Chapter 1

INTRODUCTION

Rationale

Improvisational dance, the individual subjective Experience is closely related to

the breakthrough ability, which Is also a method to determine whether the dancer enters

the Flow state. The body is the material carrier of dance, and Emotional expression is

the feedback of real life. Improvisational Dance brings superior experience. Only with

the dancer’s ability Of improvisation and the integration of the body and mind, Can the

flow be produced, so that the state of flow can enhance The motivation of participation

and help improve the dancer’s Self-realization. The whole-heartedness can help the

dancers To improvise. The two complement each other. When the Dancers are selfless,

the state of improvisational dance is the best. This exploration holds that the purpose of

improvisational Dance training is to integrate the dance body from disorder To nature

through the coordination of consciousness and body, The distribution of time, space,

and strength. This integration View is particularly emphasized by flow (Chen, 2019).

These nine dimensions Coincide with the characteristics of improvisational dance. First,

In the teaching process of improvisational dance, the teacher Can guide the students to

balance their own dance skills and The difficulty of objective things. Flow occurs when

the goal Challenge is balanced with one’s own ability (Tyagi Et al., 2017) . In the

process Of teaching, students as the main body need a high degree Of concentration,

clear internal motivation, and physical and Mental unity, focusing on the current

psychological state. Both Teachers and students need to use the flow theory flexibly to

Strengthen students’ perception of the art of improvisational Dance and stimulate their
 2

creativity (Yuan and Wu, 2020). To sum up, through the research of dance psychology,

and The relationship between dance teaching and creativity discussed In the books of

dance psychology, it is found that improvisational Dance is the best training mode to

cultivate dancers’ creativity.

The research direction of improvisational dance and creativity Is a relatively new

research direction. There are not many Studies on improvisational dance from the

perspective of Creativity, but there are many passages about improvisational Dance in

studies on modern dance teaching. The best way And method to discuss the

improvisational dance to cultivate Students’ creativity are put forward through more in-

depth Study and reference (Deng et al., 2021). The research conclusion Of

improvisational dance from the perspective of psychology Is that improvisational dance

is closely related to the cultivation Of creativity. Generally, through the analysis of the

research Status in China and foreign countries, modern psychological Theory is

regarded as the basic concept, and its application in The cultivation of creativity in the

teaching of improvisational Dance is discussed.

Improvisational dance performance can be divided into “unlimited Improvisation” and

“limited improvisation.” “Unlimited Improvisation” is suitable for professional dancers. It

can help Them to be liberated from the original dance form, so that They can dance

freely according to their psychological needs And body rhythm, without defining any

external restrictions Of theme, melody, category, and rhythm (Feng and Chen, 2020).

Research Objective

The fundamental objective of this study is to determine the influence of

Contemporary Dance Literacy and Cultural Sensitivity on the Emotional Association

 3

among BPE students. More explicitly, this study delves to answer the following

objectives:

1. To describe the level of Contemporary Dance Literacy;

2. To ascertain the level of the Cultural Sensitivity;

3. To assess the level of the Emotional Association of BPE students;

4. To determine the significant relationship between:

4.1 Contemporary Dance Literacy and Cultural Sensitivity;and

4.2. Emotional Association among BPE students.

5. To test the significant influence of Contemporary Dance Literacy and Cultural

Sensitivity on the Emotional Association of BPE students.

Hypothesis

1. There is no significant relationship exists between the Contemporary Dance

Literacy and Cultural Sensitivity on the Emotional Association of BPE students.

2. Contemporary Dance Literacy and Cultural Sensitivity is not a good predictor

on the Emotional Association of BPE students.

Review of Related Literature

Introduced in this section are the related literature and studies from renowned

scholars enveloping the principles, concepts and findings Contemporary Dance Literacy

and Cultural Sensitivity on the Emotional Association.

Contemporary Dance Literacy

contemporary dance ensemble affords analysis of collaboration and dis-tribute

cognition situated in the ecologically valid setting of the studio (Kirsh2017). Looking

carefully at studio work offers a natural laboratory that might throw light on
 4

improvisation as a mode of creativity more generally. Creativity has often been

assumed to be of an individual (e.g. Amabile 2023; Taylor and Lit-tleton 2016; and see

Leach 2017) and based in a set of cognitive processes including problem-solving and

decision making, with an emphasis on internalized and individual cognition (Finke,

Ward, and Smith 2016; Runco 2015; Sternberg2023).

