Literature Review

How do dance artists and educators best articulate creativity?

This is a big question, perhaps even a scary question, for an emerging dance educator to tackle. In order to explore the articulation of creativity, we must first come to understand what exactly ‘creativity’ is. Kaufman & Sternberg define creative ideas as “different, new, or innovative” thoughts that are “appropriate to the task at hand” (2007, p. 55). They further elaborate, however, that creative ideas “need to be of high quality” (Kaufman & Sternberg, 2007, p. 55). While I agree with Kaufman & Sternberg’s initial assessment of creative ideas, I do not believe an emphasis on ‘high quality’ ideas are a good indicator of creativity. I would argue that truly creative ideas are hardly ever high quality, that they begin as little sparks of undeveloped inspiration. It is through questioning, nurturing, and experimenting with these ideas that creativity blossoms organically. In Dance Teaching and Learning: Shaping Practice, contributor Linda Rolfe reminds readers that throughout time, conceptions and definitions of creativity have changed and as such “there is no single historically continuous definition of the term” (Sanders, 2016, p. 85). When synthesizing these ideas it is important, then, to acknowledge that my perception of creativity comes from an education-driven viewpoint. My own ideas tend to stem from the teaching and learning of creative practice because our understanding of creativity is not a universal concept; instead, it is established through personal experiences and societal influences (Sanders, 2016, p. 85). Additionally, while ‘creativity’ certainly encompasses the formation of new ideas, “creative contributors make different decisions regarding how to express their creativity” (Sternberg, 2006, p. 95). This could mean anything from the creation and cultivation of a brand new idea, to the re-framing of an old idea in a new way. As cited by Sternberg in the Creativity Research Journal, “creative contributions differ not only in their amounts but also in the kinds of creativity they present” (2006, p. 95).

In application, a dance research project concerning creativity in primary schools revealed deficits in achieving what researcher Kerry Chappell referred to as “readiness” and “rarity” in students (Chappell, 2007, p. 27). While “readiness” merely described students’ preparedness for creative movement, “rarity” represented the frequency of creative outcomes. “The tension lay in creating an expectation that the children were capable of original and authentic dance outcomes, but that this was not to pressure them into feeling they had to be able to produce personally original dances at any given moment” (Chappell, 2007, p. 16). This idea is crucial even beyond the scope of dance education, because the truth is: practitioners express creativity in a variety of different ways (Chappell & Hathaway, 2019, p. 33). Chappell’s clarification of “rarity” in dance practice is a starting point for understanding how practitioners best articulate creativity; by establishing empowerment through realistic creative expectations, allowing patience and lack of pressure when making art, and then reaching further and accepting the support of a community (Chappell & Hathaway, 2019, p. 33), practitioners can engage in articulation of personal creative practice to then share and aid in the development of creative practice for peers and students.

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How can we use online podcasts and other virtual resources as a method to disseminate good practice in creative dance education? Can these resources contribute to a supportive and accessible dance community?

Dance and technology represent a unique partnership, as technological advances provide stimulus to elevate dance movement. In dance education, the opportunities for incorporating technology and virtual resources are immense. In 2003, leading dance educator Jacqueline Smith-Autard wrote an article exploring the potential for pedagogical advances using CD-ROMs, writing “the value of technology incorporated in the teaching of dance form needs to be further explored” (Smith-Autard, 2003, p. 158). Years later, much more advanced virtual resources have become available to the public and are utilized daily. Having just made it through lockdowns and periods of isolation due to the COVID-19 pandemic, we are more aware than ever how technology can keep us connected. It is “at the click of a mouse” that we have access to all things “dance,” providing opportunities for exploration of novel pedagogic ideas (Smith-Autard, 2003, p. 162). And additionally, a valuable approach to exploring virtual resources to aid dance education “takes pedagogic research as a basis for exploring technological possibilities so as to ensure they are embedded, rather than merely added on” (Doughty, Francksen, Huxley, & Leach, 2008).

Online podcasts and resources are a viable way to investigate good dance practice, as “there is potential to engage many people through virtual platforms” (Heyang & Martin, 2020). The key here is that virtual resources allow practitioners to reach beyond their usual demographic and open discussions to anybody with internet access, providing a widespread and inclusive sense of community. However, there are still barriers in place in terms of internet access, often excluding those who did not grow up with technology and are not proficient in its utilization. While resources such as podcasts are relatively easy to use, it is important to note that they are not entirely accessible for this reason, and therefore we must work to overcome this barrier to accessibility with virtual resources (Heyang & Martin, 2020).

In order to actually disseminate good dance practice, the focus on building a community is crucial. The nature of dance involves a sense of relationship with others, thus “it is vital to consider how a sense of belonging in an online dance community might be fostered” (Heyang & Martin, 2020). Fostering this sense of community begins with reaching out to others, connecting, sharing personal stories, and finding commonalities. When dance practitioners talk about their practice, they are opening up a valuable conversation to dig deeper into the methodologies that work, versus those that need challenged and updated. That is what makes podcasts and virtual resources such a great way to disseminate practice – it is simply the community built and the conversations had. This contributes to healthy learning environments to further innovative developments (Doughty, Francksen, Huxley, & Leach, 2008).

How do my thoughts align with your articulation of creative practice? Do you agree with these opinions on virtual resources or the cultivation of online communities? Leave a comment below and let me know what you think!

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References

Chappell, K. (2007). Creativity in primary level dance education: Moving beyond assumption. Research in Dance Education, 8(1), 27-52. doi:10.1080/14647890701272795

Chappell, K., & Hathaway, C. (2019). Creativity and Dance Education Research. Oxford Research Encyclopaedia of Education, 1-47. doi: doi.org/10.1093/acrefore/9780190264093.013.386

Doughty, S., Francksen, K., Huxley, M., & Leach, M. (2008). Technological enhancements in the teaching and learning of reflective and creative practice in dance. Research in Dance Education, 9(2), 129-146. doi:https://doi-org.salford.idm.oclc.org/10.1080/14647890802088041

Heyang, T., & Martin, R. (2020). A reimagined world: International tertiary dance education in light of COVID-19. Research in Dance Education, 1-15. doi:https://doi-org.salford.idm.oclc.org/10.1080/14647893.2020.1780206

JACQUELINE SMITH-AUTARD (2003) The Essential Relationship Between Pedagogy and Technology in Enhancing the Teaching of Dance Form, Research in Dance Education, 4:2, 151-169, DOI: 10.1080/1464789032000130363

James C. Kaufman & Robert J. Sternberg (2007) Creativity, Change: The Magazine of Higher Learning, 39:4, 55-60, DOI: 10.3200/CHNG.39.4.55-C4

Sanders, L. (2016). Dance Teaching and Learning: Shaping Practice (3rd ed.). London, United Kingdom: One Dance UK.

Sternberg, R. J. (2006). The Nature of Creativity. Creativity Research Journal, 18(1), 87-98. Retrieved from http://people.uncw.edu/caropresoe/giftedfoundations/socialemotional/creativity-articles/sternberg_nature-of-creativity.pdf

Sullivan, G.2007. “Creativity as research practice in the visual arts”. In International handbook of research in arts education, Edited by: Bresler, L.1181–94. Dordrecht: Springer.

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