Striving for Perfection or for Creativity?

Abstract

The extent to which creativity and perfection can be considered compatible aims for dancers was investigated. Also investigated were how creativity and perfectionism are (1) nurtured versus inhibited, and (2) related to basic psychological needs (autonomy, competence, relatedness). Seventy-seven ballet students (12-19 years old) in Stockholm, Sweden completed standardized questionnaires, and eight were recruited for interviews. Additionally, five teachers were interviewed. It was found that flexible perfectionistic strivings (PS) were seen to support creativity, whereas rigid PS and perfectionistic concerns (PC) were seen as inhibiting. Creative work was proposed to reduce PC. Creativity appeared to be nurtured when basic needs were met via inspiration and imagery; this was experienced more in contemporary dance. Perfectionism appeared to be nurtured when basic needs were thwarted or unsupported, and when teachers were perfectionistic. This was experienced more in ballet. In conclusion, dance teachers who support basic needs likely support dancers' creativity and aid in perfectionism management. The traditional stereotype of a dancer, especially in classical ballet, is of a hard-working individual with little creative agency (e.g., Morris 2003; Lakes 2005; Pickard 2015). Today, however, dancers are frequently asked to improvise and choreograph in collaboration with choreographers (e.g., Butterworth 2004), and creativity is increasingly recognized as an important component of success. Creativity is also related to well-being, and is sometimes described as a form of optimal human functioning (Simonton 2000). Whether to promote success or well-being, therefore, it would appear that creativity is becoming ever more important. Although differences exist in how creativity is defined or conceptualized, the most established definition is that it comprises originality and usefulness (Runco and Jaeger 2012). In dance, creativity is further conceptualized as both a process and an outcome, and also as a skill that can be taught (Press and Warburton 2007). Given the advantages of creativity, it is important to identify how it can be nurtured. In a study examining this notion directly, collaborative learning, flexible teaching methods, the provision of a safe and family-like environment, encouraging dancers' own voice, and recognizing everyone as an individual were said to nurture creativity among young talented dancers (Watson, Nordin-Bates, and Chappell 2012). Many others have investigated the nurturing of dance creativity in a more indirect fashion (e.g.

Inspired or Inhibited? Choreographers’ Views on How Classical Ballet Training Shaped Their Creativity

“…Participants described numerous ways in which autonomy was thwarted during training, which strongly resonated with previous research in dance (Salosaari 2001;Morris 2003;Jackson 2005;Lakes 2005;Pickard 2012;Watson, Nordin-Bates, and Chappell 2012;Barr 2013;Alterowitz 2014;Barr and Oliver 2016;Nordin-Bates 2019). This was mainly due to its traditional, authoritarian nature, which included hierarchy, rigidity, and discipline.…”

“…The dual demands on dancers to be excellent both technically and creatively are important aims for ballet schools, as made clear in the following words by Dame Ninette de Valois, founder of the Royal Ballet School: "A school is the bedrock of any company, nurturing as it does the dancers and choreographers of the future" (The Royal Ballet School 2020). This is not uncomplicated, however, as strivings for technical excellence and creativity are sometimes in conflict (e.g., Morris 2003;Dyer 2009;Nordin-Bates 2019). For instance, technical drilling is often intensely focused, repetitive practice or imitation of a master model, such as a teacher, within a relatively formulaic class structure.…”

“…Interestingly, the aspects highlighted as lacking in traditional, authoritarian ballet teaching are often precisely those associated with creativity. These include placing value on individuality, flexibility, reflectivity, open-ended exploration, and there being many ways of doing something "right" (Mead 2009;Watson, Nordin-Bates, and Chappell 2012;Choi and Kim 2015;Weidmann 2018;Clements and Redding 2019;Nordin-Bates 2019).…”

“…The need for autonomy may therefore be satisfied via the provision of choice and meaningful rationale, by valuing individuality, and by encouraging reflectivity (see Weidmann 2018 for several ballet examples). Dancers who experience autonomy support from teachers also report higher levels of intrinsic motivation and wellbeing (Quested and Duda 2011), while dancers and teachers report that autonomy support can nurture creativity (Watson, Nordin-Bates, and Chappell 2012;Nordin-Bates 2019). Contrastingly, the need for autonomy may be suppressed or even thwarted through undermining or controlling behaviors (Ryan and Deci 2000).…”

Creativity in Relation to Academic and Clinical Performance of Dentistry Students

“…The finding of a lack of a significant relationship could be due to the structured curriculum which emphasis on conforming to procedural standards. This could lead to self-oriented perfectionism among dentistry students Wong et al [21], which can restrict creativity Nordin-Bates [22].…”