However, contemporary conceptions of human creativity acknowledge the

interplay of individual with social and situational factors (Cattani, Ferriani,and Colucci

2016; Fischer et al. 2005; Paulus and Dzindolet 2018;Perry-Smithand Mannucci 2015;

Sawyer and DeZutter 2019). There are also arguments for considering the way that

Improvisation is an everyday aspect of humansocial and environmental perception

(Ingold and Hallam 2017, 6–9). In light of this, further investigation of improvisation,

taking account of social relation-ships with proximate (or even imagined) others, o ffers

potential insights. Abroad hypothesis examined here is that human creativity is

collaborative andsocial (Cattani, Ferriani, and Colucci 2018; Perry-Smith and Mannucci

2015).A narrower hypothesis is that the emergence of ideas and actions takes account

of social others in active ways that shape artistic outcomes.

Contemporary Dance literacy is based on knowledge and methods in

organizational context is a relatively new field of practice and research, but with a

growing interest, especially in Europe (Biehl-Missal and Springborg, 2015, Johansson

Sköldberg et al., 2016). Previous studies have suggested how knowledge from

contemporary dance practice could be used to support innovation processes and

development of innovative culture in organizations (Bozic and Köping Olsson, 2013,

Bozic Yams, 2016). On the other hand, the research on competence development
 5

(Illeris, 2013) underlines the importance of holistic approach to competence

development, engaging both cognitive and emotional capacities and emphasizing that

being competent in any field of work today demands to be able to act in both known and

unknown situations. Dance-based methods have shown both positive effects on

encouraging people to embrace ambiguity and exploring the unknown (Hujala et al.,

2015, Ludevig, 2015), and on enabling individuals to explore different types of

knowledge, including the more tacit and embodied forms of knowing and development

of emotional capacities (Ludevig, 2015, Zeitner, 2016).

Contemporary dance epitomize cognition that Is multimodal, embodied and

distributed. Knowledge of Contemporary dance is visual, spatial, motoric, auditory And

kinesthetic. Rarely notated, the dancers’ embodied Memories are the storehouse of

previously performed Works of art. And rather than such knowledge being Restricted to

the skull of an individual (Hutchins 2016), it is Distributed across a dance ensemble

(Kirsh et al. 2019;Stevens et al. 2015). The experiment to be reported here Investigates

concepts of distributed cognition, and social And relational processes through the

medium of improvisation by a group of professional contemporary dance Artists.

More specifically, we investigate the effect of solo Versus a collaborative dyad

setting, and dancer familiarity, On the improvisation of new movement material.

Creativity involves problem finding and problem-solvIng, generativity and exploration

(Finke et al. 2016) and Divergent thinking (Guilford 2028). It works through

Combination, recombination or pattern generation producing novelty, and requiring

recognition (Leach 2016). After Decades of research and debate, creativity has been

recognized as a combination of personal characteristics Cognitive abilities and the

 6

social environment. Creativity-Relevant skills, for example, include breaking perceptual

Sets, exploring new cognitive pathways, keeping response Options open, suspending

judgment, using ‘‘wide’’ cate-Gories and seeing or forming relations between diverse

bits Of information, remembering accurately and breaking out Of performance scripts

(Amabile 2019; Coskun 2015).

EMOTIONAL ASSOCIATION

Social engagement forms the basis of social relationships by providing a sense

of belonging, social identity, and fulfillment (Mengyun Luo et al., 2020). One important

component of functional ability is to build and maintain relationships, as well as

contribute to society, which means to engage in both individual- and society-level

activities. Social engagement, also called social participation or social involvement,

forms the basis of social relationships or participation in a community, and provides a

sense of belonging, social identity, and fulfillment. Evidence from cross-sectional

studies among older adults suggests positive associations of socially meaningful

relations with mental well-being and quality of life, and inverse associations with

depressive symptoms (Nelson LA, 2013).

ucational environment are more engaged in classroom activities, are more

motivated, are more likely to participate in extracurricular activities, report a greater

sense of academic self-efficacy, and experience reduced risk behavior and depressive

symptoms (Aelenei et al.,2020). To feel a sense of belonging to their school, students

 7

must not only have confidence in their school and adopt its values but also have

positive

Cultural Sensitivity

The region of Georgia where I conducted this study is often described as the

“Low Country” for its long history of rice plantations and slavery. The area has a 26%

Poverty rate, which increases to 50% in some of its predominately African-American

Communities (Step Up Savannah, 2016). The Low Country is located on the southeast

Coast of Georgia. There are eight municipalities in the county where I conducted my

Study, with a total population of 289,082, 40% of which is African American (US

Census, 2016). The county public school system has 57 learning facilities ranging from

Traditional elementary, middle, and high schools, to K-2, K-8, alternative, and charter

Schools. The public school district has over 37,000 students and 3,200 certified

teachers, Of whom 38% are non-white.

