Creativity and Flow: Not a Simple Relationship

Abstract

In this study, flow, both dispositional and state, and movement‐based creative processing were investigated in a group of pre‐professional and professional dancers (N = 288) who were involved in the creation, rehearsal, and performance of a new dance work(s). Dance is both movement‐based and group‐based. The Experience of Creativity Questionnaire and Dispositional Flow Scale were administered 2 weeks prior to the performance of the new choreography. The state flow data were collected immediately after the completion of the final dress rehearsal and immediately following the opening night performance. The results of this quasi‐experimental study demonstrated that the association with creative processes and dispositional flow dimensions yielded weak significance. Many creative processing dimensions predicted state dress and performance flow conditions, although the predominant predictors were Clarity and Preparation, Creative Anxiety (negative predictor), and Beyond the Personal. The uniqueness of this study was that it focused on movement‐based creative processing and its relation with dispositional and state flow.

Exploring the experiences of dancers who have achieved peak performance: on-stage, pre-stage, and post-stage

“…Also, the characteristics of the flow state closely align with those of peak performance (Jackson et al, 2001;Hefferon and Ollis, 2006). In the context of research on dancers' flow, the significance of maintaining a balance between the performer's challenge and skill is emphasized, along with the ability to sustain effortless long-term attention and focus while executing the task (Jaque et al, 2020;Thomson and Jaque, 2023). However, flow differs from peak performance in that it is an intrinsically rewarding experience that may or may not result in peak performance (Privette and Brundrick, 1991).…”

“…Considering the performative artistic characteristics of dance, it is efficient to focus on bringing out and maintaining the best psychological and physical conditions of the performers (i.e., dancers), in order to successfully perform the dance performance that has been painstakingly created during the practice period on the day of the performance. Moreover, it is important to implement psychological techniques to manage anxiety stemming from unavoidable or heightened demands experienced during the rehearsal process on the day of the performance (Thomson and Jaque, 2023). In particular, professional dancers have been shown to utilize various psychological techniques elite athletes use in competition, including mind control, magnetization, imagery training, and routines to create an optimal mental state (Ungerleider, 2005;Harmison, 2006).…”

Professional status matters: Differences in flow proneness between professional and amateur contemporary musicians.

“…Finally, our measurement of anxiety focused exclusively on trait anxiety; consequently, our null findings should be cautiously interpreted and restricted to only trait anxiety. Future studies could explore the link between flow and creativity anxiety in musicians (Daker et al, 2020), which has been shown to be complex in other creative domains, such as dance (Thomson & Jaque, 2023).…”