Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-77c89778f8-7drxs Total loading time: 0 Render date: 2024-07-18T03:33:40.276Z Has data issue: false hasContentIssue false

11 - Dance

The Challenges of Measuring Embodied Creativity

from Part II - Creativity in the Traditional Arts

Published online by Cambridge University Press:  15 September 2017

By
Paula Thomson
Edited by
James C. Kaufman ,
Vlad P. Glăveanu  and
John Baer
James C. Kaufman
Affiliation:
University of Connecticut
Vlad P. Glăveanu
Affiliation:
Universitetet i Bergen, Norway
John Baer
Affiliation:
Rider University, New Jersey
Get access

Summary

Abstract

The human body and movement are the locus of dance and the intention is aesthetic appeal, whether it is expressions of exquisite beauty or ugliness. Creative research in dance includes the practical demands of a dance career and the imaginative potential embodied in the dancer. Dancers rely on their kinesthetic sense, also described as a somatic feeling, when they are creating. The creative experience is a merging of aesthetic awareness, imaginative engagement, and physical knowing. These are related to an affective experience that manifests in the dancers’ kinesthetic sensations and perceptions. Measuring creativity in dance necessitates an interdisciplinary approach, along with study designs that are qualitative and quantitative. Motor creativity encompasses neuroscience, physiology, and psychology; all offer insight into the complexity of non-verbal creative movement.

Type
Chapter
Information
The Cambridge Handbook of Creativity across Domains , pp. 181 - 196
Publisher: Cambridge University Press
Print publication year: 2017

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Air, M. E. (2013). Psychological distress among dancers seeking outpatient treatment for musculoskeletal injury. Journal of Dance Medicine and Science, 17(3), 115–125. DOI: 10.12678/1089.313X.17.3.115Google Scholar
Alter, J. B. (1984). Creativity profile of university and conservatory dance students. Journal of Personality Assessment, 48(2), 153–158. DOI: 10.1207/s15327752jpa4802_8Google Scholar
Amabile, T. M. (1996). Creativity in context. Boulder, Colorado: Westview Press.Google Scholar
Anderson, R., & Hanrahan, S. J. (2008). Dancing in pain: Pain appraisal and coping in dancers. Journal of Dance Medicine and Science, 12(1), 9–16.Google Scholar
Barker, K. K., Soklaridis, S., Waters, I., Herr, G., & Cassiday, J. D. (2009). Occupational strain and professional artists: A qualitative study of an underemployed group. Arts and Health: An International Journal for Research Policy and Practice, 1(2), 136–150.Google Scholar
Bennett, D. (2009). Academy and the real world: Developing realistic notions of career in the performing arts. Arts and Humanities in Higher Education, 8(3), 309–327. DOI: 10.1177/1474022209339953Google Scholar
Bernardis, P., & Gentilucci, M. (2006). Speech and gesture share the same communication system. Neuropsychologia, 44, 178–190. DOI: 10.1016/j.neuropsychologia.2005.05.007Google Scholar
Blanchette, D. M., Ramocki, S. P., O’del, J. N., & Casey, M. S. (2005). Aerobic exercise and creative potential: Immediate and residual effects. Creativity Research Journal, 17(2 & 3), 257–264.Google Scholar
Bournelli, P., Makri, A., & Mylonas, K. (2009). Motor creativity and self-concept. Creativity Research Journal, 21(1), 104–110. DOI: 10.1080/10400410802633657Google Scholar
Brennan, M. A. (1982). Relationship between creative ability in dance and selected creative attributes. Perceptual and Motor Skills, 55, 47–56.Google Scholar
