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Journal articles on the topic 'Creative Arts'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Iovino, Serenella. "Editorial: Creative Writing and Arts // Editorial: Escritura creativa y arte." Ecozon@: European Journal of Literature, Culture and Environment 7, no. 1 (2016): 197–200. http://dx.doi.org/10.37536/ecozona.2016.7.1.989.

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2

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

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3

Gumz, Antje, and Bernhard Strauß. "Creative arts therapies." Die Psychotherapie 68, no. 4 (2023): 235–37. http://dx.doi.org/10.1007/s00278-023-00676-4.

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4

Rueff, Stephen. "Creative Freedom: Arts Entrepreneurship as a Mindset." Journal of Arts Entrepreneurship Education 2, no. 1 (2020): 48–52. http://dx.doi.org/10.46776/jaee.v2.57.

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This essay explores the importance of arts entrepreneurship educators in developing curriculum and classroom practices that guide visual art and design students to appreciate the transferability of creative training to various roles in the creative sector. Observation, empathy, critique and iteration are essential elements of the creative process. These skills are also valuable outside the creative sector, providing insights in business and entrepreneurial settings. It is essential that art and design students are exposed to the idea that, for them, business theories, methods and tools provide

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5

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

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6

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

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7

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

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8

Brown, Ralph. "Performing Arts Creative Enterprise." International Journal of Entrepreneurship and Innovation 6, no. 3 (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 hi

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9

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

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10

Daniel, Jamie Levine, and Mirae Kim. "Creative Placemaking: Creating Change by Building Partnerships." Journal of Public and Nonprofit Affairs 6, no. 1 (2020): 96. http://dx.doi.org/10.20899/jpna.6.1.96-110.

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Arts, artists, and creative strategies can be critical vehicles for achieving social, economic, and community goals. Creative placemaking is one type of arts-led planning that incorporates the goals of communities with stakeholder participation. Questions exist, however, around who participates in the creative placemaking process and to what end. This study explores a case where a state-sponsored workshop brought together people from diverse backgrounds to facilitate community development and engagement through creative placemaking. The study highlights how a one-shot intervention can reshape

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Ruastiti, Ni Made. "Tourist Performing Arts: Balinese Arts-Based Creative Industry." Mudra Jurnal Seni Budaya 25, no. 3 (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 imp

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12

Felton, Emma, Krystle Vichie, and Eloise Moore. "Widening participation creatively: creative arts education for social inclusion." Higher Education Research & Development 35, no. 3 (2015): 447–60. http://dx.doi.org/10.1080/07294360.2015.1107881.

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13

Heru, S.P. Saputra, Ilham Mochamad, Maslikatin Titik, et al. "Janger Banyuwangi Performing Arts:From Local Cultural Expression to the Creative Industry." INTERNATIONAL JOURNAL OF MULTIDISCIPLINARY RESEARCH AND ANALYSIS 08, no. 02 (2025): 791–98. https://doi.org/10.5281/zenodo.14909520.

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This article discusses the creative industry side of Janger Banyuwangi performing arts concerning innovation, creation, and information technology that have implications for improving the family economy. The research method used is qualitative with an ethnographic approach. The ethnographic approach is implemented through activities such as watching Janger performances and understanding them in historical, sociological, and cultural contexts. The material object is Janger Banyuwangi performing arts, while the formal object is focused on the creative industry side with the basis of discussion u

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14

Ajayi, Joseph Babatunde. "Creative Arts Education As A Foundation for Technological Advancement." Advances in Multidisciplinary & Scientific Research Journal Publications 37, no. 2 (2023): 155–70. http://dx.doi.org/10.22624/aims/accracrossborder2023v2p11.

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The creative arts have been a major catalyst for technological advancement. However, due to lack of synergy between creative arts education and technology, there has been a relegation of creative arts education, which has led to a comparatively less creative drive and advancement in technological output. This paper explores the role of creative arts education as a foundation for technological advancements by x-raying the definitions of arts and technology and also highlighting the historical role of creative arts in technological inventions. This paper suggests factors affecting the synergy be

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15

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 creat

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16

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

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17

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

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18

Craven, Sophie. "Fundraising for creative arts projects." Fundraising for Schools 1, no. 164 (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 (2015): 14–15. http://dx.doi.org/10.12968/fund.2015.164.14.

