Journal articles: '130103 The creative arts'

1

Zindel, Bonnie. "Creative Literary Arts." Psychoanalytic Perspectives 7, no. 2 (November 2010): 416–17. http://dx.doi.org/10.1080/1551806x.2010.10473104.

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김현숙. "Creative Arts and Zen." Korean Journal of Art and Media 14, no. 1 (February 2015): 85–112. http://dx.doi.org/10.36726/cammp.2015.14.1.85.

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Jones, Diana. "Creative arts in rehabilitation." International Journal of Therapy and Rehabilitation 18, no. 11 (November 2011): 599. http://dx.doi.org/10.12968/ijtr.2011.18.11.599.

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&NA;, &NA;. "PRATT CREATIVE ARTS EVENTS." Family & Community Health 10, no. 4 (February 1988): 84. http://dx.doi.org/10.1097/00003727-198802000-00017.

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Brown, Ralph. "Performing Arts Creative Enterprise." International Journal of Entrepreneurship and Innovation 6, no. 3 (August 2005): 159–67. http://dx.doi.org/10.5367/0000000054662836.

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The UK government has recently established the National Council for Graduate Entrepreneurship (NCGE) to promote entrepreneurship in higher education, across all subject disciplines. This article considers the UK government's policy initiative from the perspective of a new project supporting tutors in the performing arts sector, who are working to ‘bridge the gap’ between arts education and professional artistic practice. The article explores, in particular, fundamental issues such as: what is distinctive about cultural entrepreneurship and how can it be taught? It also discusses the role of higher education institutions in developing relationships with the creative industries sector and in developing training and support systems for aspiring professional artists.

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Bradt, Joke, and Sheryl Goodill. "Creative Arts Therapies Defined." JAMA Internal Medicine 173, no. 11 (June 10, 2013): 969. http://dx.doi.org/10.1001/jamainternmed.2013.6145.

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John‐Steiner, Vera. "Creative lives, creative tensions." Creativity Research Journal 5, no. 1 (January 1992): 99–108. http://dx.doi.org/10.1080/10400419209534426.

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Appleton, Leo, Gustavo Grandal Montero, and Abigail Jones. "Creative Approaches to Information Literacy for Creative Arts Students." Comminfolit 11, no. 1 (2017): 147. http://dx.doi.org/10.15760/comminfolit.2017.11.1.39.

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Somers, Marion. "Creative Exit." Art Journal 53, no. 1 (1994): 76. http://dx.doi.org/10.2307/777542.

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Somers, Marion. "Creative Exit." Art Journal 53, no. 1 (March 1994): 76–78. http://dx.doi.org/10.1080/00043249.1994.10791611.

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Ruastiti, Ni Made. "Tourist Performing Arts: Balinese Arts-Based Creative Industry." Mudra Jurnal Seni Budaya 25, no. 3 (September 30, 2010): 293–301. http://dx.doi.org/10.31091/mudra.v25i3.1567.

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Creative industry is part of creative economy, which is the implementation of the attempts made to create sustainable development through creativity. Sustainable development refers to a competitive economic climate with renewable resources. Creative economy refers to the fourth stage evolution after agricultural economy, industrial economy and informational economy. As far as the performing arts performed for tourism are concerned, arts seem to develop sustainably. The performing arts such as Cak, Barong and Legong performed for tourism by the Balinese community is the implementation of the local people’s creative industry in developing their artistic life sustainably. They are packaged as the local traditional performing arts.

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Kew, Carole. "Creative Pauses, Creative Energies: Mary Wigman's Eastward Turn." Dance Research 37, no. 1 (May 2019): 77–88. http://dx.doi.org/10.3366/drs.2019.0254.

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Pauses, or resting positions, were a feature of Mary Wigman's dance. This enquiry discusses ways in which this feature is related to non-Western philosophies and techniques. In a process reminiscent of sacred dance, spectators were empowered to create their own mental images from within the space offered up by the pauses in Wigman's movement.

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Olofsson, B. K., and T. V. Ermolova. "Play and the Creative Arts." Современная зарубежная психология 4, no. 3 (2015): 15–23. http://dx.doi.org/10.17759/jmfp.2015040302.

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The author’s view is that the child's participation in pretence play changes the state of his mind, and plunge him into a kind of a light hypnotic trance. The child’s view seems to become inward-looking, introspective, which allows him to protect his inner world from the surrounding reality. Children are easily controlling the process of transition into the playing state and coming back to reality and they are aware that nothing magical happens to them during the play. At the same time, they are in desperate need of this kind of game protection of their internal world in which reality is creatively transformed by them into something else that has a strictly individual value for each individual child, and therefore extremely valuable for him or her and absolutely necessary for the personal development

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Benvegnù, Damiano. "Editorial: Creative Writing and Arts." Ecozon@: European Journal of Literature, Culture and Environment 11, no. 2 (October 6, 2020): 234–37. http://dx.doi.org/10.37536/ecozona.2020.11.2.4019.

