Journal of Creative Behavior最新文献

Creative arts programs have potential for promoting psychological well-being amongst young people. The present research used a mixed-methods approach to address the mechanisms involved in the well-being of marginalized young people engaged in creative arts participation, based on self-determination theory. A preliminary quantitative analysis investigated the levels of basic needs satisfaction (BNS) that 42 young people reported experiencing at home, at school, and at a youth theater organization. Young people reported the highest level of BNS at the theater, and there was a marginally significant trend suggesting this had a positive association with well-being, over and above the effects of BNS at home and school. Nonetheless, Bayesian factor indicated more data is required to confirm this observation. Subsequently, an in-depth qualitative analysis was undertaken with semi-structured interviews with three young people as well as with their parents and schoolteachers. Thematic analysis highlighted the ways satisfaction of autonomy (through empowerment), relatedness (through the establishment of group membership), and competence (through creating a safe space for young people to be heard) allowed the young people to develop positive future aspirations. Study implications and directions for further work are explored in relation to the way that creative arts participation enables young people to explore possible goals and give them an understanding of what they can achieve.

Based on studies reporting a link between creative thinking and motor creativity, we investigate whether training motor creativity also positively influences creative thinking. In a longitudinal study design spanning two-and-a-half years, we analyzed the relationships between the development of motor and figural creativity based on two distinct programs: a convergent-oriented sport study program (COSP) and a divergent-oriented study program (DOSP). Thirty-three COSP and 31 DOSP students participated in a comprehensive creativity assessment at the beginning and end of their sport studies. A modified version of the BAST® movement analysis was developed to assess motor creativity. Figural creativity was tested via the TTCT. Although both groups were matched for motor and figural creativity, by the end of their sport studies, the DOSP students outperformed the COSP students in all analyzed motor creativity measures (fluency, elaboration, originality). Furthermore, DOSP students also developed significantly in aspects of figural creativity compared to COSP students. Nonlinear structure and teaching methods in the divergent-oriented learning environment significantly enhance creativity in sports students by broadening not only their movement repertoire but also transferring these new bodily experiences into the figural domain. These findings support the concept of an underlying supramodal base for motor and figural creativity.

The present research examines how creative process engagement (information gathering, idea generation, idea evaluation, and idea pitch) influences the affective states of positive affect (PA) and negative affect (NA). Drawing from motivation theory and research, we proposed that creative process behaviors that are more autonomous and less constrained will increase positive affect. Additionally, creative process behaviors that are more likely to be perceived as making negative goal progress are expected to result in higher levels of negative affect. We also examine boundary conditions of these effects including task-relevant knowledge, perceived performance, and baseline affect. Results from two studies confirm that idea generation, which is considered an autonomous activity, increases PA levels. This effect holds true across varying starting affect levels (excited, calm, and neutral). Moreover, results confirm that information search, which may be perceived as making negative goal progress, increases NA levels and PA levels decrease when task-relevant knowledge is low. The effects of idea evaluation and idea pitch on PA and NA are mixed across the two studies. The implications of these findings for understanding how the creative process impacts affect are discussed.

Two studies investigated the effect of a short improvisation intervention (theatrical improvisation in Study 1, musical improvisation in Study 2) on negotiation processes and outcomes. The expectation was that an improvisation exercise, compared to a control condition in which participants engaged in jigsaw puzzling, would result in better negotiation agreements via higher levels of divergent thinking. Results showed that improvisation exercise increased participants' divergent thinking, compared to the control condition. The effects on negotiation processes and outcomes, however, only partly supported the predictions. In Study 2, improvisation exercise had an indirect influence on negotiation outcomes via divergent thinking, and in Study 1 improvisation exercise did influence divergent thinking but did not influence negotiation outcomes. So improvisation exercise increases divergent thinking, and sometimes this heightened divergent thinking results in higher negotiation outcomes.

The historically male-dominated discourse encompassing artistic creativity has often failed to acknowledge the voices and contributions of women. Female artists continue to face barriers in terms of accessing opportunities, attaining positions of prominence, and earning potential, in comparison with their male counterparts. This inequality is deleterious to female artists and society. Therefore, it is important to understand the relationship between artistic creativity and gender, with a particular emphasis on elite female artistic exemplars. The present qualitative study utilized in-depth semi-structured interviews, in accordance with the methodology of Interpretive Phenomenological Analysis, to explore the role of gender in relation to artistic creativity among 10 eminent Australian female visual artists. Findings indicated that participants were affected detrimentally by gender-based inequality on personal, professional, and sociocultural levels. Their experiences as women, however, also inspired and informed their artistic creativity aesthetically and conceptually. The findings challenge patriarchal conceptualizations of the “male artistic genius” by presenting a female-focused counternarrative. Implications for educating, supporting, and empowering current and emerging female artists to excel are discussed.