What Are The Overall Benefits of Dance Improvisation, and How Do They Affect Cognition and Creativity?

The purpose of this thesis is to define the terms improvisation, cognition, and creativity, and therefore find the direct correlation between all three, and how they can all be involved within dance. The main intention is to determine whether or not improvisational dance can positively influence one’s creative mindset, thus improving the cognitive learning process. Furthermore, it is to discover if the development of a creative mindset can be established through dance improvisation at an early age. In this exploration, the majority of my research will come from the examination of previously conducted experiments, as well as guiding and observing an improvisation class of young adults, gaining insight simply from a dance teacher’s perspective in order to explore the idea of cognition leading to creativity through movement. In addition to the bulk of my research, I will also take a look at a class of younger students when attempting to answer the sub questions proposed, regarding the similarities within the correlation of dance improvisation and cognition, based upon different age ranges. Constructed from gathered sources, as well as my own personal explorations, research has found that there is a direct positive correlation between improvisational dance and the development of creativity, primarily due to the cognitive comprehension, retention and exploration capabilities improvisation provides for the mind. The enhancement of creativity allows for the mind to discover new and unfamiliar information that furthers one’s knowledge. This idea of creativity and the thinking/learning process stems further than just simply within the dance and arts realm. It can be influential within any part of society and can heighten the level of thinking and learning, as we know it

Emotional creativity and real-life involvement in different types of creative leisure activities

The role of emotional creativity in practicing creative leisure activities and in the preference of college majors remains unknown. The present study aims to explore how emotional creativity measured by the Emotional Creativity Inventory (ECI; Averill, 1999) is interrelated with the real-life involvement in different types of specific creative leisure activities and with four categories of college majors. Data were collected from 251 university students, university graduates and young adults (156 women and 95 men). Art students and graduates scored significantly higher on the ECI than other majors. Humanities scored significantly higher than technical/economic majors. Five creative leisure activities were significantly correlated with the ECI, specifically, writing, painting, composing music, performing drama, and do-it-yourself home improvement. Keywords: Creativity, Emotional Creativity, Emotions, Creativeness, Affect, Feelings, Leisure Activities, Creative Ability, Artistic Creativity, Creative Thinking, Creativeness, Aging, Cognitive Deficits, Performance. MeSH Headings: Emotions, Creativity, Leisure, Leisure Activities, Hobbies, Recreation, Affect Affective Symptoms, Creativenes

Creativity in the primary curriculum

Abstract not available

Neuroeducation: Learning, Arts, and the Brain

Excerpts presentations and discussions from a May 2009 conference on the intersection of cognitive neuroscience, the arts, and learning -- the effects of early arts education on other aspects of cognition and implications for policy and practice

Spectators’ aesthetic experiences of sound and movement in dance performance

In this paper we present a study of spectators’ aesthetic experiences of sound and movement in live dance performance. A multidisciplinary team comprising a choreographer, neuroscientists and qualitative researchers investigated the effects of different sound scores on dance spectators. What would be the impact of auditory stimulation on kinesthetic experience and/or aesthetic appreciation of the dance? What would be the effect of removing music altogether, so that spectators watched dance while hearing only the performers’ breathing and footfalls? We investigated audience experience through qualitative research, using post-performance focus groups, while a separately conducted functional brain imaging (fMRI) study measured the synchrony in brain activity across spectators when they watched dance with sound or breathing only. When audiences watched dance accompanied by music the fMRI data revealed evidence of greater intersubject synchronisation in a brain region consistent with complex auditory processing. The audience research found that some spectators derived pleasure from finding convergences between two complex stimuli (dance and music). The removal of music and the resulting audibility of the performers’ breathing had a significant impact on spectators’ aesthetic experience. The fMRI analysis showed increased synchronisation among observers, suggesting greater influence of the body when interpreting the dance stimuli. The audience research found evidence of similar corporeally focused experience. The paper discusses possible connections between the findings of our different approaches, and considers the implications of this study for interdisciplinary research collaborations between arts and sciences

What counts as creativity in education? An inquiry into the intersections of public, political, and policy discourses

