Journal of Creative Behavior最新文献

Dance is a multifaceted creative act that has been used to communicate emotions throughout human evolution. Despite this history, there has been no empirical exploration of components of dance that allow it to communicate emotion. We address this with a mixed methods study in which a quantitative study with dance viewers builds upon qualitative findings with dance artists. Qualitative analysis revealed proposed components of dance responsible for emotion communication are narrative content, social interaction, emotion portrayal intent, and textural quality of movement. These elements were then manipulated using dance video stimuli to quantitatively test viewers' emotion perception accuracy. Results revealed emotion portrayal intent (i.e., expression intent in dance creation) is an important factor for viewers to accurately perceive emotion, regardless of narrative content. While prior studies have focused on the perceiver's role in emotion perception from dance, this is the first study to demonstrate emotions are perceived from dance based on intent during dance creation. Findings highlight the nuanced structure of emotion communication in dance, for which we pose a theoretical framework. Together, dance holds possibilities for studying distinct mechanisms for creative communication that may be important for the study of generalized affect communication outside of creative arts contexts.

Previous research has focused on understanding when, why, and how sex differences in creativity occur, as results vary across samples, measures, and methodologies. In the current study we investigated sex differences in creativity among 984 high achieving adolescents in three expertise areas: Sciences, Arts, and Sports. Eight creativity indicators were analyzed: Alternative uses task (AUT) fluency; creative self-efficacy (CSE); intraindividual strengths (difference between CSE and AUT Fluency); five self-reported creativity scales: Self/everyday, scholarly, performance, mechanical/scientific, artistic. The results showed negligible sex differences ($��n_p^2�$ = .01), with females performing better in AUT Fluency and males self-rating their CSE higher. No sex differences were found in self/everyday, scholarly and performance creativity. Males self-rated their mechanical/scientific creativity ($��n_p^2�$ = .06) higher than females; while females self-rated their artistic creativity ($��n_p^2�$ = .02) higher in comparison to males. Our results extend the existing literature by finding negligible sex differences in adolescent expert groups. However, some stereotypical differences emerged, for example, females with Sciences expertise rated their mechanical/scientific creativity lower than males with and even without Sciences expertise. Results call for further investigation into the links between sex differences, expertise, and specific creativity domains.

Individuals and organizations frequently tout creative ideas as a desirable goal, and yet, creative ideas are frequently rejected. Creativity researchers have often suggested that creative ideas are rejected because they are perceived as riskier due to their inherent novelty or originality. Although this assumption is prevalent, we are unaware of any empirical research directly examining the relations between perceptions of novelty and risk. We provide an empirical test of this assumption in two studies in which participants rate the novelty, usefulness, and riskiness of ideas. Across both studies, we find consistent support for the idea that usefulness, rather than novelty, has the strongest relation with risk perceptions. We also find some evidence that novelty and usefulness interact to predict perceptions of risk. Additionally, in Study 2, we find that usefulness has the strongest relation with willingness to invest and buy a product. The findings of this study suggest that the bias against creativity may be driven by the perceived usefulness of an idea, rather than its novelty, such that ideas with lower usefulness are perceived to be riskier.