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Clift, Stephen. "Creative Arts and Public Health." Arts & Health 6, no. 1 (January 2, 2014): 2–4. http://dx.doi.org/10.1080/17533015.2014.886146.

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Craven, Sophie. "Fundraising for creative arts projects." Fundraising for Schools 1, no. 164 (February 2, 2015): 14–15. http://dx.doi.org/10.12968/fund.2015.1.164.14.

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Craven, Sophie. "Fundraising for creative arts projects." Fundraising for Schools 2015, no. 164 (February 2, 2015): 14–15. http://dx.doi.org/10.12968/fund.2015.164.14.

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Peacock, David. "Creative Performance Arts Degree Courses." British Journal of Music Education 4, no. 1 (March 1987): 71–80. http://dx.doi.org/10.1017/s0265051700005738.

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Young musicians wishing to study music in higher education now have a variety of options open to them. One of these, a relatively recent development, is Creative/Performing Arts degree courses, where students can study music in an interdisciplinary setting. This article sets out to trace the emergence of such courses and to present in a descriptive and informative way their philosophy, admissions procedures, general principles of organisation, curricular content and approach, assessment policies and graduate employment possibilities.

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Cinnéide, Barra Ó. "Creative Entrepreneurship in the Arts." International Journal of Entrepreneurship and Innovation 6, no. 3 (August 2005): 151–58. http://dx.doi.org/10.5367/0000000054662827.

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The emergence of an unparalleled national economic performance, labelled the Celtic Tiger, has given Irish business educators the challenging task of analysing and recording their country's burgeoning growth over the past decade. As part of this development, Riverdance –an upbeat combination of Irish music and dance – hit the world stage, demonstrating that entrepreneurship and innovation are as much part of the success process within the creative industries as is the case in any other sector of the economy. By researching the advent and ongoing development of Riverdance and the follow-on show, Lord of the Dance, it is believed that invaluable insights can be gained into the creative entrepreneurial process, including the shows' particular characteristics, their development needs, how innovative entrepreneurs work, and the particular barriers they face. This paper shows how, through publishing a series of studies on Riverdance and Lord of the Dance, it has been possible to demonstrate that the evolution of ‘New Age’ Irish dance, with its unprecedented success abroad, can provide an important role model for both the arts/culture sector and the Irish business community in general. Additionally, these entertainment industry cases, among others, provide an opportunity for considering the confluence within Irish music in terms of its traditional, classical and contemporary forms, within the rapidly changing educational, social and cultural landscape of a burgeoning economy that has earned the title, the Celtic Tiger.

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McLaughlin, Dorothy. "Educating the creative arts therapist." Arts in Psychotherapy 13, no. 4 (December 1986): 348–49. http://dx.doi.org/10.1016/0197-4556(86)90037-7.

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Gibson, Gwen L. "Reflections: Beyond creative arts therapies." Arts in Psychotherapy 16, no. 3 (September 1989): 219–21. http://dx.doi.org/10.1016/0197-4556(89)90025-7.

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McGuigan, Jim. "Creative labour: working in the creative industries." Cultural Trends 20, no. 2 (June 2011): 213–14. http://dx.doi.org/10.1080/09548963.2011.563921.

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Upton, Andrew. "Creative conversations: theatre, the arts, creative learning and the future." NJ 39, no. 2 (July 3, 2015): 159–64. http://dx.doi.org/10.1080/14452294.2015.1127312.

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Wünsche, Isabel. "Creative Intuition." Experiment 23, no. 1 (October 11, 2017): 215–28. http://dx.doi.org/10.1163/2211730x-12341312.