Brennan, M. A. (1983). Dance creativity measures: A reliability study. Research Quarterly for Exercise and Sport, 54(3), 293–295. DOI: 10.1080/02701367.1983.10605308Google Scholar
Brennan, M. A. (1985). Dance creativity tests and the structure-of-intellect model. Journal of Creative Behavior, 19(3), 185–190. DOI: 10.1002/j.2162-6057.1985.tb00657.xGoogle Scholar
Brown, D., & Wyon, M. (2014a). The effect of moderate glycemic energy bar consumption on blood glucose and mood in dancers. Medical Problems of Performing Artists, 29(1), 27–31.Google Scholar
Brown, D., & Wyon, M. (2014b). An international study on dietary supplementation use in dancers. Medical Problems of Performing Artists, 29(4), 229–234.Google Scholar
Chang, H. J., & Kuo, C. C. (2009). Overexcitabilities of gifted and talented students and its related research in Taiwan. Asia-Pacific Journal of Gifted and Talented Education, 1(1), 41–74.Google Scholar
Chaplin, L. N., & Norton, M. I. (2014). Why we think we can’t dance: Theory of mind and children’s desire to perform. Child Development, 86(2), 651–658. DOI: 10.1111/cdev.12314Google Scholar
Chappell, K. (2007). The dilemmas of teaching for creativity: Insights from expert specialist dance teachers. Thinking Skills and Creativity, 2, 39–56. DOI: 10.1016/j.tsc.2007.01.001Google Scholar
Clabaugh, A., & Morling, B. (2004). Stereotype accuracy of ballet and modern dancers. Journal of Social Psychology, 144(1), 31–48.Google Scholar
Coubard, O. A., Duretz, S., Lefebrve, V., Lapalus, P., & Ferrufino, L. (2011). Practice of contemporary dance improves cognitive flexibility in aging. Frontiers in Aging Neuroscience, 3(13), 1–12. DOI: 10.3389/fnagi.2011.000013Google Scholar
Couillandre, A., Lewton-Brian, P., & Portero, P. (2008), Exploring the effects of kinesiological awareness and mental imagery on movement intention in the performance demi-plie. Journal of Dance Medicine and Science, 12(3), 91–98.Google Scholar
Christensen, J. F., & Calvo-Merino, B. (2013). Dance as a subject for empirical aesthetics. Psychology of Aesthetics, Creativity, and the Arts, 7(1), 76–88. DOI: 10.1037/a0031827Google Scholar
Cumming, J., & Duda, J. L. (2012). Profiles of perfectionism, body-related concerns, and indicators of psychological health in vocational dance students: An investigation of the 2 x 2 model of perfectionism. Psychology of Sport and Exercise, 13(6), 729–738. DOI: 10.1016/j.psychsport.2012.05.004Google Scholar
Dale, J. A., Hyatt, J., & Hollerman, J. (2007). The neuroscience of dance and the dance of neuroscience: Defining a path of inquiry. Journal of Aesthetic Education, 41(3), 89–110.Google Scholar
Dantas, A. G., & Quested, E. (2015). The effect of manipulated and accurate assessment feedback on the self-efficacy of dance students. Journal of Dance Medicine and Science, 19(1), 22–30.Google Scholar
Dijkstra, K., Kaschak, M. P., & Zwaan, R. A. (2007). Body posture facilitates retrieval of autobiographical memories. Cognition, 102(1), 139–149. DOI: 10.1016/j.cognition.2005.12.009Google Scholar
Eusanio, J., Thomson, P., & Jaque, S. V. (2014). Perfectionism, shame, and self-concept in dancers: A mediation analysis. Journal of Dance Medicine and Science, 18(3), 106–114.Google Scholar
Fink, A., & Woschnjak, S. (2011). Creativity and personality in professional dancers. Personality and Individual Differences, 51, 754–758. DOI: 10.1016/j.paid.2011.06.024Google Scholar
Fish, L., Hall, C., & Cumming, J. (2004). Investigating the use of imagery by elite ballet dancers. Avante, 10(3), 25–39.Google Scholar
Freedberg, D., & Gallese, V. (2007). Motion, emotion and empathy in esthetic experience. Trends in Cognitive Science, 11(5), 197–205. DOI: 10.1016/j.tics.2007.02.003Google Scholar
