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- All Subjects: Creative Process
Description
This ethnographic research focuses on the specific creative processes of one dance-maker who worked collaboratively with seven dancers, a sound designer, a costume designer, and a narrative speaker. Together they created an evening-length dance work entitled "The Now Creature." Throughout the creative process, the dance-maker was interested in noticing attachments, finding freedom from these attachments, and being aware of how the work was affected by the choice to detach or remain attached to certain ideas. This interest stemmed from the dance-maker/researcher's interest in Buddhist philosophy and a system of decision-making she had been developing since childhood. The creative process for "The Now Creature" began with experiments in chance procedures as a method of non-attachment. After the first public showing of the piece, the process shifted to include intuition and aesthetic integration. "Embodied nowness," or the awareness of one's physical and mental sensations in the present moment, played an important role in rehearsals and in the overall process of letting go of attachments. All collaborators kept journals and were usually given specific prompts about which to write. The researcher/dance-maker also conducted one-on-one verbal interviews and group discussions with the collaborators. These data informed the development of the work presented on January 31-February 2 at Arizona State University, Findings from this research can be applied to any kind of creative process, or any life situation that includes decision-making.
ContributorsStein, Denise A (Author) / Vissicaro, Pegge (Thesis advisor) / Kaplan, Robert (Committee member) / Fonow, Mary Margaret (Committee member) / Arizona State University (Publisher)
Created2014
Description
Psychology and dance both shed light on the question: how do our personal, life experiences affect our movement? This document introduces elements from psychology and dance through associative learning, attachment styles, muscle patterning, and partner improvisation as ways of exploring this question. It aims to briefly introduce these theories and explain how they had a role in the research of the creative project. It also documents the inception, creation, and production of Lullabye, a dance work intended to be accessible to an audience with little to no experience viewing concert dance, with the target audience specifically being the writer’s mother. It has three sections, each featuring a different element of dance, storytelling, and individuality. It starts a conversation on how emotions and thoughts related to personal experiences can affect our movement.
ContributorsTello Solano, Carlos (Co-author, Co-author) / Kaplan, Robert (Thesis director) / Montoya, Yvonne (Committee member) / Schupp, Karen (Committee member) / Department of Psychology (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
This paper serves to identify, explore, and discover my personal creative process. I utilized Rosemarie Anderson's Intuitive Inquiry method, focusing on the change that would occur across all five cycles of my research experience. I conducted interviews of those who have had an impact in my growth, as well as understanding of my creative process or the elements which make it. I logged personal journal entries, to emphasize the daily experience I have with my process, outside of a written paper. This paper is written from the perspective of one woman's personal experience, and thus contains both formal research articles and informal and personal journal entries. Journal entries are interspersed with academic writing, to affirm the simultaneous personal nature and academic relevancy of the topic. I began my research with five themes to guide me in various directions, with the hope I would uncover more information along the way, leading to more paths to follow. During the course of study, three new themes were uncovered, reaction, relation, and restoration, and juxtaposed with other research and personal reflection. I then, based off these later themes and further research, developed a set of instructions for use beyond my undergraduate experience, specifically for places where I must act without the guidance of instructors. The three new themes that emerged had much in common with the themes from previous cycles. This leads me to believe that I have been aware of my process all along, and had yet to put it into words. This in itself is a remarkable light bulb moment, as is knowing that I may be more aware of my habits than I realize, if only I am to write them down and purposefully acknowledge them for what they are.
ContributorsWalls, Emma Jane (Author) / Roses-Thema, Cynthia (Thesis director) / Kaplan, Robert (Committee member) / Department of Psychology (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
Description
This paper is a personal exploration of vulnerability in the creative process – how to recognize it, articulate it, and make active decisions despite feeling vulnerable while engaging in the creative process. It is structured mirroring Brené Brown’s Rising Strong Process: The Reckoning, The Rumble, and The Revolution. The reckoning is a process of inquiry and discovery that propels me towards growth. It’s becoming mindful so I can recognize patterns and explore why I habitually act/think in particular ways. The rumble, to me, consists of the process anteceding the choice to grow and change after discovering new knowledge from the reckoning instead of ignoring facing these findings because they present fear, shame, and vulnerability. And the revolution is not only what I take away from the reckoning and rumble process but how it affects the way I interact with the world, how I am irrevocably changed as a result of the rising strong experience. My research established three things: First, that the ability to be vulnerable catalyzes growth and deeper connection. Second, that the creative process lends itself to living vulnerably. And third, people are often blinded by vulnerability, resulting in inactive decision making. The paper follows an investigation grounded in this research where I engage in the creative process to build a dance performance piece and journey for both others and myself. Topics such as shame, fear, vulnerability, engagement, active-decision making, and connection are explored. Ultimately, the reckoning illustrated to me that the hardest thing about recognizing my vulnerabilities is discovering my habitual patterns that hide them from me. The rumble taught me various lessons but ultimately showed me engaging with vulnerability is a process that includes a lot of time and challenges. And my revolution solidified my self-worth will only be destroyed if I choose not to live a vulnerable and capricious life.
ContributorsMcdonald, Kristina Noelle (Author) / Roses-Thema, Cynthia (Thesis director) / Kaplan, Robert (Committee member) / White, Marcus (Committee member) / W. P. Carey School of Business (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12