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Abstract Among the artists of the Russian avant-garde, there was general agreement that the new art forms they were seeking were not to be found in the visible world but rather the artist’s own creative intuition. The true artist created freely and independently, without regard for the appearance of the objective world or conventional approaches to its depiction. In their explorations of the artistic process and the creative endeavor, the artists found inspiration in Henri Bergson’s concept of intuition as a philosophical method, which the French philosopher had formulated in his 1903 essay “Introduction à la métaphysique” (An Introduction to Metaphysics). Bergson’s ideas were further developed and integrated into the larger discussion about organic perception and creative intuition within the Russian cultural tradition by the Russian philosopher Nikolai Lossky. Lossky’s own concept, which he called intuitivism, was developed as an alternative to Bergson’s philosophy; it was an attempt to unite pre-Kantian rationalism, particularly Leibniz’s monadology, with the strong tradition of mystical rationalism in Russian philosophy. Kazimir Malevich related non-objectivity in art to creative intuition and promoted suprematism as a theory of unbounded creativity that could overcome the narrow notion of art and encompass all spheres of life. In suprematism, “art advances toward creation as an end in itself and toward domination over the forms of nature.” Malevich’s suprematist elements can be compared to Lossky’s substantival agents—they are a creation of the absolute, i.e., intuitive reason, and serve as fundamental building blocks of the world. The essay discusses the Russian interpretation of Henri Bergson’s L’Evolution créatice (Creative Evolution) by Nikolai Lossky and the role Lossky’s concept of intuitivism played in the art and art theory of the Russian avant-garde, specifically Malevich’s suprematism.

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Ogata, Amy F. "Creative Playthings." Winterthur Portfolio 39, no. 2/3 (June 2004): 129–56. http://dx.doi.org/10.1086/433197.

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Royston, Ryan, and Roni Reiter‐Palmon. "Creative self‐efficacy as mediator between creative mindsets and creative problem‐solving." Journal of Creative Behavior 53, no. 4 (December 11, 2017): 472–81. http://dx.doi.org/10.1002/jocb.226.

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Clifton, Glenn. "Critical-Creative Literacy and Creative Writing Pedagogy." University of Toronto Quarterly 91, no. 1 (February 1, 2022): 51–66. http://dx.doi.org/10.3138/utq.91.1.04.

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This article builds on psychological research that claims critical thinking is a key component of the creative process to argue that critical-creative literacy is a cognitive goal of creative writing education. The article also explores the types of assignments and prompts that might contribute to this goal and simultaneously build bridges between creative writing education and other humanities disciplines.

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Felton, Emma, Mark Nicholas Gibson, Terry Flew, Phil Graham, and Anna Daniel. "Resilient creative economies? Creative industries on the urban fringe." Continuum 24, no. 4 (August 2010): 619–30. http://dx.doi.org/10.1080/10304312.2010.485675.

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Lathrop, Perrin. "Creative Africa." African Arts 50, no. 2 (June 2017): 84–86. http://dx.doi.org/10.1162/afar_r_00346.

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Frisch, N., and T. Sellar. "Creative Interactions." Theater 44, no. 2 (January 1, 2014): 47–61. http://dx.doi.org/10.1215/01610775-2409515.

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Edmonds, Ernest, Lizzie Muller, and Matthew Connell. "On creative engagement." Visual Communication 5, no. 3 (October 2006): 307–22. http://dx.doi.org/10.1177/1470357206068461.

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32

Farrer, Rachel. "The creative dancer." Research in Dance Education 15, no. 1 (May 7, 2013): 95–104. http://dx.doi.org/10.1080/14647893.2013.786035.

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Lai Keun, Leong, and Peggy Hunt. "Creative dance: Singapore children's creative thinking and problem‐solving responses." Research in Dance Education 7, no. 1 (April 2006): 35–65. http://dx.doi.org/10.1080/14617890600610661.

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34

Seeley, Ken. "The Arts and Talent Development." Gifted Education International 11, no. 3 (September 1996): 136–38. http://dx.doi.org/10.1177/026142949601100305.

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The writer argues for the importance of the creative arts which cross all boundaries of culture and human motivation. The article defends the holistic nature of the creative arts which synthesises the whole range of human potential. The author proposes that the creative arts are a basis for understanding both the self and society.

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TARAKCİ EREN, EMİNE. "Creative Thinking Skills In Visual Arts." Social Sciences Studies Journal 5, no. 53 (January 1, 2019): 7451–61. http://dx.doi.org/10.26449/sssj.2045.

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36

Robkin, Rochelle. "Adolescents' Creative Productivity in the Arts." Marilyn Zurmuehlen Working Papers in Art Education 6, no. 1 (1987): 135–40. http://dx.doi.org/10.17077/2326-7070.1167.

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Ting, Su-Hie, Saiful Bahari Mohamad Yusoff, and Nancy Kissam. "INTRODUCTION SECTIONS IN CREATIVE ARTS THESIS." Leksema: Jurnal Bahasa dan Sastra 7, no. 1 (June 30, 2022): 61–71. http://dx.doi.org/10.22515/ljbs.v7i1.5090.

