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Journal articles on the topic 'Performing Arts and Creative Writing'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 January 2023

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1

Authors, Multiple. "Writing Arts." ti< 9, no. 1 (2020): 29–36. http://dx.doi.org/10.26522/ti.v9i1.2450.

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2

Evans, Mark. "Another kind of writing: reflective practice and creative journals in the performing arts." Journal of Writing in Creative Practice 1, no. 1 (2007): 69–76. http://dx.doi.org/10.1386/jwcp.1.1.69_1.

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3

Mengiste, Maaza. "Creative Writing as Translation." Callaloo 35, no. 4 (2012): 939–43. http://dx.doi.org/10.1353/cal.2013.0040.

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4

Townsend, Jacinda, Vievee Francis, Gregory Pardlo, et al. "Callaloo and Creative Writing." Callaloo 40, no. 1 (2017): 162–76. http://dx.doi.org/10.1353/cal.2017.0069.

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5

Harper, Graeme. "Creative writing: words as practice-led research." Journal of Visual Art Practice 7, no. 2 (2008): 161–71. http://dx.doi.org/10.1386/jvap.7.2.161_1.

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6

Hubbard, Wendy. "The Creative Critic: Writing as/about Practice." Contemporary Theatre Review 30, no. 1 (2020): 113–15. http://dx.doi.org/10.1080/10486801.2020.1703436.

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7

Creme, P., and C. Hunt. "Creative Participation in the Essay Writing Process." Arts and Humanities in Higher Education 1, no. 2 (2002): 145–66. http://dx.doi.org/10.1177/1474022202001002003.

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8

Cardell, Kylie, and Kate Douglas. "Why literature students should practise life writing." Arts and Humanities in Higher Education 17, no. 2 (2016): 204–21. http://dx.doi.org/10.1177/1474022216635825.

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This article considers our experiences teaching a hybrid literature/creative writing subject called “Life Writing.” We consider the value of literature students engaging in creative writing practice—in this instance, the nonfiction subgenre of life writing—as part of their critical literary studies. We argue that in practicing life writing, our literature students are exposed to and gain wider perspective on the practical, critical, creative, and ethical issues that arise from working with literary texts. Such an approach is not with risk. As we discuss in this article, life writing texts can

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9

Carver, M. Heather. "Two Truths and a Lie: Performing Professorhood/Motherhood." Journal of American Folklore 118, no. 467 (2005): 78–89. http://dx.doi.org/10.2307/4137810.

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Abstract The following is autoethnographic performative writing that invites the reader into one woman’s experiences of simultaneously becoming a new mother and professor. The writing weaves the autobiographic tale of her new job as an assistant professor with a dramatic performance text based on a graduate student’s ethnographic interview about the birth of her first daughter. Experimental in nature, this script seeks to problematize the relationship of academic selves and others through creative writing.

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10

Sastre, Cibele. "Learning/teaching, creating and performing through LBMS." Journal of Dance & Somatic Practices 12, no. 1 (2020): 95–106. http://dx.doi.org/10.1386/jdsp_00015_1.

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This article presents Laban/Bartenieff movement studies (LBMS) experiments through pedagogical procedures and creative processes. It comprises artistic and performative perspectives in choreography and dance education from a nineteen years’ research within master and doctorate studies. Laban’s Motif writing shifts its main function to act as a trigger for creative processes. Besides, somatic serenities, as an important body state for the production of presence, are encouraged in somatic‐performative practices that include LBMS into dance programme courses in Rio Grande do Sul. The concept of s

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11

Stukenberg, Jill. "Deep habits: Workshop as critique in creative writing." Arts and Humanities in Higher Education 16, no. 3 (2016): 277–92. http://dx.doi.org/10.1177/1474022216652770.

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The creative writing workshop, involving peer critique of manuscripts in progress, is deeply connected to many writerly habits of mind. As such, this article examines workshop as a signature pedagogy in creative writing. Through workshop, students develop awareness of their readers, understanding of how texts are created by readers and through process, and abilities to problem-solve in drafts and hone their personal tastes while encountering contemporary aesthetic values. At the same time, examination of the writerly habits of mind transmitted through workshop also reveals other key skills and

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12

Lee, Joanne. "‘Sheffield in virus time’: Forms of writing, reading, living." Journal of Writing in Creative Practice 15, no. 2 (2022): 184–96. http://dx.doi.org/10.1386/jwcp_00038_1.

