Abstract
Improvisation is a common practice in choreography and creative process classes in dance programs in Israeli high schools. The Israeli Ministry of Education’s Dance Curriculum states that the goal of teaching improvisation “is to develop creativity, self-movement study, self-awareness, solving problem skills and decision-making”.
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Notes
- 1.
Dance Curriculum for Dance Programs in High Schools, Israeli Ministry of Education 2006.
- 2.
To differentiate them from high schools for the arts, in which the orientation of teaching and training is semiprofessional, aiming at a career in dance.
References
Blom, L. A., & Chaplin, L. T. (1988). The moment of movement: Dance improvisation. Pittsburgh: University of Pittsburg Press.
Blom, L. A., & Chaplin, L. T. (1992). The intimate act of choreography. Pittsburgh: University of Pittsburg Press.
Bourdieu, P. (1984). Distinction: A social critique of the judgment of taste. Cambridge, MA: Harvard University Press.
Bourdieu, P. (1990). The logic of practice. Palo Alto, CA: Stanford University Press.
Cohavi, T. (2007). Between dance and anthropology [in Hebrew]. Dissertation submitted for the degree of “Doctor in Philosophy”, Hebrew University of Jerusalem.
Craft, A. (2003). The limits of creativity in education: Dilemmas for the educator. British Journal of Educational Studies, 55(2), 113–127.
Crossley, N. (1995). Merleau-Ponty, the elusive body and carnal sociology. Body & Society, 1, 43–63.
Cutmull, E. (2008). How Pixar fosters collective creativity. Harvard Business Review, 86(9), 64–72.
Deleuze, G., & Guattari, F. (1988). A thousand plateaus: Capitalism and Schizophrenia. London: The Athlone Press.
Duby, M. (2017). Improvisation unfolding: Process, pattern and prediction. World Futures, The Journal of New Paradigm Research, 74(3), 187–198.
Foster, S. (2003). Improvisation in dance and mind. In A. Albright & D. Gere (Eds.), Taken by surprise: A dance improvisation reader (pp. 3–14). Middletown, CT: Wesleyan University Press.
Giddens, A. (1991). Modernity and self-identity: Self and society in the late modern age. Stanford, CA: Stanford University Press.
Goffman, E. (1959). The presentation of self in everyday life. University of Edinburgh.
Hooks, B. (1984). Feminist theory: From margin to center. Cambridge: South End Press.
Latimer, J. (2008). Introduction: Body, knowledge, worlds. The Sociological Review, 56(2), 1–22.
Li, P. (2012). Exploring the unique roles of trust and play in private Creativity: From the complexity-ambiguity-metaphor Link to the trust-play-creativity Link. Journal of Trust Research, 2(1), 71–97.
Lovatt, A., O’connor, J., & Raffo, C. (2000). Risk and trust in the creative industries. Geoforum, 31(4), 453–464.
Merleau-Ponty, M. (1945). Phenomenology of perception. London & New York.
Molm, L., Takahashi, N., & Peterson, G. (2000). Risk and trust in social exchange: An experimental test of a classical proposition. American Journal of Sociology, 205(5), 1396–1427.
Montuori, A. (2003). The complexity of improvisation and the improvisation of complexity: Social science, art and creativity. Human Relations, 56(2), 237–255.
Nachmanovich, S. (1990). Free play: Improvisation in life and art. New York: Penguin Putnam Inc.
Novack, C. (1990). Sharing the dance: Contact improvisation and American culture. Madison: University of Wisconsin Press North Atlantic Books.
Prus, I., Nacamulli, R., & Lazzazara, A. (2017). Disentangling work place innovation: A systematic literature review. Personnel Review, 46(7), 1254–1279.
Sawyer, R. K. (2000). Improvisational cultures: Collaborative emergence and creativity in improvisation. Mind, Culture, and Activity, 7(3), 180–185.
Seligman, A. (1998). Trust and sociability: Oh the limits of confidence and role expectations. American Journal of Economics and Sociology, 57(4), 391–404.
Sheets-Johnstone, M. (1999). The primacy of movement. Amsterdam and Philadelphia: John Benjamins.
Stinson, S. W. (1997). A question of fun: Adolescent engagement in dance education. Dance Research Journal, 29(2), 49–69.
Thomas, H. (1993). Dance, gender and culture. London: Palgrave, Macmillan.
Yamagishi, T., Cook, K., & Watabe, M. (1998). Uncertainty, trust, and commitment formation in the United States and Japan. American Journal of Sociology, 104(1), 165–194.
Zaporah, R. (1995). Action theater: The improvisation of presence. Berkeley, CA: Basic Books.
Author information
Authors and Affiliations
Corresponding author
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 2020 Springer Nature Singapore Pte Ltd.
About this chapter
Cite this chapter
Nativ, Y.(. (2020). Embodied Social Dimensions in the Creative Process: Improvisation, Ethics and Gender in Choreography Classes in Israeli High-School Dance Programs. In: Otmazgin, N., Ben-Ari, E. (eds) Creative Context. Creative Economy. Springer, Singapore. https://doi.org/10.1007/978-981-15-3056-2_4
Download citation
DOI: https://doi.org/10.1007/978-981-15-3056-2_4
Published:
Publisher Name: Springer, Singapore
Print ISBN: 978-981-15-3055-5
Online ISBN: 978-981-15-3056-2
eBook Packages: Economics and FinanceEconomics and Finance (R0)