Guiding choreography: A process-oriented, person-centered approach with contributions from psychoanalytic, cognitive, and humanistic psychology.

摘要

The purpose of this study was to identify and analyze concepts of artistic creative process from selected literature in psychology and creativity and to draw pedagogical implications to the teaching of process-oriented, person-centered choreography. It begins by introducing a teaching sequence for student/choreographers making solo, self-performed artworks. Six areas of creative process activity (the generation, interpretation, exploration, selection, evaluation, and forming of movement and ideas) and two preconditions of creativity (motivation and attitude) were investigated. Information was compiled under the six-area matrix, covering three psychological dimensions including primary (self-referent and perceptual), secondary (object-referent and conceptual), and tertiary (symbolic and inter-relational) modes of procedure. This model conceptually bases such artistic phenomena as intuition, imagination, and symbolic capacity in the elaboration of intrinsic personal forces in materials and ideas. Directions and methods of implementation are summarized in five pedagogical principles which provide a basis for the foundation of process-oriented, person-centered teaching of choreography.;Given that creativity is best achieved when the artist is intrinsically-motivated, feels free to express himself or herself, centrally integrates the creative dialogue, and is in an optimal position to make decisions about the development of the work, the teacher of choreography is primarily advised to operate with an empathic, experience-near mode of teaching, create an environment of constructive honesty, freedom of expression, and a sense of peer support, and to encourage and facilitate the student's perception of their own creative flow. The research process ended with the application of a revised version of the original methodology which bridged the conceptual material back to the practice of guiding choreography. The value of a model that includes primary, secondary, and tertiary dimensions of activities, and dialogical collaborations within and throughout the creative process was confirmed.