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This article considers the experience of writing a daily journal, published daily via a public social media site. The journal began on 31 March 2020 as an attempt to account for the suddenly changed experiences of my personal and professional life (as an artist and lecturer) in the early days of the first UK coronavirus lockdown; it is still ongoing. After producing 700,000 words, this project has come to be understood as having shifted my writing in creative practice to writing as a practice for creating life. An expansive readerly engagement with a variety of creative and critical diarists p

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13

Runco, Mark A. "Predicting Children's Creative Performance." Psychological Reports 59, no. 3 (1986): 1247–54. http://dx.doi.org/10.2466/pr0.1986.59.3.1247.

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The predictive validity of the fluency index of divergent-thinking tests was evaluated, with extracurricular creative performance in seven domains as the criteria. The unique aspects of this project were (a) that gifted and talented children were represented in the sample of 150 subjects, (b) that both performance quantity and quality scores were used as criteria, and (c) that fluency, fluency2, and an interaction of IQ X fluency were tested as predictors. Hierarchical regression analyses indicated that fluency has predictive validity; however, this is limited to certain areas of performance,

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14

Rosario, Nelly. "Seeing Double: Creative Writing as Translation." Callaloo 35, no. 4 (2012): 1001–5. http://dx.doi.org/10.1353/cal.2013.0007.

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15

Avant, A. H. Jerriod, Gregory Pardlo, Vievee Francis, et al. "Callaloo and the Creative Writing Workshop." Callaloo 40, no. 1 (2017): 38–53. http://dx.doi.org/10.1353/cal.2017.0049.

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16

Ings, Welby. "Resonant voices: The poetic register in exegetical writing for creative practice." Journal of Writing in Creative Practice 14, no. 2 (2021): 121–41. http://dx.doi.org/10.1386/jwcp_00018_1.

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Quality, exegetical writing can be constrained when students marginalize poetic ways of thinking and replace them with carefully edited accounts that reshape the role and nature of emotional response. In the pursuit of rational, theoretically groomed accounts of practice, they can sometimes end up misrepresenting the embodied nature of their inquiries. Considering burgeoning research into poetic inquiry (PI) in the social sciences, this article employs a case study of five doctoral graduates in art and design who have articulated the role of poetic thinking in their creative practice theses. I

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17

Jones, Susan. "Diaghilev and British Writing." Dance Research 27, no. 1 (2009): 65–92. http://dx.doi.org/10.3366/e0264287509000255.

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This article explores the diversity of British literary responses to Diaghilev's project, emphasising the way in which the subject matter and methodologies of Diaghilev's modernism were sometimes unexpectedly echoed in expressions of contemporary British writing. These discussions emerge both in writing about Diaghilev's work, and, more discretely, when references to the Russian Ballet find their way into the creative writing of the period, serving to anchor the texts in a particular cultural milieu or to suggest contemporary aesthetic problems in the domain of literary aesthetics developing i

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18

Harper, Graeme. "Great Writing 2010, 1618 June 2010, 13th Annual International Creative Writing Conference, United Kingdom." Journal of Writing in Creative Practice 3, no. 3 (2010): 341–45. http://dx.doi.org/10.1386/jwcp.3.3.341_7.

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19

Lockheart, Julia, and John Wood. "Editorial The ethical purpose of writing in creative practice." Journal of Writing in Creative Practice 1, no. 1 (2007): 5–11. http://dx.doi.org/10.1386/jwcp.1.1.5_2.

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20

Bill, Amanda. "Just another piece of paper: creative research and writing." Journal of Writing in Creative Practice 3, no. 1 (2010): 5–15. http://dx.doi.org/10.1386/jwcp.3.1.5_1.

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21

Townsend, Jacinda. "Poetry and Fiction from the 2016 Callaloo Creative Writing Workshop: Callaloo Creative Writing Workshop Speaks of Home." Callaloo 40, no. 2 (2017): 55–57. http://dx.doi.org/10.1353/cal.2017.0088.

