guided movement promotes a creative lyfe style - mandic-ristic

8/13/2019 Guided Movement Promotes a Creative Lyfe Style - Mandic-ristic

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GUIDED MOVEMENT PROMOTES

A CREATIVE LYFE STYLE

Tijana Mandic and Irena Ristic,

2010.


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Content

A look back

Theoretical framework

- Sternberg: Creativity is...

- Rhodes : 4P

- Magyari-Beck: Creatology matrix

- Adlerian psychoanalysis : Creative Self

- Rorchach: M factor

- TA: Values and inhibiting/stimulating messages from ego states

The empirical research

- Our hypotheses

- 1st phase: Establish a model 1975-2002

- Creativity in context: creative process and social constraints

- 2nd phase: Pilot study 2009 research: Homo Narrator


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Human interest in creativity has a long history, as we assume thatcreativity is not a monolith, but is a multidimensional and cross-

disciplinary phenomenon, we raise more questions than offer final

conclusions.

A fundamental change came in the Christian period: CREATIOcame to

designate God's act of creation from nothing.

CREATIOthus took on a different meaning than FACERE("to make")

and ceased to apply to human functions. The ancient view that art is

not a domain of creativity persisted in this period (Tatarkiewicz, 1980).

Renaissance men had a sense of their own independence, freedom and

creativity, and sought to give voice to this sense. The first to actually

apply the word CREATIVITYwas the Polish poet Maciej Kazimierz

Sarbiewski, who applied it exclusively to poetry.

...ArchimedesEurekaA look back


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A look back

For over a century and a half, the idea of human creativity met withresistance, due to the fact that the term "creation" was reserved for

creation "from nothing." Baltasar Gracin(160158) would only venture

to write: "Art is the completion of nature, as if it were a second

Creator... Tatarkiewicz, pp. 24748.

By the 18th century and the Age of Enlightenment, the concept of

creativity was appearing more often in art theory, and was linked with

the concept of IMAGINATION.

The Western view of creativity can be contrasted with the Eastern view.

For Hindus, Confucians, Taoists and Buddhists, creation was at most akind of discovery or mimicry, and the idea of creation "from nothing"

had no place in these philosophies and religions.

...Imagination


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...XX century

From the standpoint of orthodox psychologicalliterature, it is generallyconsidered to have been: J. P. Guilford's1950 address to the APA

American Psychological Association, which helped popularize the

topic and focus attention on a scientific approach to:

1. CONCEPTUALIZING creativity as a process of divergent thinking

2. MEASURING it psychometrically

Other investigators have taken a more pragmatic approach, teaching practical

creativity techniques. Guilford created divergent thinking.

Three of the best-known are: Alex Osborns Brainstorming(since 1950s)

Genrikh Altshuller's Theory of Inventive Problem Solving(since 1950s)

Edward de Bono's Lateral Thinking(since 1960s)

A look back


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Theorethical Framework

Definition of creativity

Sternberg, Kaufman & Pretz, 2002

System perspective inspired by:

a. Rhodes 1987b. Magyary-Beck 1988

Basic concept inspired by:

a. Adlerian psychoanalysis

b. Transactional Analysis

c. Rorchach researches


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Creativity is...

...Ability to produce work that is novel(original, unexpected), high in

qualityand appropriate(useful, meets task constraints)

Sternberg, Kaufman & Pretz, 2002

Mini c

Small c

Big C


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Rhodes, M. 1987

4 P

1. Person

2. Process3. Product

4. Press


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Alfred Adler and the Creative Self

Adler defined self as intrapsychic process, or as he himself beautifully put it,

individual living movement.

He alternately used the expressions such as the self, individual, individual law of

movement and the life style. Insisting on the unity, he said that we could hear

the melody of the self while witnessing the closure of that simple gestalt.

According to Adler, life is a movement that constantly seeks improvement andthe concept of the self is the construct fixed in space and time by an observer.

In psychotherapy it is articulated through idiosyncratic language for the

purpose of amendment of human suffering.

The Self is a highly personalized individual nucleus seeking suitable experiences

that will fulfill a desired lifestyle. The integrity of self guarantees the constancy,coherence and creativity of an individual.

The Self is the originator of exceptionality, harmony, completeness and

integrity of a given unique individuality. The Self is that unique movement.

[1]Kurt Adler: Basic Lectures. Alfred Adler Institute of New York. 2003.