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20

Afolabi, Taiwo, Emma Shercliff, and Elaine Speight. "Creative arts and resilient communities." Journal of Arts & Communities 15, no. 1 (2024): 3–7. http://dx.doi.org/10.1386/jaac_00056_2.

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This editorial serves to outline key themes emerging through the articles presented in this volume. As we all navigate conflicts and challenges of various proportions, the question of resilience-building is of particular interest to socially engaged creative practitioners. Working in diverse geographical and virtual locations across the fields of theatre, textile craft, curatorial practices and cultural leadership, authors here explore these themes through their work with communities: art as a practice of cultural leadership points us towards social cohesion; engagement with art strengthens at

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21

Peacock, David. "Creative Performance Arts Degree Courses." British Journal of Music Education 4, no. 1 (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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22

Cinnéide, Barra Ó. "Creative Entrepreneurship in the Arts." International Journal of Entrepreneurship and Innovation 6, no. 3 (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

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23

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

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24

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

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25

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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26

Marasco, Emily, Laleh Behjat, Robert Kelly, and Shannon Maguire. "Creative Crossroads: Combining Engineering and Arts for Creative Development." Papers on Postsecondary Learning and Teaching 3 (April 4, 2019): 25–31. http://dx.doi.org/10.55016/ojs/pplt.v3y2019.53145.

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The significant global challenges faced in the world today require innovative solutions and creative thinking. In traditional postsecondary education, technical programs such as engineering often focus on technical competencies as opposed to creative thinking. However, as industry demands for creative technical employees continue to increase, postsecondary institutions must adapt their education accordingly. This work combines ideation and creative writing techniques with engineering design to turn initial ideas into significant ideas using an avant-garde literary device referred to as `pataph

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27

Brien, Donna Lee. "Creative Practice as Research: A Creative Writing Case Study." Media International Australia 118, no. 1 (2006): 53–59. http://dx.doi.org/10.1177/1329878x0611800108.

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This paper utilises a case study approach to examine practice-led research in a specific discipline of the creative arts by examining the range of research strategies utilised during the author's doctoral studies in creative writing. This personal example is then situated within a broader context through suggestions about the contribution such creative arts-based research practice can make to the development and enhancement of creativity more generally, and an exploration of why this is important.

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28

Jeffery, Laura, Mariangela Palladino, Rebecca Rotter, and Agnes Woolley. "Creative engagement with migration." Crossings: Journal of Migration & Culture 10, no. 1 (2019): 3–17. http://dx.doi.org/10.1386/cjmc.10.1.3_1.

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This article introduces a special issue on arts-based engagement with migration, comprising articles, reflections, poems and images. The introductory article starts by exploring the ethical, political and empirical reasons for the increased use of arts-based methods in humanities and social sciences research in general, and in migration studies in particular. Next, it evaluates participatory methods, co-production and co-authorship as increasingly well-established practices across academia, the arts, activism and community work. It then considers how the outputs of such processes can be deploy

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29

Lim, Jing Yi, and Shanthi Balraj Baboo. "PERCEPTION OF CREATIVE ARTS PRACTITIONERS ON THE USE OF DIGITAL TECHNOLOGIES FOR CREATIVE PROJECTS AMONG CREATIVE ARTS STUDENTS IN INSTITUTIONS OF HIGHER LEARNING." Journal of Language and Communication 9, no. 1 (2022): 102–15. http://dx.doi.org/10.47836/jlc.9.1.07.