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22

Moran, Seana. "Review of The psychology of creative writing." Psychology of Aesthetics, Creativity, and the Arts 5, no. 2 (2011): 196–98. http://dx.doi.org/10.1037/a0020108.

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23

McEvoy, William. "Finding the Balance: Writing and Performing Ethics in Théâtre du Soleil’s Le Dernier Caravansérail (2003)." New Theatre Quarterly 22, no. 3 (2006): 211–26. http://dx.doi.org/10.1017/s0266464x0600042x.

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Théâtre du Soleil’s latest production, Le Dernier Caravansérail (The Last Caravanserai), staged the stories and experiences of immigrants, refugees, and asylum-seekers from around the world. In this article, William McEvoy argues that the company was motivated both by a political agenda to make migrants more visible and a concern to investigate the ethical implications of its own creative processes. This led to a potential conflict between representing migrants directly on stage and a performance that reflected the company’s worries about turning migrants’ traumatic narratives into theatre and

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24

Everington, Shanta. "Through the looking glass: Biographical writing as self-reflection." Journal of Writing in Creative Practice 12, no. 1-2 (2019): 29–43. http://dx.doi.org/10.1386/jwcp.12.1-2.29_1.

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Combining creative writing excerpts from my Ph.D. work-in-progress, ‘The Other Mothers: Exploring adoption, surrogacy and egg donation through life writing’, with reflective commentary, this article will discuss the ways in which writing the lives of others can serve as a process of self-reflection. Inspired by my personal experience as a biological and adoptive mother, my Ph.D. project involves creative practice as research, alongside critical approaches, to culminate in the production of a multi-subject biographical narrative of women who have become mothers through adoption, surrogacy and e

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25

Champion, Laurie, and D. G. Myers. "The Elephants Teach: Creative Writing since 1880." South Central Review 17, no. 2 (2000): 127. http://dx.doi.org/10.2307/3190029.

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26

Adji, Alberta Natasia. "The fragmentation of the writing self: Using dialogic reflection to explore the writing process of an autobiographical novel." Journal of Writing in Creative Practice 14, no. 2 (2021): 143–59. http://dx.doi.org/10.1386/jwcp_00019_1.

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In this article, the author-researcher presents three intertwined texts: excerpts from an autobiographical novel, extracts from a reflexive journal written during the writing of that novel, as well as a theorized account and analysis of the overarching creative process. These texts talk to each other as a form of intertextuality in the similar way that the three generations of a Chinese Indonesian family depicted in the novel interact with one another and present differing perspectives and fresh insights. The issues of the writer’s inner voices and multiplicity of the self feature prominently

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27

Rogers, Hannah Star. "Cheering Artificial Intelligence Leader: Creative Writing and Materializing Design Fiction." Leonardo 53, no. 1 (2020): 58–62. http://dx.doi.org/10.1162/leon_a_01578.

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Bringing together science and literature for purposes of casting these knowledge areas into relief is a well-established analytical practice. Rather less studied is the turn toward material practice as it has unfolded across science studies and the arts. However, this trend has the potential to open up new methods for thinking about science and literature and new forms of public engagement. This paper explores one possibility for combining creative writing in the form of sports cheers. It posits a materialized future scenario designed to encourage the public to consider potential futures and e

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28

Welsh, Scott. "Monologue writing as social education: applying creative practice." Research in Drama Education: The Journal of Applied Theatre and Performance 22, no. 2 (2017): 226–32. http://dx.doi.org/10.1080/13569783.2017.1293512.

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29

Kennedy, Teri. "Why Arts Matter to People and Families Living With Dementia: Interprofessional Health Humanities Collaboration." Innovation in Aging 4, Supplement_1 (2020): 566–67. http://dx.doi.org/10.1093/geroni/igaa057.1872.

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Abstract This presentation will share examples of arts-based and creative interventions serving people and their families living with dementia representing evidence-based and promising practices in the United States. Such interventions offer effective non-pharmacological approaches to dementia care including use of the visual arts (e.g., drawings, paintings, sculpture) and performing arts (e.g., music, theatre); literature and writing including reminiscence, biographical approaches, and life story work; photography and Photovoice; and dance and movement as intervention modalities. Current evid

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30

Cartwright, Anthony. "‘But what are they?’: Zine-making and invitational creative practice in an undergraduate creative writing class inspired by the work of Lynda Barry." Journal of Writing in Creative Practice 15, no. 2 (2022): 166–83. http://dx.doi.org/10.1386/jwcp_00037_1.