In this essay, the authors examine the varied public, everyday, and academic discourses of creativity that combine to influence our current educational goals and policies, particularly in North America and Europe. From Sir Ken Robinson’s (2006) cutting remark that “Schools kill creativity!” to the Action Canada Foundation’s (2013) assessment that creativity is one of the seven core learning competencies required in the 21st century, this article portrays the compelling push and pull of creativity in education today. The authors found themselves in search of this seemingly crucial, yet increasingly undersupported aspect of their work in teacher education and research. Coming from literacy and arts education, the authors were called to question what they had always taken for granted. This article contextualizes creativity amid everyday, public, and academic discourses. Through engaging in this inquiry, the extent to which creativity is the recipe for success, as it is so often deemed to be, is assessed and a conceptual framework for creativity in action is proposed

Choreography, controversy and child sex abuse: Theoretical reflections on a cultural criminological analysis of dance in a pop music video

This article was inspired by the controversy over claims of ‘pedophilia!!!!’ undertones and the ‘triggering’ of memories of childhood sexual abuse in some viewers by the dance performance featured in the music video for Sia’s ‘Elastic Heart’ (2015). The case is presented for acknowledging the hidden and/or overlooked presence of dance in social scientific theory and cultural studies and how these can enhance and advance cultural criminological research. Examples of how these insights have been used within other disciplinary frameworks to analyse and address child sex crime and sexual trauma are provided, and the argument is made that popular cultural texts such as dance in pop music videos should be regarded as significant in analysing and tracing public perceptions and epistemologies of crimes such as child sex abuse

Bodily crises in skilled performance: Considering the need for artistic habits

Empirical evidence demonstrates that performing artists are confronted by a variety of ‘bodily crises’ (e.g., injury, attrition of habits induced by ageing) over the course of their careers (Wainwright, Williams, & Turner, 2005). Such crises may present a serious threat to the embodied subject. Unfortunately, many prominent theories of skill acquisition (e.g., Fitts & Posner, 1967) appear to evacuate the body from performance by suggesting that any form of conscious processing (i.e., paying conscious attention to one's action during motor skill execution) will disrupt habitual behaviour. As a result, few researchers have considered how performers might tackle bodily anomalies. In the current paper, we seek to address this issue by discussing a variety of the ‘crises’ that confront the performing body. We start by discussing a number of disciplinary practices that may contribute to these crises. Next, we argue that habitual movements must be open to ‘acts of creativity’ in order to maintain a productive relationship between the performing body and the environment. Then we consider what this ‘creative action’ might involve and discuss a number of approaches (e.g., mindfulness, somaesthetic awareness) that could maintain and improve one's movement proficiency. Here, our argument draws on Dewey's (1922) pragmatist philosophy and his belief that ‘intelligent habit’ was required to help people to improve their movement functioning. Finally, we consider the implications of our argument for current conceptualisations of ‘habitual’ movement and recommend that researchers explore the adaptive and flexible capacity of the performing body

The performance of pain: the consequences for the performing body and its portrayal of mental health

In 2001 the performance artist Kira O’Reilly wrote an article for A-N magazine1 that reflected on the institutional anxieties provoked by ‘Wet Cup’ a performance that includes the cutting and suctioning of her flesh through ‘cupping’ to draw blood. The art institution, despite inviting O’Reilly to perform the work, demonstrated their fears at showing ‘risky’ work through a process which aimed to sanction the ‘health’ of the artwork and subsequently its reflections on the artist herself. They asked O’Reilly to respond to various health and safety demands to account for her mental state and bodily health to prove that she was ‘safe’ to perform2. In asking her to conform to their demands they were making both internal and public assurances that the work was art and not the product of catharsis or breakdown. The institutional unease that O’Reilly could be acting out a psychiatric or psychological disorder through ‘Wet Cup’ demonstrated the sense of mistrust the performing body can instill. Kira O’Reilly’s experience follows a tradition within performance art that inflicts physical pain or suffering. In situating the physical or psychological transgressive within easy and ‘live’ grasp this type of practice presents the performing body as a confrontation to be negotiated. Indeed, when an artist chooses to cut or open their body or remove it from social interaction, their motives are scrutinized for deviance, distress and sanity. Are they mad, eccentric or just responding to questions that ask what it is to be observed and physical creative objects? This paper will analyse the consequences of making performance from physical acts of pain and how this can be understood as sane regarding institutional and public risk. It will reflect on the trauma, stigma and perceptive danger involved with making performance work that includes cutting, or isolating the body from more regular, everyday activity. The paper will reflect on the consequences for the artist, and perceptions of their health both in, and beyond the gallery. The year long works by Tehching Hsieh and the exploration of physical and mental limits through performance by Marina Abramović with be examined along with O’Reilly