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The content structuring of creative arts thesis is still evolving and has been mainly based on the social science thesis structure. However, the diversity of creative works encompassing music compositions, novels, art works, dance, and painting makes it difficult for the thesis to fit into the conventional content structure. There is also the description of intellectual property and the final product validation which are distinctly different components of creative arts research which need to be documented. In addition, the impetus for the creative arts research may not arise from a gap of knowledge in the field but from ergonomical problems of certain products or designs. The present study examined how the introduction section is written in creative arts thesis. Eleven creative arts theses written by undergraduate and postgraduate students in two Malaysian universities were analysed to identify the impetus or entry point for the research. The results indicate that the research problem in creative arts thesis is inclined towards researcher observation of ergonomic problems with existing products or designs although some students strengthen their case by citing related research findings on the weaknesses of existing products or design to carve a niche for their study. The study suggests that patent search offers useful information that can be used to justify the novelty of innovations and inventions.

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Bristow, Macy. "The creative arts in dementia care." Journal of Mental Health 22, no. 4 (July 23, 2013): 396. http://dx.doi.org/10.3109/09638237.2012.734661.

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Olubunmi Odewumi, Michael, Ayotunde Atanda Falade, and Adewale Olusegun Adeniran. "Learning creative arts via instructional television." Revija za elementarno izobraževanje 11, no. 4 (December 2018): 357–72. http://dx.doi.org/10.18690/rei.11.3.357-372.2018.

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Cummings, Jessica. "The Creative Arts in Dementia Care." Canadian Art Therapy Association Journal 24, no. 1 (March 2011): 32–34. http://dx.doi.org/10.1080/08322473.2011.11434792.

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41

Lusebrink, Vija. "Using the Creative Arts in Therapy." Art Therapy 2, no. 3 (October 1985): 139–40. http://dx.doi.org/10.1080/07421656.1985.10758808.

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42

Herbert, Doug. "Arts Education and the Creative Economy." Journal of Dance Education 6, no. 2 (April 2006): 37–40. http://dx.doi.org/10.1080/15290824.2006.10387310.

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Gallagher, Lisa. "Creative arts therapies for palliative medicine." Progress in Palliative Care 21, no. 2 (May 2013): 63–64. http://dx.doi.org/10.1179/0969926013z.00000000073.

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44

Cowdroy, Rob, and Anthony Williams. "Assessing creativity in the creative arts." Art, Design & Communication in Higher Education 5, no. 2 (January 12, 2007): 97–117. http://dx.doi.org/10.1386/adch.5.2.97_1.

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Mason, Rachel. "Creative education through arts and crafts." International Journal of Education through Art 1, no. 1 (April 2005): 3–8. http://dx.doi.org/10.1386/etar.1.1.3/0.

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Yeung, Alexander Seeshing, Dennis M. McInerney, and Deirdre Russell-Bowie. "Hierarchical, multidimensional creative arts self-concept." Australian Journal of Psychology 53, no. 3 (December 2001): 125–33. http://dx.doi.org/10.1080/00049530108255134.

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Abreu, Maria, and Vadim Grinevich. "Academic Entrepreneurship in the Creative Arts." Environment and Planning C: Government and Policy 32, no. 3 (January 2014): 451–70. http://dx.doi.org/10.1068/c11144r.

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48

Greenhalgh, Liz. "From Arts Policy to Creative Economy." Media International Australia 87, no. 1 (May 1998): 84–94. http://dx.doi.org/10.1177/1329878x9808700110.

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This article considers the may the Labour Party, since its election in May 1997, has promoted ideas about the value of the creative economy to Britain's industrial future. It argues that the Party's approach to the creative economy has more in common with new business and management theories, rather than being a fully worked-out approach to cultural policy. There is now a disjunctive between the recognition of the creative economy and the continued existence of traditional arts policy-making institutions. New government initiatives around the idea of re-branding Britain and promoting Britain's creative economies through the public spectacle and millennium celebrations have opened up this incipient gap between traditional arts policies and new thinking about the creative economy. The article notes that much of the pioneering work developing the idea of cultural industries was carried out more than a decade ago by city councils in Britain, which sought to sustain their small cultural businesses with limited programs of investment and business support. At the time, this work was largely ignored by traditional arts policy bodies. The paper concludes by speculating about whether the Labour Party can turn its rhetoric about the creative economy into a more substantive policy which brings together the mixed economy of public and private in the cultural sector.

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49

Blatner, Adam. "Theoretical principles underlying creative arts therapies." Arts in Psychotherapy 18, no. 5 (January 1991): 405–9. http://dx.doi.org/10.1016/0197-4556(91)90052-c.

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Johnson, David Read. "Shame dynamics among creative arts therapists." Arts in Psychotherapy 21, no. 3 (January 1994): 173–78. http://dx.doi.org/10.1016/0197-4556(94)90046-9.

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Journal articles on the topic '130103 The creative arts'

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