GUIDED MOVEMENT PROMOTES A CREATIVE LYFE STYLE

Tijana Mandic and Irena Ristic, 2010.

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

A look back

...Archimedes Eureka

Human interest in creativity has a long history, as we assume that creativity is not a monolith, but is a multidimensional and crossdisciplinary phenomenon, we raise more questions than offer final conclusions.

A fundamental change came in the Christian period: CREATIO came to designate God's act of creation from nothing.

CREATIO thus 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 CREATIVITY was the Polish poet Maciej Kazimierz Sarbiewski, who applied it exclusively to poetry.

A look back

...Imagination

For over a century and a half, the idea of human creativity met with resistance, 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 a kind of discovery or mimicry, and the idea of creation "from nothing" had no place in these philosophies and religions.

A look back

...XX century

From the standpoint of orthodox psychological literature, it is generally considered to have been: J. P. Guilford's 1950 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)

Theorethical Framework
Definition of creativity Sternberg, Kaufman & Pretz, 2002 System perspective inspired by: a. Rhodes 1987 b. Magyary-Beck 1988 Basic concept inspired by: a. Adlerian psychoanalysis b. Transactional Analysis c. Rorchach researches

Creativity is...

...Ability to produce work that is novel (original, unexpected), high in quality and appropriate (useful, meets task constraints) Sternberg, Kaufman & Pretz, 2002

Mini c Small c Big C

Rhodes, M. 1987

4P
1. 2. 3. 4.

Person Process Product Press

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 and the 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.

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 originate from the creative life power of 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 difficulties of 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.)

Rorschach

Rorschach and the M factor

RORSCHACH is a psychological test in which the subjects perception of inkblots 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. Location: the basis for the response is usually the whole inkblot, or a detail (commonly or uncommonly selected) or the empty space around or within the inkblot. Determinants: such as form, color, movement (M factor) and shading (Schachtel, 2001)

2.

3.

The most frequent interpretations of M answers relies on a hypothesis about:

A.

Human anthropomorphic tendencies (humans tend to perceive in their own image and in their own likeness).
The main psychological mechanism for anthropomorphic tendencies is the mechanism of projection (Schachtel 2001:229).

B.

The hypothesis about the M factor

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

Projection occurs along a constructive-destructive continuum.

Projection occurs along an unconscious-conscious continuum. Projection has multiple functions: defensive, developmental, communicative ... It plays a role in every empathic understanding of the other. We project: the way we are (good and bad me), the way we wish we were (the ideal me) and the way we are not (the non me). The attitude need 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-reference can be analyzed through the subjects participation in it, identification with it, and the degree of awareness or denial.

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 for internal creation (fantasy) to capacity for external creation (readingproducing art). M responses can be increased or decreased by communication (ex. hypnosis, Barbara Lane, 1948, increasing M responses by temporarily removing the inhibitions, not by acquiring a talent)

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 values is 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 all categorizing 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.

Stimulating messages from ego-states

Parent: Art is a value.

Adult: Here is how to create.

Child: Lets play!

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! 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 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)

Inhibiting messages from ego states

Parent: Art/play is for fools.

Adult: Control yourself.

Child: Do not wish! Do not try!

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. * We tried that before. * Its too radical a change. * Were too small for it. * Well be the laughing stocks. * That will never work. * Play by the rules. You are not good enough. 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)

Inhibiting creativity
Surveillance Expected evaluation Competition Choice reduction Over control Pressure Deadline Reward / Money

Stimulating creativity
Support Cultivation 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.

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

Our researches
*Approach: defining and measuring creativity as a movement in a bonding context a. 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.

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.

Creative Self Contact oriented stimulation M factor

I. The first research: DAP as stimuli: This is I

DAP Draw yourself version 6 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 A teaching tool

7 symbolical elaborions

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 its characteristics. 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.

An example of guided movement

The first movement is to healthily up-date Parent values with purposing. 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.