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Innovation and continuous development of digital technologies have brought significant changes to learning. The use of digital technologies allows accessibility to a vast array of information and provides students with the opportunities to learn and grow in different ways. While the Malaysian government has constantly put in huge investments for developing Information Communication Technology (ICT) facilities in higher learning institutions to prepare students for new technologies and ‘new’ workplaces, information which focus on creative arts students’ digital competency in staying relevant to

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30

Willemsen, Marc, Annemarie Abbing, Suzanne Haeyen, Martina de Witte, and Susan van Hooren. "The creative arts therapists on the continuum of practice within Arts in Health in the Netherlands." Dramatherapy 45, no. 1 (2024): 117–24. https://doi.org/10.1386/dj_00008_1.

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Arts in Health, also known as Arts for Health, is an umbrella term used to describe the domain of using the arts to enhance our (mental) health and well-being. It involves a heterogeneous range of professionals who use the arts in various ways, with different goals and outcomes. The practices of these professionals can be placed on a continuum based on the variety of goals and outcomes, ranging from promoting social connection or well-being to treating (mental) health conditions. Recent discussions in the Netherlands have raised questions about the position of creative arts therapists on this

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31

Reynolds, Jackie. "Stories of creative ageing." Working with Older People 19, no. 1 (2015): 33–40. http://dx.doi.org/10.1108/wwop-11-2014-0035.

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Purpose – The purpose of this paper is to highlight some of the benefits and issues relating to arts participation in later life. Design/methodology/approach – The paper draws on literature relating to older people's arts participation, and also includes discussion of the author's doctoral research into arts and ageing. The research was a qualitative study, influenced by narrative approaches and life-course perspectives. It involved interviews with 24 participants who have connections with a case-study town in the English Midlands. Findings – The paper focuses on the findings from six particip

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32

Carroll, Jacquelin H., Joann Wong-Kam, Kathleen S. Chang, and Helen Jacobson. "Reviews and Reflections Linking Language Arts with Creative Arts." Language Arts 71, no. 1 (1994): 60–66. http://dx.doi.org/10.58680/la199425174.

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33

Binson, Bussakorn. "Creative Arts Therapy with Thailand's Mobile Arts Therapy Group." Journal of Urban Culture Research 6, no. 1 (2013): 26–36. http://dx.doi.org/10.58837/chula.jucr.6.1.2.

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34

Samuel J., Kakungulu. "The Impact of Creative Arts on Student Engagement and Learning." RESEARCH INVENTION JOURNAL OF RESEARCH IN EDUCATION 4, no. 1 (2024): 1–5. http://dx.doi.org/10.59298/rijre/2024/4115.

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The integration of creative arts in education has shown potential in enhancing student engagement and learning. This study investigates how creative disciplines such as visual arts, music, and drama contribute to deeper cognitive, emotional, and social engagement in primary and secondary education. Drawing on theories of creativity and constructivism, the research utilizes a mixed-methods approach, involving case studies and surveys, to explore the effects of creative arts on student motivation, problem-solving, and academic performance. Findings indicate that students participating in creativ

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35

DiCenzo, Maria. "Creative Times Ahead?" Canadian Theatre Review 108 (October 2001): 80–83. http://dx.doi.org/10.3138/ctr.108.013.

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A few years back in an article on cultural funding, I speculated about the long-term implications of patterns of restructuring designed to force culture away from a welfare state model toward a market model (DiCenzo 253-64). This trend towards privatization was by no means new by the late 1990s, but a series of changes at the federal, provincial and municipal levels (particularly in Ontario) pointed to a significant redefinition of the financing, structure and function of arts funding bodies in Canada. Most disturbing was the growing move away from funding artists directly. Subsidies to creato

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36

McNamara, Andrew. "How ‘Creative Industries' Evokes the Legacy of Modernist Visual Art." Media International Australia 102, no. 1 (2002): 66–76. http://dx.doi.org/10.1177/1329878x0210200108.

