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    Signifying creative engagement : what is the influence of professional identity on the values that people ascribe to creative partnership projects in education?

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    Louise Comerford Boyes.pdf (6.129Mb)
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    Publication date
    2010-10-20T08:55:23Z
    Author
    Comerford Boyes, Louise
    Supervisor
    Not named
    Keyword
    Creative partnerships
    Creative partnership project
    Creative practitioner,
    Teacher
    Arts education
    Phenomenology
    Social identity theory
    Social representations theory
    Discursive psychology
    Identity
    Rights
    Creative Commons License
    The University of Bradford theses are licenced under a Creative Commons Licence.
    Institution
    University of Bradford
    Department
    School of Lifelong Education and Development
    Awarded
    2009
    
    Metadata
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    Abstract
    This qualitative study examines the relationship between professional group belonging and what individuals deem valuable within the creative partnership projects they carry out together in schools. There were three consecutive stages to the research. The first stage was the phenomenographic analyses of interview transcripts from twenty three teachers and twenty three creative practitioners who partnered each other to run year long projects. The second stage was the aggregation of the resulting forty six analytic outputs into formats permitting inter-group comparisons to be made. This stage included three separate analyses: not only was an individual¿s professional group belonging shown to impact on what they deemed valuable, but partnership type, i.e. new versus established, also had a substantive impact. The influence of school type was examined and shown to have a lesser effect. The third stage was the use of formal, academic theories to interrogate trends appearing in the results: social identity theory and social representations theory, alongside discursive psychology and readings of identity from cultural studies, were mobilized as consecutive lens on the analytic outcomes. These theories were found to be apposite and a deeper comprehension of creative partnership dynamics was arrived at. This study evidences not only a difference between what teachers and creative practitioners respectively value, but shows how the application of theory is a valuable aid in understanding the variations. This represents a major contribution to the field as the use of formal academic theories does not, as yet, feature in the discourses underpinning creative partnership work.
    URI
    http://hdl.handle.net/10454/4452
    Type
    Thesis
    Qualification name
    PhD
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    Theses

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      Interdisciplinary Collaboration Methodologies in Art, Design and Media

      Earnshaw, Rae A.; Liggett, S.; Heald, K. (2013)
      Collaboration in art, design and media has traditionally taken place in the studio. Recent experiments in collaboration and interaction have sought to identify the factors that promote productive and creative collaboration and those that do not. It is clear that virtual collaboration mediated by computer networks can include many of the elements that characterise face to face collaboration. This also facilitates international collaboration just as easily as national and local ones. At the same time, digital convergence is producing environments and artefacts that blur the traditional distinctions between art and technology, and which give rise to new creative opportunities and new kinds of creative works. These are described in this paper and their significance is explored. These also cause further reflections on the contributions that science can make to art and vice-versa.
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      Broadening the debate on creativity and dementia: A critical approach

      Bellass, S.; Balmer, A.; May, V.; Keady, J.; Buse, C.; Capstick, Andrea; Burke, L.; Bartlett, Ruth L.; Hodgson, J. (2019-11-01)
      In recent years there has been a growing interest in person-centred, ‘living well’ approaches to dementia, often taking the form of important efforts to engage people with dementia in a range of creative, arts-based interventions such as dance, drama, music, art and poetry. Such practices have been advanced as socially inclusive activities that help to affirm personhood and redress the biomedical focus on loss and deficit. However, in emphasizing more traditional forms of creativity associated with the arts, more mundane forms of creativity that emerge in everyday life have been overlooked, specifically as regards how such creativity is used by people living dementia and by their carers and family members as a way of negotiating changes in their everyday lives. In this paper, we propose a critical approach to understanding such forms of creativity in this context, comprised of six dimensions: everyday creativity; power relations; ways to operationalise creativity; sensory and affective experience; difference; and reciprocity. We point towards the potential of these dimensions to contribute to a reframing of debates around creativity and dementia.
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      Embodiment and its Effects. How Creativity, Perception and Sensory Processing Sensitivity Link with Empathy and Theory of Mind Mechanisms

      Lesk, Valerie E.; Comerford Boyes, Louise; Kiou, Jade L. (University of BradfordDivision of Psychology, Faculty of Social Sciences, 2018)
      Embodied cognition is the study of how actions and interactions with objects and individuals affect cognitive processing. Neuroaesthetics deals with the neural, biological and evolutionary aspects of aesthetic experience which occur through the senses and consist of the emotional value placed onto objects, for example the appreciation of art work, dance, or music. These are individual and differ depending on level of expertise and experience within the art. The main aim of the thesis was to investigate the link between embodiment and aesthetics through examining people’s level of creativity, colour perception and sensory processing sensitivity (SPS) in relation to levels of empathy and theory of mind (ToM). Research into this is sparse as the role of the body in relation to aesthetic experiences is a relatively new concept. Preference for portraits versus landscapes was also investigated to look at any role of social stimuli in aesthetic preference. Results demonstrate that participants with (i) higher levels of creativity (for some types of creativity) and (ii) more acute colour perception had higher levels of empathy/ToM. Individuals who had higher SPS demonstrated higher empathy/ToM. It was also found that colour perception and empathy levels decrease with age, and aesthetic preference for portraits increase with age. These results have implications for education/schools, the prison service, for specific clinical conditions such as autism, Parkinson’s disease, schizophrenia, and attention deficit/hyperactivity disorder, particularly given the role of dopamine in these disorders and in colour perception. Future research should investigate these findings using brain imaging and physiological measures.
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