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This illustrated article offers a record of work done for a third-year undergraduate module called Creative Writing and the Self, as part of the Creative and Professional Writing programme at the University of the West of England, Bristol, in the autumn term of 2021, where students created zines as a record of their student experiences, which corresponded to the years of the pandemic. The article considers the students’ creative process and what is communicated in the zines, pages from which illustrate the article, informed by the methodology of Lynda Barry. The module offered the opportunity

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31

Moriarty, Jess, and Ross Adamson. "‘Storying the self’: Autobiography as pedagogy in undergraduate creative writing teaching." Journal of Writing in Creative Practice 12, no. 1-2 (2019): 91–107. http://dx.doi.org/10.1386/jwcp.12.1-2.91_1.

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The telling and sharing of stories is synonymous with what it is to be human. The narrative threads reaching back through our personal histories can help us to make sense of who we are in the present and we already use these stories anecdotally, at school, on dates, over coffee, in the local, to make connections with people and our social worlds. At an academic level, storytelling that engenders meaning making is becoming legitimized as branch of qualitative research that can inform us about our culture and identity. Autoethnography is a methodology that links the self (auto) with ethno (cultu

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32

Johnson, Clare. "Editorial." Journal of Writing in Creative Practice 15, no. 2 (2022): 105–11. http://dx.doi.org/10.1386/jwcp_00032_2.

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This Editorial charts the journey from an initial conversation amongst visual culture colleagues at the University of the West of England to this Special Issue on ‘Ways of Writing in Art and Design’. It describes our intention to imagine forms of writing in/through/ alongside/with creative practice, as opposed to writing ‘about’ it, in the context of visual culture pedagogy. This is the desire to treat the artwork or other type of creative practice as a fellow subject, not an object to be written about. The Editorial explains the process through which we came together as a research network, de

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33

Johnson, Clare. "Searching for Lauren Berlant: Reflections on writing, temporality and loss." Journal of Writing in Creative Practice 15, no. 2 (2022): 264–74. http://dx.doi.org/10.1386/jwcp_00041_1.

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This article reflects on the difficulties of writing with/alongside creative practice during periods of lockdown endured as a result of the COVID-19 pandemic. It follows my search for Lauren Berlant’s writing on the pandemic and my desire to make sense of the claustrophobic intensity of that time through their writing on attachment, precarity and ‘cruel optimism’. In reflecting on the failure to write, this article journeys through temporal rhythms, critiques of neo-liberalism, temporalities of care and unending lists to argue for the importance of hidden work in writing and/as ordinary life.

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34

JAMPOLE, ELLEN S., F. NEIL MATHEWS, and BONNIE C. KONOPAK. "Academically Gifted Students' Use of Imagery for Creative Writing." Journal of Creative Behavior 28, no. 1 (1994): 1–15. http://dx.doi.org/10.1002/j.2162-6057.1994.tb00715.x.

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35

Keller, Damián, and Leonardo Feichas. "Ecocompositional and Performative Strategies for Creative Usage of Everyday Sounds: Creative Semantic Anchoring." Leonardo 51, no. 2 (2018): 195–96. http://dx.doi.org/10.1162/leon_a_01526.

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The authors cover recent advances in ecologically grounded creative practice, highlighting performative strategies in instrumental writing. They address techniques adopted in ecocomposition and propose an expansion of the available resources by introducing a new method: creative semantic anchoring. The underlying concepts are presented and a case study—targeting the performative practice of Flausino Valle’s 26 Characteristic and Concert Preludes for Solo Violin—is described.

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36

Rintoul, Jenny. "‘I came here to do art, not English’: Antecedent subject subcultures meet current practices of writing in art and design education." Journal of Writing in Creative Practice 15, no. 2 (2022): 140–56. http://dx.doi.org/10.1386/jwcp_00035_1.