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The concept of ‘creative industries' presents a new idea for the Arts/Humanities faculty predicated upon forging a conjunction between the creative arts and cultural industries. It also provides a unique opportunity for the creative arts as well as the old Humanities faculty to acquire a new role at the centre of policy discussions about the new economy. ‘Creative industries’, in short, provides arts and humanities with a ‘new’ industry face suited to the needs of the twenty-first century. Yet, so far, discussions about creative industries have focused upon either their new economy connections

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37

Korman-Hacohen, Shir, Dafna Regev, and Efrat Roginsky. "Creative Arts Therapy in the “Remote Therapeutic Response” Format in the Education System." Children 9, no. 4 (2022): 467. http://dx.doi.org/10.3390/children9040467.

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Many creative arts therapists work in the education system on a regular basis. As a result of the pandemic, all have had to treat students in a “remote therapeutic response” format. The aim of the present study was to map creative arts therapists' perceptions of the “remote therapeutic response” in the education system. Semi-structured interviews were conducted with 15 creative arts therapists who participated in the study. The consensual qualitative research approach yielded seven domains: (1) the emotional experiences of transitioning to a remote therapeutic response; (2) the implementation

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38

Kušnírová, Eva. "Creative Workshop – Creative Activity of Undergraduate Students in The Process of Theatre Creation." Review of Artistic Education 17, no. 1 (2019): 159–70. http://dx.doi.org/10.2478/rae-2019-0017.

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Abstract Within the frame of the study field of Aesthetics at Faculty of Arts Prešov University in Prešov, the students have an opportunity to acquire abilities and skills also in creative artistic activities. One of the possibilities is to participate in the creative workshops as the part of Academic Prešov Festival that is very popular with the participants. The actors of a creative workshop can experience, in a short period of time (mostly weekly), an intense creative process in which a young undergraduate student headed by a professional, in the amateur communication with a professional, c

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39

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

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40

Ting, Su-Hie, Saiful Bahari Mohamad Yusoff, and Nancy Kissam. "INTRODUCTION SECTIONS IN CREATIVE ARTS THESIS." Leksema: Jurnal Bahasa dan Sastra 7, no. 1 (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 know

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41

Cutler, David. "Creative ageing at the crossroads." FPOP Bulletin: Psychology of Older People 1, no. 152 (2020): 6–11. http://dx.doi.org/10.53841/bpsfpop.2020.1.152.6.

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This article looks at the expansion of creative ageing activity, mainly led by arts organisations, over the last decade in the UK, with brief reference to work abroad. It is written largely from the vantage point of a specialist arts funder. While this work has expanded markedly and become much more mainstream, the crisis in the arts caused by the Covid-19 pandemic puts this expansion at risk.

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42

Gillam, Tony. "Enhancing public mental health and wellbeing through creative arts participation." Journal of Public Mental Health 17, no. 4 (2018): 148–56. http://dx.doi.org/10.1108/jpmh-09-2018-0065.

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PurposeThe purpose of this paper is to explore how participation in creative arts activity can enhance public mental health and wellbeing. It is informed by both the author’s clinical practice with service users and carers and by research.Design/methodology/approachThe approach taken is to draw selectively on research in the field of creativity, creative arts and wellbeing, focusing in particular on the use of music and creative writing, and to incorporate learning from clinical experience to explore what is understood about the health and wellbeing benefits of creative arts activity.FindingsT

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43

Seeley, Ken. "The Arts and Talent Development." Gifted Education International 11, no. 3 (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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44

Yusoff, Saiful Bahari Mohd, Nancy Kissam, Su-Hie Ting, Wan Jamarul Imran Wan Abdullah Thani, and Noorhaslina Senin. "Exegesis in industrial design theses in Malaysia." Journal of Writing in Creative Practice 16, no. 1 (2023): 109–34. http://dx.doi.org/10.1386/jwcp_00048_1.

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The study examined content structuring of final year project reports and theses in design and formulate a conceptual model of the content structure of the exegesis to accompany creative work. The study involved analysis of the Malaysian Qualifications Agency’s specifications for design as a sub-discipline of creative arts and the theses writing guidelines of two Malaysian universities offering creative arts academic programmes. The results showed recommendations on the conventional social science thesis structure with some space for the design processes. In addition, the analysis of eleven cre

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45

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

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46

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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47

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

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48

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

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49

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

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50

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

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