Gibbs, R. W. (2003). Embodied experience and linguistic meaning. Brain and Language, 84, 1–15.Google Scholar
Graham, M. (1991). Blood memory: An autobiography. New York: Doubleday.Google Scholar
Grove, J. R., Main, L. C., & Sharp, L. (2013). Stressors, recovery processes, and manifestations of training distress in dance. Journal of Dance Medicine and Science, 17(2), 70–78. DOI: 10.12678/1089.313X.17.2.70Google Scholar
Gruzelier, J. H., Thompson, T., Redding, E., Brandt, R., & Steffert, T. (2014). Application of alpha/theta neurofeedback and heart rate variability training to young contemporary dancers: State anxiety and creativity. International Journal of Psychophysiology, 93, 105–111. DOI: 10.1016/j.ijpsycho.2013.05.004Google Scholar
Hagood, T. K., & Kahlich, L. C. (2007). Research in choreography. In Bresler, L. (Ed.), International handbook of research in arts education (pp. 517–531), Vol. 16. The Netherlands: Springer.Google Scholar
Hamilton, L. H., & Robson, B. (2006). Performing arts consultation: Developing expertise in this domain. Professional Psychology: Research and Practice, 37(3), 254–259. DOI: 10.1037/0735-7028.37.3.254Google Scholar
Hamilton, L. H., Solomon, R., & Solomon, J. (2006). A proposal for standardized psychological screening of dancers. Journal of Dance Medicine and Science, 10(1 & 2), 40–45.Google Scholar
Hanrahan, C. & Vergeer, I. (2000–2001). Multiple uses of mental imagery by professional modern dancers. Imagination, Cognition and Personality, 20(3), 231–255.Google Scholar
Hefferon, K. M. & Ollis, S. (2006). ‘Just clicks’: An interpretive phenomenological analysis of professional dancers’ experience of flow. Research in Dance Education, 7(2), 141–159.Google Scholar
Heiland, T. L., Murray, D. S., & Edley, P. P. (2008). Body image of dancers in Los Angeles: The cult of slenderness and media influence among dance students. Research in Dance Education, 9(3), 257–275. DOI: 10.1080/14647890802386932Google Scholar
Hutton, E., & Sundar, S. S. (2010). Can video games enhance creativity? Effects of emotion generated by Dance Dance Revolution. Creativity Research Journal, 22(3), 294–303. DOI: 10.1080/10400419.2010.503540Google Scholar
Jackson, P. L., & Decety, J. (2004). Motor cognition: A new paradigm to study self-other interactions. Current Opinion in Neurobiology, 14, 259–263.Google Scholar
James, K., Brodersen, M., & Eisenberg, J. (2004). Workplace affect and workplace creativity: A review and preliminary model. Human Performance, 17(2), 160–194.Google Scholar
Kalliopuska, M. (1989). Empathy, self-esteem and creativity among junior ballet dancers. Perceptual and Motor Skills, 69, 1227–1234.Google Scholar
Karageorghis, C. I., Smith, D. L., & Priest, D-L. (2012). Effects of voice enhancement technology and relaxing music on the frequency of imagery among break dancers. Journal of Dance Medicine and Science, 16(1), 8–16.Google Scholar
Kattenstroth, J-C., Kolankowska, I., Kalisch, T., & Dinse, H. R. (2010). Superior sensory, motor, and cognitive performance in elderly individuals with multi-year dancing activities. Frontiers in Aging Neuroscience, 2(31), 1–9. DOI: 10.3389/fnagi2010.00031Google Scholar
Kennedy, M. (2009). An examination of critical approaches to interdisciplinary dance performance. Research in Dance Education, 10(1), 63–74. DOI: 10.1080/14647890802697221Google Scholar
Krasnow, D. (1994). Performance, movement and kinesthesia. Impulse, 2, 16–23.Google Scholar
Krasnow, D. H., Chatfield, S. J., Barr, S., Jensen, J. L., & Dufek, J. S. (1997). Imagery and conditioning practices for dancers. Dance Research Journal, 29(1), 43–64.Google Scholar