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A writing/making divide, within the broader theory/practice myth, is part of the historical narrative in art and design education that both clashes with, and persists in, current practices of writing in art and design. The theory/practice myth separates thinking from doing, head from hand, and writing from making, causing internal frictions in art and design subjects. This article provides a historical and contextual mapping of the writing/making binary in creative practice, drawing on Ivor Goodson’s (, , , 2002) work on ‘antecedent subject subcultures’ to discuss the formation and maintenance

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37

Zisman, Laine Halpern. "A Spark of Freedom." TDR: The Drama Review 65, no. 3 (2021): 8–23. http://dx.doi.org/10.1017/s1054204321000290.

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“From the ovens we rise with our fists in the air. Now is the time.” My grandfather, Dovid Zisman, was a Yiddish playwright and poet, writing and performing while in the Łódz´ Ghetto and Buchenwald concentration camp. Poetry, song, and performance were his way to speak the unspeakable. A messy assemblage of theories, memoirs, verses, images, and recordings reveal what we can inherit through writing as resistance and through the creative mappings of space and time.

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38

Fürst, Guillaume, Paolo Ghisletta, and Todd Lubart. "An experimental study of the creative process in writing." Psychology of Aesthetics, Creativity, and the Arts 11, no. 2 (2017): 202–15. http://dx.doi.org/10.1037/aca0000106.

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39

Kwak, Eunhee. "Non-Face-to-Face Learner Mutual Learning Study: Focusing on the University Liberal Arts Writing Teaching Method." Korean Society of Culture and Convergence 44, no. 11 (2022): 191–205. http://dx.doi.org/10.33645/cnc.2022.11.44.11.191.

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The purpose of this study is to propose the use of open bulletin boards to compensate for the lack of communication due to changes in the classroom environment as a necessary teaching method in the untact period. A special communication space is required because a non face-to-face learning environment negatively affects learners' achievement of learning goals compared to face-to-face classes in university writing classes. The open bulletin board is a space where teachers and learners can all share creative ideas. The entire writing process for a semester can be recorded, and peer-to-peer learn

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40

Ramos Silva, Luciane. "Black Brazilians on the Move." Dance Research Journal 53, no. 2 (2021): 124–29. http://dx.doi.org/10.1017/s0149767721000267.

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AbstractThis Keynote offers a brief overview of an artistic and activist editorial project based in São Paulo City, the magazine O Menelick 2° Ato, as well as presents a portrait of some Black contemporary women artists, some of them interdisciplinary, and articulates modes of interrogating political and symbolic violence and subjugation from Brazilian colonially, creating an artistic presence rooted in the search for self-determination, autonomy, and modes of existence ignited by Black diasporas’ ways of self-writing. Their creative work also disrupts hegemonic epistemologies and calls us to

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41

Cake, Susan. "Writing for instructional screens: Expanding the scope for screenwriting practitioners." Journal of Screenwriting 13, no. 2 (2022): 245–59. http://dx.doi.org/10.1386/josc_00096_1.

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At the beginning of the pandemic, discussions in the Screenwriting Research Network questioned the validity of educating students for limited career opportunities as future screenwriters. Research into graduate pathways suggests employment opportunities for creative practitioners are far more complex with many creative practitioners embedded in diverse industries such as marketing, information technology and, primarily, the education sector. The rapid growth of online education presents a key opportunity for screenwriters to apply their craft skills and knowledge to an alternative disciplinary

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42

Bell, Rebecca. "Untrammelled ways: Reflecting on the written text, nourishment and care in online teaching." Journal of Writing in Creative Practice 15, no. 2 (2022): 126–38. http://dx.doi.org/10.1386/jwcp_00034_1.

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As the COVID-19 pandemic gathered momentum in 2020, it became clear that online teaching spaces risked a distancing from the embodied knowledge so necessary to creative education. Teaching written texts to creative practitioners is a process that calls for alternative spatial and visual literacies, for ontological methods, for honouring experience and reflection – especially in a neo-liberal climate of higher education. In my teaching practice, as well as writing and painting practices, I like so many others have sought spaces for nourishment during this era. Through my teaching and a collabor

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43

Yadav, Anubha. "Para and Protima: A tête-à-tête1." Studies in South Asian Film & Media 11, no. 2 (2020): 245–50. http://dx.doi.org/10.1386/safm_00031_1.