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Adler accepted the belief that the quest for the meaning of life is the

essence of being human.

1. Every individual has from earliest childhood on, his own unique law of

movement,which determines all his functions and expressive movements

and gives them direction.

2. The law of movement and its directions originatefrom the creative lifepowerof the individual, and use, in free choice, ones experiences of ones

body and of external effects, within the limits of human capacity,

3. The direction of psychological movement aims always at the overcoming

of difficultiesof all kinds, in millions of variations. Thus it has a goal of

perception, security, completion, always in the meaning and opinion of the

individual.

(Adler Alfred (1979): Superiority and Social Interest. W.W. Norton &

Company, New York.P51.)


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Rorschach


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Rorschach and the M factor

RORSCHACHis a psychological test in which the subjects perception ofinkblots is recognized and analyzed using psychological interpretation and/or

scientifically derived algorithms. Important features that are studied are:

1. Content: is it of a human nature, animal nature, abstract, etc. Content is

also considered for statistical originality or popularity.

2. Location: the basis for the response is usually the whole inkblot, or adetail (commonly or uncommonly selected) or the empty space around or

within the inkblot.

3. Determinants:such as form, color,movement(M factor)and shading

(Schachtel, 2001)

The most frequent interpretations of M answers relies on a hypothesisabout:

A. Human anthropomorphic tendencies(humans tend to perceive in their

own image and in their own likeness).

B. The main psychological mechanism for anthropomorphic tendencies is

the mechanism of projection (Schachtel 2001:229).


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The hypothesis about the M factor

Motorimpulses might be motivating. There is a particular projection of kinesthetic sensations to a static object.

Projection occurs along a constructive-destructivecontinuum.

Projection occurs along an unconscious-consciouscontinuum.

Projection has multiplefunctions: defensive, developmental, communicative ...

It plays a role in every empathic understandingof the other. We project: the

way we are (good and badme), the way we wish we were (the ideal me) and

the way we are not (the non me).

The attitudeneed not be a detached one, but involves bonding (Mandi

2003:39) involving basic personality attitudes (belief system).

The specific, concrete quality of recurrent movement in a protocol is significant.

The identification of self-referencecan be analyzed through the subjects

participation in it, identification with it, and the degree of awareness or denial.


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M factor and Creativity

As a quality, M responses might be an indicator of ...

EGO POWER, INTELLIGENCE AND CREATIVITY

Human capacity for creative experience moves on a continuum of capacities forinternalcreation (fantasy) to capacity for external creation (readingproducing

art).

M responses can be increased or decreasedby communication (ex. hypnosis,

Barbara Lane, 1948, increasing M responses by temporarily removing theinhibitions, not by acquiring a talent)


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Transactional Analysis Values

If I watch this person closely for a few moments something might occur to me.

The Nature of Intuition. Berne, 1997,P21

TA valuesis the achievement of Autonomy, which could be described as

fulfillment of the human potential for awareness, spontaneity and intimacy:

For certain people gifted with happiness there is something which overcomes allcategorizing of behavior, this being awareness; something that rises above

programming the past, this being spontaneity; and something which rewards

much more than any game, this being closeness. (Berne Eric, 1964)

One of the main human powers is the achieving of a necessary and sufficient

degree of closeness with other human beings through an authentic, honest and

engaged dialogue with others.

Transactional analysis places relationships and communication in the center of

its theoretical and practical research.


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Stimulating messages from ego-states

Parent: Art is a value. It is important to play.

You have great ideas.

I understand you very well and I admire your ideas.

It is OK to be different.

You can not miss.

I will be next to you if you need me.

"SE NON E VERO, E BEN TROVATO

Go! Play!

Adult: Here is how to create. Here is how:To express yourself.

To be curious.

To choose your way.

To learn skills.

To find meaning.

To use fantasy.

To find people to play with.

To be safe

Child: Lets play! What a great idea!

As if....

Id like to play with you.

See what I have!

Lets go for it! We can do it!I am your man! (I am in)


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Inhibiting messages from ego states

Parent: Art/play is for fools. That is ridiculous. *

Lets get back to reality.*It is not practical. *

Youre absolutely wrong.*

You cant teach an old dog new tricks.*

You dont know what are you talking about. *

Thats crazy.*

Adult: Control yourself. We tried that before. *

Its too radical a change. *

Were too small for it.*

Well be the laughingstocks. *

That will never work. *

Play by the rules.