Kulig, K., Oki, K. C., Chang, Y-J., & Bashford, G. R. (2014). Achilles and patellar tendon morphology in dancers with and without tendon pain. Medical Problems of Performing Artists, 29(4), 221–228.Google Scholar
Lacaille, N., Koestner, R., & Gaudreau, P. (2007). On the value of intrinsic rather than traditional achievement goals for performing artists: A short-term prospective study. International Journal of Music Education, 25(3), 245–257.Google Scholar
Lench, H. C., Levine, L. J., & Roe, E. (2010). Trait anxiety and achievement goals as predictors of self-reported health in dancers. Journal of Dance Medicine and Science, 14(4), 163–170.Google Scholar
Leube, D. T., Knoblich, G., Erb, M., Grodd, W., Bartels, M. & Kircher, T. T. J. (2003). The neural correlates of perceiving one’s own movements. Neuroimage, 20, 2084–2090. DOI: 10.1016/j.neuroimage.2003.07.033Google Scholar
Liederbach, M., Schanfein, L., & Kremenic, I. J. (2013). What is known about the effect of fatigue on injury occurrence among dancers. Journal of Dance Medicine and Science, 17(3), 101–108. DOI: 10.12678/1089-313X.17.3.101Google Scholar
Lussier-Ley, C., & Durand-Bush, N. (2009). Exploring the role of feel in the creative experience of modern dancers: A realistic tale. Research in Dance Education, 10(3), 199–217. DOI: 10.1080/14647890993324154Google Scholar
Ma, H-H. (2009). The effect size of variables associated with creativity: A meta-analysis. Creativity Research Journal, 21(1), 30–42. DOI: 10.1080/10400410802633400Google Scholar
Marchant-Haycox, S. E., & Wilson, G. D. (1992). Personality and stress in performing artists. Personality and Individual Differences, 13(10), 1061–1068.Google Scholar
Martin, C. T., Ric, A., & Hristovski, R. (2015). Creativity and emergence of specific dance movements using instructional constraints. Psychology of Aesthetics, Creativity, and the Arts, 9(1), 65–74. DOI: 10.1037/a0038706Google Scholar
Matare, J. (2009). Creativity or musical intelligence? A comparative study of improvisation/improvisation performance by European and African musicians. Thinking Skills and Creativity, 4, 194–203. DOI: 10.1016/j.tsc.2009.09.005Google Scholar
Monsma, E. V., & Overby, L. Y. (2004). The relationship between imagery and competitive anxiety in ballet auditions. Journal of Dance Medicine and Science, 8(1), 11–18.Google Scholar
Nelson, B., & Rawlings, D. (2009). How does it feel? The development of the Experience of Creativity Questionnaire. Creativity Research Journal, 21(1), 43–53. DOI: 10.1080/10400410802633442Google Scholar
Nordin, S. M., & Cumming, J. (2006a). The development of imagery in dance: Part I: Qualitative findings from professional dancers. Journal of Dance Medicine and Science, 10(1 & 2), 28–34.Google Scholar
Nordin, S. M., & Cumming, J. (2006b). The development of imagery in dance: Part II: Quantitative findings from a mixed sample of dancers. Journal of Dance Medicine and Science, 10(1 & 2), 21–27.Google Scholar
Nordin, S. M., & Cumming, J. (2006c). Measuring the content of dancers’ images development of the dance imagery questionnaire (DIQ). Journal of Dance Medicine and Science, 10(3 & 4), 85–98.Google Scholar
Nordin-Bates, S. M., Quested, E., Walker, I. J., & Redding, E. (2012). Climate change in the dance studio: Findings from the UK centres for advanced training. Sport Exercise and Performance Psychology, 1(1), 3–16. DOI: 10.1037/a0025316Google Scholar
Overby, L. Y., Hall, C., & Haslam, I. (1997–98). A comparison of imagery used by dance teachers, figure skating coaches, and soccer coaches. Imagination, Cognition and Personality, 17(4), 323–337.Google Scholar
