Creativity and motor creativity

Por: Cynthia Tibeau.

Athens 2004: Pre-olympic Congress

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This work is part of a wide research that, based on humanistic principles and professors’ conceptions, tried to understand and interpret the creativity in physical activities. One of our goals was to search if, in the professors’ opinion the creativity in physical activities has the characteristics or different indicators of creativity in other areas. Looking for learning about the complexity of this theme, we made an option on a qualified methodology search, because of the details that the data can offer. This way our start point was to search on professors’ reports aspects from your pedagogical experience that could help us to understand the creativity phenomenon. The semi structured interview, the students’ creative episodes report and their personal lives episodes gave us relevant information for the work. The collected data was submitted to the process of content analysis, and they were characterized and quantified from the number of affirmative answers from the interviewed professors. The data interpretation allow us to conclude that: 1)it seems that there isn’t a unique language to denominate creativity in physical activities; although the teachers could point out a difference between the two kinds of creativity, only 10% used the term motor creativity; 2)50% from the professors believe that the creativity is the same and the center has ramifications, what changes is the expression form; the other 50% say that the creativity in physical activities is different because it uses the body and the movements for its manifestation; 3)when they reported the creative episodes of their students, 75% of the teachers described practical activities that involved series of movement, choreographies, matches and games; 25% reported funny verbal answers; 4)the creative episodes analysis from the professors showed that 20% had difficulty in remembering situations the situations they considered creative; 50% consider themselves creative when they improvise, change strategy or adapt materials; 10% told episodes from their athletes lives and 20% reported episodes when the verbal language was considered creative. We consider that, if the manifestation of the idea is directly linked to their form of expression, the motor creativity is differed from the impossibility of being showed only for body movements with sense and meaning. Besides that, among the elements that inhibit this kind of capacity, there are the blocks linked to the body, that come from social and cultural values that is attached to the body, the gestures and movements in fashion and that end up diminishing this kind of creativity manifestation.

References

[1]. BODEN,M. (1999) Dimensões da Criatividade. Porto Alegre: Artes Médicas.
[2]. REY, A.& TIGO,E. (2000) Motricidad...Quién eres? Apuntes. Educacion Física y Deportes,59,91-98.
[3]. SEFCHOVICH,G. (1995) Creatividade - de lo cotidiano a lo transcendente. Prometeo - Revista Mexicana de Psicologia Humanistica y Desarollo,9.
[4]. TIBEAU,C. (2001) Criatividade e Criatividade Motora: características, indicadores e sua importância na formação do profissional de Educação Física - Tese de Doutorado - PUCSP: Brasil.
[5]. TRIGO,E. (1999) Creatividad y Motricidad. Barcelona: Inde.

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