You are not good enough.

Child: Do not wish! Do not try! It is impossible. *There is no way it can be done. *

I am better. You cant beat me.

*Marked statements are universal creativity killers according to Tubbs (1992)


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Inhibiting creativity

Surveillance

Expected evaluation

Competition

Choice reduction

Over control

PressureDeadline

Reward / Money

Amabile, 1979; Amabile, Goldfarb &Brackfield, 1990; Goleman & Kaufman,2007; Runco, 1995; etc

Stimulating creativity

SupportCultivation of autonomy

Freedom of expression

Creative challenge

Creative tension

Diversity

Flexibility

Trust / Security

Spontaneity

Amabile 2006; Andrews, 1975; Ekvall,Arvonen & Waldenstrom-Lindblad, 1983;VanGundy, 1987; West, 1990; etc.


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Our researches

*Approach: defining and measuring creativity as a movement in a bonding

contexta. phase ESTABLISH A MODEL and a technique 1975-2002 for the research

b. phase - PILOT STUDY 2008-2009

c. phase CONNECTING RESEARCHES

*Goal: creating a model that can be applied in education and psychotherapy.*The conditions were:

1. The subjects were presented with a visual stimuli

2. The dialogue was created with a subject and the group

3. The subject was asked to tell a story*The material was filmed, and verbal and non verbal analysis was applied.

*For this occasion we present researches:

I. The first research, with a DAP as a stimuli :This is I

II. The second research, with a Rorschach as a stimuli: Here we come

*The results were used as an inspiration for future research.


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Hypothesis

Our hypothesis is that

Creativity is in the contact, relationship and bonding.

(with Oneself, with the Other, Nature, the world of Ideas)

Creative Life Style needs values, relationship and a context with the

messages that enable, sustain and reinforce creativity.

To be creative, SELF needs to be active - in movement.

CreativeSelfContact oriented stimulation

M factor


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I. The first research: DAPas stimuli: This is I

DAP

Draw yourself version6 samples:

368 kids

638 adolescents

329 adolescents / minority in

an totalitarian regime

368 drama artists

368 maladapted / schizophrenics

62 art managers

N = 2133 drawings and interviews Qualitative and quantitative analysis

of drawings and story tellings.

GENERAL MODEL


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7 symbolical elaborions

GENERAL MODEL

A teaching tool


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Guided movement

Human movement perception has an important biological and psychological function. A

person perceives a change of position in space and time of an object and itscharacteristics. The object, the eye and the brain are involved (Still/moving).

During the interviews, a moderator, inspired by a guided fantasy, applied a

tehnique we named GUIDED MOVEMENT, based on the following

principles:

1. ACCESS - where the person is (be careful- use the M model)

2. CONNECT - with the unique connection- creative bonding

3. FIND DESIRES - ask for it/ let it go

4. LISTEN - to cause and effect stories

5. FIND THE POTENTIAL - activate it (go/stop)

6. FIND THE VALUES create a road, USE VERBS

7. GROW - internal/external; concrete/symbolic;

constructive/destructive movements.


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The first movement is to healthily up-date Parent values withpurposing. Create a starting point. We will create and reinforce values

that might and will produce creativity stimulating messages.

From that point we will create a line, and the second movement might

be Adult information giving: heres how to get started; Here is how to

use your imagination.

Then, we will move to a triangle of providing safety. We will enable

the Parent to protect and give permission to the Child. The movement

which provides permission will also create needed restrictions.

Next movement might coach for potency and joy.

The final movement grounds the possible realization.

An example of guided movement


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FDA


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M MODEL

10 kinds of movement have been recognized:

1. Absence of movement

2. Conquest of movement

3. Tension4. Frozen movement

5. Extorted movement

6. Maladapted movement

7. Creative movements of the self

8. Vicarious movement

9. Integrated movement

10. Spiritual movement


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Examples

1. absence 2. conquest


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3. tension 4. frozen


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5. extorted 6. maladapted


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7. creative 8. vicarious


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9. integrated 10. spiritual


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Differences between samples

Differences in 6 samples have been found in:

. 1. Movingfrom the given visual frames

(lleaving the given boundary : yes / no and how)

2. Personification(low, average and high)

3. Kind of movement(absence, conquest, frozen...)


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1. Moving from the given frame

0 31 10 78 59 36


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Differences between samples (resume)