Padham, M., & Aujla, I. (2014). The relationship between passion and the psychological well-being of professional dancers. Journal of Dance Medicine and Science, 18(1), 37–44.Google Scholar
Piirto, J. (1998). Understanding those who create. 2nd edition. Scottsdale, AZ: Great Potential Press, Inc.Google Scholar
Press, C. M., & Warburton, E. C. (2007). Creativity research in dance. In Bresler, L. (Ed.), International handbook of research in arts education, Vol. 16 (pp. 1273–1290). The Netherlands: Springer.Google Scholar
Price, B. R., & Pettijohn, T. F. (2006). The effect of ballet dance attire on body and self-perceptions of female dancers. Social Behavior and Personality: An International Journal, 34(8), 991–998. DOI: 10.2224/sbp.2006.34.8.991Google Scholar
Reid, L. A. (2008). Aesthetics and education. Research in Dance Education, 9(3), 295–304. DOI: 10.1080/j.4647890802416713Google Scholar
Rip, B., Fortin, S., & Vallerand, R. J. (2006). The relationship between passion and injury in dance students. Journal of Dance Medicine and Science, 10(1 & 2), 14–20.Google Scholar
Saarikallio, S., Luck, G., Burger, B., Thompson, M., & Toivianinen, P. (2013). Dance moves reflect current affective state illustrative of approach-avoidance motivation. Psychology of Aesthetics, Creativity and the Arts, 7(3), 296–305. DOI: 10.1037/a0032589Google Scholar
Sachs, C. (1937/1965). World history of the dance. New York: W.W. Norton & Company, Inc.Google Scholar
Sawyer, R. K., & DeZutter, S. (2009). Distributed creativity: How collective creations emerge from collaboration. Psychology of Aesthetics, Creativity, and the Arts, 3(2), 81–92. DOI: 10.1037/a0013282Google Scholar
Sheets-Johnstone, M. (1999). Emotion and movement: A beginning empirical-phenomenological analysis of their relationship. In Nunez, R. & Freeman, W. J. (Eds.), Reclaiming cognition: The primacy of action, intention and emotion (pp. 259–277). Bowling Green, OH:, Imprint Academic.Google Scholar
Silvia, P. J., Wigert, B., Reiter-Palmon, R., & Kaufman, J. C. (2012). Assessing creativity with self-report scales: A review and empirical evaluation. Psychology of Aesthetics, Creativity and the Arts, 6(1), 19–34. DOI: 10.1037/a0024071Google Scholar
Singer, K. (2004). The effect of neurofeedback on performance anxiety in dancers. Journal of Dance Medicine and Science, 8(3), 78–81.Google Scholar
Sowden, P. T., Clements, L., Redlich, C., & Lewis, C. (2015). Improvisation facilitates divergent thinking and creativity: Realizing a benefit of primary school arts education. Psychology of Aesthetics, Creativity, and the Arts, 9(2), 128–138. DOI: 10.1037/aca0000018Google Scholar
Stinson, S. W. (2004). My body/myself: Lessons from dance education. In Bresler, L. (Ed.), Knowing bodies, moving minds: Towards embodied teaching and learning (pp. 153–168). London: Kluwer Academic.Google Scholar
Sullivan, P., & McCarthy, J. (2009). An experimental account of the psychology of art. Psychology of Aesthetics, Creativity and the Arts, 3(3), 181–187. DOI: 10.1037/a0014292Google Scholar
Tharp, T. (2003). The creative habit: Learn and use it for life: A practical guide. New York: Simon & Schuster.Google Scholar
Thomson, P., & Jaque, S. V. (2011–2012). Anxiety and the influences of flow, trauma, and fantasy experiences on dancers. Cognition, Imagination and Personality, 32(2), 165–178.Google Scholar
Thomson, P., & Jaque, S. V. (2012). Dancing with the Muses: Dissociation and flow. Journal of Trauma and Dissociation, 13(4), 478–489.Google Scholar
Thomson, P., & Jaque, S.V. (2013). Exposing shame in dancers and athletes: Shame, trauma, and dissociation in a non-clinical population. Journal of Trauma and Dissociation, 141, 1–16. DOI: 10.1080/15299732.2012.757714Google Scholar
