evaluators viewed at least one randomly selected video and rated creativity, technical ability, appreciation and understanding of the work, each using a seven-point Likert scale. A one-way ANOVA showed a significant difference in creativity ratings across the 23 videos, and creativity correlated significantly with the other variables. We then categorized evaluators on nine aspects of their dance and creative experience and entered the data into a repeated-measures linear mixed model. Two of the fixed effects yielded differences in creativity evaluations: (i) contemporary choreographic experience and (ii) self-reported creative expertise, as did the random effect of the video. The results indicate that personal experience of the choreographic process impacts creativity assessment, above and beyond experience in dance class participation. Implications for creativity assessment within creativity research and practice are discussed.

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Section: Discussionsupporting

confidence: 60%

Section: Introductionmentioning

confidence: 99%

Expertise in Evaluating Choreographic Creativity: An Online Variation of the Consensual Assessment Technique

et al. 2018

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“…The Geculan Bocah dance performance gives a space for the dancers to explore their creativity. Many people think that a good dance work is only seen from who the choreographer is, not by whom and how the role of the dancers (Farrer, 2014). Therefore, in this article the writer discusses further about how the creativity role of children (the Geculan Bocah dancers) in a performance is.…”

Section: Introductionmentioning

confidence: 96%

“…Related research was also conducted by Farrel entitled The Creative Dancer in 2014 which provided a reference to the creative role of dancers in the creation of dance work. This research is based on the assumption that the role of dancers is often overlooked in the creation of dance works, whereas good creative work between choreographers and dancers is the key to the success of a dance work (Farrer, 2014). Based on these references, there has been much discussion about the creative process in the creation of dance works (choreography), but writing is rarely found that discusses the phenomenon of dance performance as a creative space for children.…”

Section: Introductionmentioning

confidence: 99%

The Geculan Bocah Dance Performance As A Creative Space for Children

2019

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This study aims to analyze the creativity of children (dancers) in the Geculan Bocah dance performance and how the performance becomes a space to arouse creativity. The case study in this research was the phenomenon of the Geculan Bocah dance performance in Sanggar Tanuwiyoyo Semarang Regency. The method used is a qualitative research method through a phenomenological approach. Data collection was done by using the method of observation, interviews, and documentation. The data analysis test used the Miles and Hubberman model through data reduction, data presentation, and drawing conclusions. Data validity used triangulation of sources, techniques, and methods. The results showed that Geculan Bocah dance performance consisted of 3 parts, namely the beginning, middle (core) and final (ending). Each part of the performance requires the creative role of the child as a dancer. Children’s creative roles include individual creativity, collaborative creativity, and communal creativity. Individual creativity attempts every child to show good performance. Collaborative creativity can be seen in the cohesiveness and togetherness during the show. The communal creativity arises because it is influenced by the audience and the atmosphere of the performance. The Geculan Bocah dance performance is a creative product, a creative space/ process, and a driver for the development of children’s creativity.

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“…choreographers (Delahunta et al, 2010), or by contemporary companies doing stage work (Farrer, 2014). The major characteristics of open-structure choreographic process include: democratic collaboration and equality, post-control rehearsals, choreographic thinking tools, and the importance of the dancer (Ashley & Nakamura, 2011;Bannerman, 2010;Barr, 2005;Delahunta et al, 2010;Kloppenburg, 2012).…”

mentioning

confidence: 99%

Screendance for Adult Dancers:

Noton

2021

Movement Matters

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The purpose of this research creation project was to engage in and analyze a process of creating a digital contemporary dance composition. To do this, the researcher completed a choreographic process with a video component for a live performance at a theatre. Observational field notes were collected and analyzed through an interpretive lens to identify the unique challenges that arose during this process. The findings provide insights into the choreographic process, the challenges of navigating technology use within a limited budget, and the uncertainty inherent in a creative process. Furthermore, the project sought to provide an alternative to the weekly technique class in order to further engage adults and the audience in the art form.

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The creative dancer

Cited by 16 publications

References 2 publications

Expertise in Evaluating Choreographic Creativity: An Online Variation of the Consensual Assessment Technique

Expertise in Evaluating Choreographic Creativity: An Online Variation of the Consensual Assessment Technique

The Geculan Bocah Dance Performance As A Creative Space for Children

Screendance for Adult Dancers:

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