Our micro-genetic data validate notions from dynamic systems theory such as interpersonal self-organization, although we criticize the theory for failing to explain where precisely this leaves skilled intentionality on the individuals’ part. The creative feat is interpersonally “distributed” over cascades of cross-scaffolding. This means that interpersonal synergies emerge without anybody’s prior design or planned coordination. (2) Most frequently, CI creativity occurs in tightly coupled behavior and is radically emergent. This spectrum begins with relatively idea-driven creation and ends with interactivity-centered, fully emergent creation: (1) Ideation internal to the mind, the focus of traditional creativity research, is either restricted to semi-independent dancing or remains schematic and thus open to dynamic specification under the partner’s influence.
Our aim is to typologically discuss creativity related skills and the rich spectrum of creative resources CI dancers use. Results revealed that task constraints had a significant effect on the type of configurations performed by the dancers and on their creative behaviour.ĭrawing on a micro-phenomenological paradigm, we discuss Contact Improvisation (CI), where dancers explore potentials of intercorporeal weight sharing, kinesthesia, touch, and momentum. These situations were analyzed using observational instruments and the data obtained were then analyzed with a Hierarchical Principal Components Analysis, calculation of Hamming Distances and of dynamic overlap order parameter q. This phenomenon has been studied in dyadic systems by manipulating the task constraints and agent/agent interactions while couples of dancers with different background were improvising. The emergence of functional and creative behaviour is strongly dependent on the set of constraints imposed on the set of action system degrees of freedom. Dancers can perform individually, but coordination with other dancers, especially in situations of improvisation (contemporary dance, contact improvisation dance, ballroom dances…) can be thought as a bank of emergent human movement forms and an expression of continuous exploration and discovery of idiosyncratic gestures, postures and actions supported by immediate affordances, i.e. Dance is the artistic expression of human movement, the art form that exists simultaneously in time and space.
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