Background: Long-form dramatic improvisation has been investigated as an accomplishment of emergent creativity among an ensemble of "players," focusing on how the group achieves "group flow" in performance. Methods: This article employs ethnographic methods (focus group, interviews, and video-assisted self-interviews) to…

Knowledge about embodied creativity is in its infancy. In circus arts, performers are nowadays 'owning' their creativity making this performance domain fruitful to study embodied creativity. Building on socio-cultural creativity perspectives and radical embodied cognitive sciences, the current study aimed at exploring movement creativity by…

This article considers how the performing arts integrate with research, learning and teaching. In doing so, it addresses the relation between research and performance practice, and the connections between research/practice with learning and teaching. Reference to A/R/Tography is made as a constructivist praxis facilitating integration of these…

This study aims to explore whether the creativity of university students in Higher Vocational Education in China can enhance their creative performance through autonomous motivation. The theoretical foundation of this study is interactionist model of creativity, the study employs structural equation modeling for analysis and validation. A survey…

The present study uses a qualitative approach to focus on dance improvisation and flow. Dance instructors with wide experience in performing and teaching dance improvisation took part in semi-structured interviews that featured questions about dance improvisation and flow, including issues of flow in dance education with children. The data were…

Improvisation is a fundamental aspect of musicianship and an important pursuit in music education. Children in music classes throughout the world are engaged with improvisation in a variety of modes and settings. Whether singing, physically moving, or playing an instrument, the act of improvising in front of others may raise one's…

This paper describes the pedagogical roots of the work we do, both as teachers and as performers; and how our work reaches beyond the classroom and into community, eliciting narratives and weaving them through improvised dance and music collaborations, eventually onto the walls of an art museum. Our concept was to solicit stories that told of some…

This paper examines definitions of the lived experience through a literature review that focusses the lens on both Vygotsky's and Stanislavski's considerations of the lived experience, or in the original Russian perezhivanie. This literature review seeks to establish both the distinction between the use of the term by the practitioners in the…

Traditional music education has prioritised external over internal performance aims, leading some learners to prioritise external motivations. I facilitated a workshop series for participants who experienced music performance anxiety when improvising, to examine if free improvisation coupled with expressive art response could cultivate…

Functional fixedness is related to excessive focusing on a specific functional property of an object. We assumed that the naming of other objects which possess the same functional property to a lesser extent than a given object can reduce the excessive focusing on this functional property for this object. It can help to loosen functional fixedness…

In the past a typical performance situation consisted of a proscenium stage, performers on the stage and audience seated somewhere in the front. In today's technological age, audiences are prone to watching performance on their smart devices. This live-disconnect between the audience and performer/performance has affected the industry on multiple…

This paper investigates the impact of Dalcroze Eurhythmics on fostering creativity and autonomy in classical instrumental pedagogy. The research took the form of an arts practice investigation which included devising, rehearsing, performing and documenting two performance events, drawing on Dalcroze Eurhythmics techniques rather than conventional…

The ability to identify errors by sight and sound--commonly referred to as "error detection"--is a musical ability needed in a variety of music professions. Instructors of undergraduate aural-skills courses often agree that strong error-detection skills are an essential outcome of these courses; however, error-detection activities are…

Expressiveness is an important aspect of an excellent music performance as it adds quality and interest to the playing and listening experience. Although several studies have investigated tertiary students' learning of expressiveness, little is known about effective approaches for teaching children to perform expressively. In the present project,…

Much like an effective speaker, a flexible musician is competent across multiple settings. The sociolinguistic theory of code-switching can be a useful tool to better understand how musicians acquire a set of skills and knowledge to support music-making in a range of activities in and outside of school and throughout society. In this article,…