FDA

M MODEL
10 kinds of movement have been recognized:
1. 2. 3. 4. 5. 6. 7.

8.
9. 10.

Absence of movement Conquest of movement Tension Frozen movement Extorted movement Maladapted movement Creative movements of the self Vicarious movement Integrated movement Spiritual movement

Examples
1. absence 2. conquest

3. tension

4. frozen

5. extorted

6. maladapted

7. creative

8. vicarious

9. integrated

10. spiritual

Differences between samples

Differences in 6 samples have been found in:

1. Moving from 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...)

1. Moving from the given frame

31

10

78

59

36

2. Personification
LOW quality: dominant identification with parents and teachers

AVERAGE quality: dominant identification with social stereotypes (I am a teenager)

HIGH quality: idiosyncratic integrations

Differences between samples (resume)

KIDS a. No (0 0ut 0f 368) movement out of the frame b. Low quality of personification: dominant identification with parents and teachers c. Conquest of the movement ADOLESCENTS 1 a. Yes (31% out of 368) b. Average quality of personification: dominant identification with social stereotypes of a teenager, c. Tense movements with highly transparent individual and social conflict ADOLESCENTS (minority) a. Yes (10% out of 329) b. Average quality of personification: dominant identification with soldiers c. Frozen movement with 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. Average Contextual personifications. c. Creative movements

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

Main hypothesis: creativity could be stimulated in a group context, through verbal 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, originality and creativity. We also made a quantitative analysis of verbs used in the stories.

A teaching tool inspired by George Kohlreiser seminars, Zagreb, 1988.

Evaluation and analysis

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, originality and creativity. We also made a quantitative analysis of verbs used in the stories.

Results
5 4 3 2 1

***

***

**
Control Experiment

Creativity F(1,96)=19,92; p <.001

Originality F(1,96)=15,92; p <.001

Fantasy F(1,96)=8,17; p <.01

Differences between control and experimental groups in creativity, originality and fantasy

Quantitative analysis
Rorschach & Homo Narrator

M(e) 209.14 36.70 5.70

M(k) 115.72 22.54 4.04

Differences E>K E>K E=K

F value 24.09 18.90 1.68

Significance .001*** .001*** -

Number of...

Words Verbs Past

Verb tense

Present
Future

23.18
7.76 28.76

13.72
4.74 17.78

E>K
E>K E>K

17.24
7.88 16.20

.001***
.01** .001***

Verb voice

Active

Pasive
He/She

8.32
18.58 10.66

4.66
13.68 4.64

E>K
E>K E>K

20.47
5.61 13.59

.001***
.05* .001***

Verb person

They

Differences between experimental & control groups in number and kind of used verbs

Scriptwriters / Directors
30 20 10 0 Control 40 30 20 10 Control Experiment Experiment 250 200 150 100 50 Control Experiment

Present F(1,96)= 6,31; p <.05*

30 20 10 0

Active F(1,96)= 5,62; p <.05*

Control

Experiment

Number of verbs F(1,96)= 6,89; p <.01**

Number of words F(1,96)= 7,93; p <.01**

Interactivity of factors GROUP (C /E) and DEPARTMENT (directing/dramaturgy)

Conclusions

The study supports the hypothesis that it is possible to favorably influence 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.

THE PARADOX
Metaphor THE PARADOX Beliefs in vitality, love, satisfaction, self expression and restriction

STUDENT

TEACHER
No expectations or conditions Confrontation (proactive) No entitlement Empathy 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

I am a desire in motion You are a diversity Life is a connection (in time, space, motion) feelings (all) Joy

Iintegrity, power, respect (in time, space, motion) courage, freedom, peaceful, charismatic, enrolling

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 Psyhological Association. 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.

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 Handbook of 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.

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, Vladimir Radovanovic (students of FDA) , and Srdjan Bogosavljevic (Ipsos Strategic Marketing)

ADENDUM IF NEEDED

ADENDUM

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?