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This short speculative text explores the relationship between the corporeality of a screenwriter and the materiality of a physical space, including its imaginary losses and effects on women’s creative collaborations. In this text, I draw from the information that Begum Para and Protima Dasgupta were spending a lot of time together in Bombay, living under the same roof, when their creative partnership blossomed and gave the industry a production house, a director-producer, a screen star and more than a few films. Although this text takes the form of creative writing, it is based on historical a

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44

Spry, Tami. "The creative researcher: writing that makes readers want to read." Text and Performance Quarterly 40, no. 4 (2020): 421–24. http://dx.doi.org/10.1080/10462937.2021.1877809.

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45

Staniškytė, Jurgita. "Inventing the Past, Re-Writing the Present." Nordic Theatre Studies 31, no. 2 (2020): 61–72. http://dx.doi.org/10.7146/nts.v31i2.120121.

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In recent years an increasing number of performances on the Baltic theatre stage attempt to escape the dominant understanding of “performing history” as a repetition or reinforcement of the monumental representations of the historical past or as a (re)production of “mythistory” (Joseph Mali). Lithuanian creators of performances about history increasingly choose hybrid approaches of representation, merging memorialization and critique, imagination and fact, documents and speculative inventions as forms of engagement with the past. This playful re-imagination of the historical past serves as a c

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46

Hilderbrand, Lucas. "Adaptation." Film Quarterly 58, no. 1 (2004): 36–43. http://dx.doi.org/10.1525/fq.2004.58.1.36.

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Abstract This review of Adaptation (2002) argues that the film productively narrativizes masturbation's myriad associations, pathologies, and, most importantly, possibilities for creative inspiration. The self-reflexive film presents writers as autoerotic fantasizers who suffer through malaise and self-doubt,and struggle to express themselves and to believe in what they are writing.

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47

Mees, Cleo. "Letters to Sheila: Improvisational scores in creative practice research." Choreographic Practices 11, no. 1 (2020): 9–27. http://dx.doi.org/10.1386/chor_00009_1.

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This article argues that improvisational scores can function as valuable scaffolds to support creative practice research. Drawing on existing literatures about creative practice research, and the practices and scores of artists, including Simone Forti, Rosalind Crisp, James Hazel and Nancy Stark Smith, the article proposes seven different ways in which improvisational scores might help to focus, sustain and evolve research methods. Importantly, the author not only discusses the ways improvisational scores support research; she also uses a score to write the article itself, thus enacting the me

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48

Collard-Stokes, Gemma. "Expressing suchness: On the integration of writing into a dance practice." Journal of Dance & Somatic Practices 11, no. 1 (2019): 115–28. http://dx.doi.org/10.1386/jdsp.11.1.115_1.

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This article details the unique pairing of dance and writing, the likes of which are often considered two very different beasts. It examines how approaches to movement improvisation have been used to form and inform innovative methods of entering into the act of writing from the experience of dance. The argument authenticates the current renewed appreciation for the possibilities of writing to enable further creative critical engagement. Consequently, the meeting of creativity and criticality is one in which the dancer playfully explores and examines the suchness of one’s dancing. Suchness is

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49

Osler, Trish, Isabelle Guillard, Arianna Garcia-Fialdini, and Sandrine Côté. "An a/r/tographic métissage: Storying the self as pedagogic practice." Journal of Writing in Creative Practice 12, no. 1-2 (2019): 109–29. http://dx.doi.org/10.1386/jwcp.12.1-2.109_1.

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This article traces the experience of four arts educators as they consider ‘self as subject-matter’ through living inquiry. Anchored in arts-based approaches, storying the self four ways offers both an individual perspective and an a/r/tographic métissage of becoming through the weaving of narratives that derive from sociocultural and historical contexts. The practice of narrative as research considers the following questions: how does the presentation/communication component of life writing colour a narrative? What common and potentially universal experiences occur within life writing researc

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50

Morris, Simon. "Untitled (chicken nugget Facebook post)." Journal of Writing in Creative Practice 13, no. 1 (2020): 155–57. http://dx.doi.org/10.1386/jwcp.13.1.155_7.

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I sent Zara Worth this Facebook post because I thought the chicken nugget would make a good full stop at the end of her guest-edited issue of the Journal of Writing in Creative Practice on the subject of Social Media Speak (SMS).

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