“…During the 'In the Dancer's Mind' research project on creativity, and with our shared interest in somatics and dance pedagogy (despite our different practices and the fact that the project was not concerned with somatics), similar questions and insights arose for us all around the intersection of dance pedagogy, somatics, and creativity. Thus, we sought to undertake a small-scale, qualitative research study to investigate what might be the shared pedagogical perspectives on developing creativity within a somatics-informed dance education, as well as whether these overlap with existing cognitive psychological perspectives, thus contributing to calls for continued research on how dance intersects with various fields, including somatics (Minton 2000). This research is situated within a post-positivist, interpretive framework, one 1 Project 'In the dancer's mind: creativity, novelty and the imagination' (2014)(2015)(2016)(2017) which is in agreement with arguments made by Sylvie Fortin (2005, 6) that knowledge about dance is derived from researchers' interpretation of empirical data in combination with their own self-reflection about their knowledge of the form and their own political ideology.…”