Clements Lucie, Redding Emma, Sell Naomi Lefebvre, May Jon
Department of Psychology and Counselling, University of Chichester, Chichester, United Kingdom.
Dance Science, Trinity Laban Conservatoire of Music and Dance, London, United Kingdom.
Front Psychol. 2018 Aug 24;9:1448. doi: 10.3389/fpsyg.2018.01448. eCollection 2018.
In contemporary dance, experts evaluate creativity in competitions, auditions, and performances, typically through ratings of choreography or improvisation. Audiences also implicitly evaluate choreographic creativity, so dancers' livelihoods also hinge upon the opinions of non-expert observers. However, some argue that the abstract and often pedestrian nature of contemporary dance confuses non-expert audiences. Therefore, agreement regarding creativity and appreciation amongst experts and non-experts may be low. Finding appropriate methodologies for reliable and real-world creativity evaluation remains the subject of considerable debate within the psychology creativity research field. Although considerably variant in methodological operationalisation, the Consensual Assessment Technique (CAT) asks individuals to use an implicit definition to assess creativity in others' work. This study aimed to investigate the role of experience and expertise in the evaluation of choreographic creativity, with a secondary aim of testing the feasibility of an online snowballing methodology for large-scale dance-specific research, informed by the methodology of the CAT. We filmed 23 Contemporary Dance students each performing a 3-min peer-choreographed solo and then recruited 850 online evaluators with varying degrees of expertise and experience in dance and creativity. Evaluators viewed at least one randomly selected video and rated creativity, technical ability, appreciation and understanding of the work, each using a seven-point Likert scale. A one-way ANOVA showed a significant difference in creativity ratings across the 23 videos, and creativity correlated significantly with the other variables. We then categorized evaluators on nine aspects of their dance and creative experience and entered the data into a repeated-measures linear mixed model. Two of the fixed effects yielded differences in creativity evaluations: (i) contemporary choreographic experience and (ii) self-reported creative expertise, as did the random effect of the video. The results indicate that personal experience of the choreographic process impacts creativity assessment, above and beyond experience in dance class participation. Implications for creativity assessment within creativity research and practice are discussed.
在当代舞蹈中，专家通常通过对编舞或即兴表演的评分，在比赛、试镜和表演中评估创造力。观众也会潜移默化地评估编舞的创造力，因此舞者的生计也取决于非专业观众的意见。然而，有人认为当代舞蹈抽象且往往平淡无奇的本质会让非专业观众感到困惑。因此，专家和非专家之间在创造力和欣赏方面的共识可能较低。寻找可靠且符合现实世界的创造力评估方法，仍然是心理学创造力研究领域中相当有争议的话题。尽管在方法操作上有很大差异，但共识评估技术（CAT）要求个人使用隐含定义来评估他人作品中的创造力。本研究旨在调查经验和专业知识在舞蹈编排创造力评估中的作用，其次要目的是在CAT方法的基础上，测试一种在线滚雪球方法用于大规模特定舞蹈研究的可行性。我们拍摄了23名当代舞蹈专业学生，每人表演一段3分钟由同伴编排的独舞，然后招募了850名在舞蹈和创造力方面具有不同程度专业知识和经验的在线评估者。评估者观看至少一段随机选择的视频，并使用七点李克特量表对创造力、技术能力、对作品的欣赏和理解进行评分。单因素方差分析显示，23个视频的创造力评分存在显著差异，并且创造力与其他变量显著相关。然后，我们根据评估者在舞蹈和创作经验的九个方面进行分类，并将数据输入重复测量线性混合模型。两个固定效应在创造力评估中产生了差异：（i）当代编舞经验和（ii）自我报告的创作专业知识，视频的随机效应也是如此。结果表明，编舞过程的个人经验对创造力评估有影响，这超出了舞蹈课参与经验的影响。文中讨论了对创造力研究和实践中创造力评估的启示。