KIDS

a. No(0 0ut 0f 368) movement outof the frame

b. Low qualityof personification:

dominant identification with parents

and teachers

c. Conquest of the movement

ADOLESCENTS 1a. Yes(31% out of 368)

b.Average qualityof personification:

dominant identification with social

stereotypes of a teenager,

c. Tense movementswith highly transparent

individual and social conflict ADOLESCENTS (minority)

a. Yes (10% out of 329)

b.Average qualityof personification:

dominant identification with soldiers

c. Frozen movementwith highly transparent

social conflicts

FDA STUDENTS

a. Yes(59 out of 368)b. High personification

c. Creative movements

PSYCHOTIC PATIENTS

a. Yes(78% out of 368)

b. Low personification

c. Maladapted movements:

minimal and bizarre

symbolic leaps.

MANAGERS IN CULTURE

a. Yes(36% out of 62)

b.AverageContextual

personifications.

c. Creative movements


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II.The second research: Rorschach as stimuli: Here we come

Main hypothesis: creativity could be stimulated in a group context, throughverbal and non-verbal communication, by enabling a creative bonding with the

subjects.

23 drama students were divided into researchers (13) and subjects (10).

Subjects were divided in two groups of five: an experimental group (E) and a

control group (C). Both groups of students were exposed to the original

Rorschach plates, on the screen, their favorite media.

Both groups were asked the same number of questions. The K group was asked

the standard Rorschach protocol questions. The E group was asked the first

Rorschach question followed by questions tailored to their responses, chosen to

stimulate creativity.

The materials were filmed and transcribed producing 100 stories. We divided the

stories, shuffled them, and gave them to ten experts for evaluation. The stories

were evaluated on three criteria: fantasy, originalityand creativity.

We also made a quantitative analysis of verbsused in the stories.


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A teaching tool inspired by George Kohlreiser seminars, Zagreb,

1988.


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Evaluation and analysis

The materials were filmed and transcribed

producing 100 stories. We divided the stories,

shuffled them, and gave them to ten experts forevaluation. The stories were evaluated on three

criteria: fantasy, originalityand creativity.

We also made a quantitative analysis of verbsused

in the stories.


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Results

Differences between control and experimental groups

in creativity, originality and fantasy

1

2

3

4

5

Creativity Originality Fantasy

Control

Experiment

F(1,96)=19,92; p


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Quantitative analysis

Rorschach & Homo Narrator

M(e) M(k) Differences F value SignificanceNumberof...

Words 209.14 115.72 E>K 24.09 .001***

Verbs 36.70 22.54 E>K 18.90 .001***

Verb tense

Past 5.70 4.04 E=K 1.68 -

Present 23.18 13.72 E>K 17.24 .001***

Future 7.76 4.74 E>K 7.88 .01**

Verbvoice

Active 28.76 17.78 E>K 16.20 .001***

Pasive 8.32 4.66 E>K 20.47 .001***

Verbperson

He/She 18.58 13.68 E>K 5.61 .05*

They 10.66 4.64 E>K 13.59 .001***

Differences between experimental & control groupsin number and kind of used verbs


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Scriptwriters/Directors

10

20

30

40

Control Experiment

Number of verbs F(1,96)= 6,89; p


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Conclusions

The study supports the hypothesis that it is possible to favorablyinfluence the M factor.

The stories created by subjects in the E group were evaluated as more

creative, original and fantasy pregnant.

The E group produced more words, more verbs, and they used more of

the present and the future tense.

This research suggests that creative stimulation and bonding merit

more attention in educational system.

Method of creative stimulation and bonding is more effecient with

young directors. Comparative analysis (directors/script-writers) showed

us that differences are significant, as well as interactivity of factors.

We need more insight to understand the methodological differences

needed for educating scriptwriters versus directors.


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THE PARADOX

I am a desire in motion

You are a diversity

Life is a connection

(in time, space, motion)

feelings (all)

Joy

STUDENT

No expectations or conditions

Confrontation (proactive)

No entitlementEmpathy for the emptiness

Teach creativity for no reason

Connect from the Self

Step out from the comfort zone

Share

Look for the Divine spark in people

TEACHER

Iintegrity, power, respect(in time, space, motion)

courage, freedom,peaceful, charismatic, enrolling

Metaphor THE PARADOX

Beliefs in vitality, love, satisfaction, self expression and restriction


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Literature

Amabile, M. Theresa 1996.Creativity in context. Boulder, CO: Westview.