Thomson, P., & Jaque, S. V. (2015). Shame and fantasy in athletes and dancers. Cognition, Imagination and Personality, 34(3), 291–305.Google Scholar
Thomson, P., & Jaque, S. V. (2016). Visiting the Muses: Creativity and trauma in talented dancers and athletes. American Journal of Play, 8(3), 363–378.Google Scholar
Thomson, P. (2011). Dance and Creativity. In Runco, M. A. & Pritzker, S. R. (Eds.), Encyclopaedia of creativity, 2nd edition, Vol. 1 (pp. 343–350). London: Elsevier Publishing Company.Google Scholar
Tiggermann, M., & Slater, A. (2001). Test of objectification theory in former dancers and non-dancers. Psychology of Women Quarterly, 25(1), 57–64. DOI: 10.1111/1471-6402.00007Google Scholar
Tseng, M. M-C., Fang, D., Lee, M. B., Chie, W-C., Liu, J-P., & Chen, W. J. (2007). Two-phase survey of eating disorders in gifted dance and non-dance high-school students in Taiwan. Psychological Medicine, 37, 1085–1096. DOI: 10.1017/S0033291707000323Google Scholar
Twitchett, E., Angioi, M., Koutedakis, Y., & Wyon, M. (2010). The demands of a working day among female professional ballet dancers. Journal of Dance Medicine and Science, 14(4), 127–132.Google Scholar
Verghese, J. (2006). Cognitive and mobility profile in older social dancers. Journal of American Geriatric Society, 54(8), 1241–1244. DOI: 10.1111/,.1532-5415.2006.00808.xGoogle Scholar
Walker, I. J. & Nordin-Bates, S. M. (2010). Performance anxiety experiences of professional ballet dancers: The importance of control. Journal of Dance Medicine and Science, 14(4), 133–145.Google Scholar
Wanke, E. M., Arendt, M., Mill, H., Koch, F., Davenport, J., Fischer, A., & Groneberg, D. A. (2014). The theatrical stage as accident site in professional dancers. Medical Problems of Performing Artists, 29(1), 32–36.Google Scholar
Watson, D. E., Nordin-Bates, S. M., & Chappell, K. A. (2012). Facilitating and nurturing creativity in pre-vocational dancers: Findings from the UK centers for advanced training. Research in Dance Education, 13(2), 153–173.Google Scholar
Wigman, M. (1966). Mary Wigman: The language of dance. Middletown, CT: Wesleyan University Press.Google Scholar
Wilhelm, K., Kovess, V., Rios-Seidel, C., & Finch, A. (2004). Work and mental health. Social Psychiatry and Psychiatric Epidemiology, 39, 866–873. DOI: 10.1007/s00127.004.0869-7Google Scholar
Wyrick, W. (1968). The development of a test of motor creativity. Research Quarterly, 39(3), 756–765. DOI: 10.1080/10671188.1968.10616608Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Dance
  • Edited by James C. Kaufman, University of Connecticut, Vlad P. Glăveanu, Universitetet i Bergen, Norway, John Baer, Rider University, New Jersey
  • Book: The Cambridge Handbook of Creativity across Domains
  • Online publication: 15 September 2017
  • Chapter DOI: https://doi.org/10.1017/9781316274385.011
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Dance
  • Edited by James C. Kaufman, University of Connecticut, Vlad P. Glăveanu, Universitetet i Bergen, Norway, John Baer, Rider University, New Jersey
  • Book: The Cambridge Handbook of Creativity across Domains
  • Online publication: 15 September 2017
  • Chapter DOI: https://doi.org/10.1017/9781316274385.011
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Dance
  • Edited by James C. Kaufman, University of Connecticut, Vlad P. Glăveanu, Universitetet i Bergen, Norway, John Baer, Rider University, New Jersey
  • Book: The Cambridge Handbook of Creativity across Domains
  • Online publication: 15 September 2017
  • Chapter DOI: https://doi.org/10.1017/9781316274385.011
Available formats
×