Ansbacher, Heinz; Ansbacher, Rowena. 1956. The Individual Psychology of Alfred Adler.New York: Harper & Row.

Berne, Eric. (1997): INTUITION and ego states. A Series of Papers: TA Press. San Francisco.

Erskine, G. Richard 1997. Theories and Methods of an Integrative Transactional Analysis. San

Francisco: TA Press.

Guilford, J.P. 1950. Presidental address to the American PsyhologicalAssociation.

Washington: American psychologist 5, 444-454.

Isaksen, G. Scott; Murdock, C. Mary; Firestien, L. Roger; Treffinger, J. Donald (eds). 1993.

Understanding and Recognizing Creativity: The Emergence of a Discipline. New Jersey: Ablex

Publishing Corporation Norwood. 48.

Mandic, Tijana; Raic, Zorica. 2006. Creatology This is I. Collected Papers FDA - Institute

for Theatre, Film, Radio and Television. Belgrade. (10). 184-211.


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Literature (cont.)

. Mandic, Tijana. (2010). The stages of psychotherapy from the View of Transactional Analysis

and Algerian Psychoanalysis.In Boric lectures. Edited by: Srpak, Milena; Beric Miro;Korenjak Roman. Zdruzenje psihoterapevtov Slovenije. Ljubljana.

Kaufman, James; Sternberg, Robert (eds). 2006: The International Handbookof

Creativity. New York: Cambridge University Press.

Osborn, A.F. 1957.Applied Imagination: Principles and Procedures of Creative Thinking, 2d

ed. New York :Scribners.

Rhodes, M. 1961.An Analysis of Creativity. In Frontiers of Creativity Research: Beyond the

Basics.Isaksen S,G.(ed) 1987. Buffalo, NY. p.216-222,

Rorschach Test. 1998. Psychodiagnostic Plates. Cambridge, MA: Hogrefe Publishing Corp.

Rorschach, H.

Runco, Mark A. and Pritzker, R. Steven (Editors in Chief 1990): Encyclopedia of

CREATIVITY. Vol I and II. Academic Press. London, New York. Schachtel, Ernest. 2001. Experimental foundations of Rorschachs test. Analytic Press.

Hillside. NJ. 229-230.

Sternberg, Robert J. 1999. Handbook of creativity. New York: Cambridge University Press.


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Our gratitude goes to:

FDA

FACULTY OF DRAMA ARTS BELGRADE, SERBIA ALFRED ADLER INSTITUTE OF NEW YORK, USA

ANGLO-AMERICAN SCHOOL BELGRADE, SERBIA

HOP.LA! BELGRADE, SERBIA

and also to our associates:

Zorica Razic (ACCD), Andrija Dimitrijevic (FDA), Biljana Kosanovic (FDA),

Damir Romanov, Maja Veljic, Ognjen Glavonjic, Dragan Uzelac, Ognjen

Isailovic, Rako Milatovic, Milica Tomovic, Dane Komljen, Predrag

Jelenic, Jelena Maksimovic, Jelena Rosic, Ana Stojanovic, VladimirRadovanovic (students of FDA) , and Srdjan Bogosavljevic (Ipsos

Strategic Marketing)


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ADENDUM IF NEEDED


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ADENDUM


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ADENDUM


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QUESTIONS

RESEARCH I.

QUESTIONS A:1.WHO IS THIS PERSON? WHO ARE THE PEOPLE SURROUNDING HER?2. WHAT DOES HE THINK AND FEEL ABOUT HIMSELF?

3. HOW DID SHE BECOME THAT WAY?

4. HOW DOES HE WISH TO BE SEEN? WHAT IS HIS FAVOURITE PUNCH LINE?

5. HOW DO OTHER PEOPLE RELATE TO HER, AND SHE TO THEM?

6. WHAT IS HIS LIFE STORY? HOW WOULD HIS LIFESTORY DEVELOP AND END?

7. HOW DO WE KNOW THAT?

RESEARCH II.

QUESTIONS B:1. WHAT DO YOU FIND ON THE SCREEN (SEE)?

2. WHERE?

3. WHAT MAKES IT LOOK LIKE THIS?

4. WHAT GAVE YOU THE IDEA THAT IT COULD BE A

5. TELL ME A BIT MORE ABOUT(content of the verbalization).

6. WHICH IMPRESSION DOES IT MAKE ON YOU?

7. HOW WILL IT END?


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