In this study, I examined teachers’ perceptions of using Culturally relevant teaching

strategies to influence the academic performance of minority Students in the

mathematics classroom. Across the school district, many students are performing

below grade level as Indicated on state developed end-of grade assessments and end-

of-course assessments in Mathematics. According to a math coach who works in the

district, mathematics teachers Need to collaborate to identify effective strategies to

teach students the problem-based Mathematics curriculum (math coach, personal

communication, January 23, 2014). Nieto (2017) noted that teachers must answer
 8

questions about their personal identities and Motives to find more effective ways to

reach their students in the learning environment.

More than 80% of African-American student population and more than 60% of Hispanic

High school student population in the district did not meet the targeted goal in the

Coordinate Algebra area of mathematics; however, 58% of the White-American

students Also did not meet the math benchmark (Georgia Department of Education,

2017a). The Assessment data highlight the need for teacher enhancement of classroom

pedagogy with Regards to mathematics. As one district math coach noted, the absence

of culturally-Sensitive problem-based learning tasks is a problem that affects minority

students across.

Additionally, according to the 2016 Georgia K-12 Teacher and Leader Workforce Status

Report (Governor’s Office of Student Achievement [GOSA], 2017), 10% of the Educator

candidates in Georgia enrolled in alternative preparation programs to prepare

Themselves to meet the needs of Georgia’s students (Georgia Department of Labor,

2017). While these alternative teacher preparation programs help to fill classroom

Vacancies across the state, these programs tend to concentrate on the science of

teaching Rather than the art, often neglecting to address the role that acknowledging

culture plays In providing an equitable learning experience for all students (Evans,

2013) and creating An additional contributing factor to the problem.

The local school district serves a diverse group of students, the majority of whom Are

African-American. According to the Georgia Department of Education Teacher Keys

Effectiveness System Handbook’s (Georgia Department of Education, 2017c) Standard

3 On instructional strategies, teachers are to engage students in authentic learning by

 9

Providing real-world problem-based inquiry and interdisciplinary connections (Georgia

Department of Education, 2017c). education and the need for educators to assume an

atypical stance On education (Rickman, 2016). Kosutic (2017) stated that the

continuation of the United States as an international superpower depends on its ability

to nurture scholars with the Adaptability, creativity, and persistence to solve global

issues from the practical, Economical, technological, and humanitarian standpoints.

Today’s rapidly changing Cultural environment demands that education prepares

students to embrace and Understand the various cultural traditions and mores of the

people around them (Ebersole, Kanahele-Mossman, and Kawakami, 2016). Ebersole et

al. (2016) indicated that Educators should balance knowledge and culture as the

classroom environment continues, To diversify.

Annual measurable objectives (AMOs): In accordance with the No Child Left Behind

and Every Student Succeeds Acts, Annual Measurable Objects must be set forth By the

Department of Education of each state outlining the objectives that each local

Educational agency or school must achieve every year to show that progress is being

Made toward the 100% student academic proficiency goal (Peterson, 2016)

Theoretical Framework

The influence of the independent variable, family support, to the dependent

variable self-acceptance is seen through the Family Systems theory. Family Systems

theory was developed by Dr. Murray Bowen in 1950s wherein the family is viewed as a

complex system of interconnected and interdependent individuals. In the FST, family is

seen as a complex relational system in which members are interconnected implying that
 10

any change in one individual is likely to influence the entire system and may cause

change in other members (Gilbertson & Graves, 2018). Moreover, FST understands

human behavior through a complex web of emotional processes in one's family, work,

and social systems (Drew, 2022).

Family Systems Theory consistently emphasizes paying attention to sequences

of interactions taking place between members of the family: in is doing what to whom,

where, when, and in what way is it a problem? (Johnson & Ray, 2016). One area where

this theory has been applied is in the context of self-acceptance. Researchers have

found that family factors such as parental warmth, acceptance, and emotional support

can have a positive impact on an individual's self-acceptance (Burić & Sorić, 2018).

Family Systems Theory suggests that the family environment can play a significant role

in shaping an individual's beliefs about themselves and their ability to accept

themselves.

The influence of the independent variable, social engagement, to the dependent

variable self-acceptance is seen through the Sociometer Theory. Sociometer Theory,

first proposed by Mark Leary in 1999, holds that people have evolved a psychological

meter or gauge to measure how much other people value and accept them. Leary

suggested that this measure of a person's degree of social acceptance—dubbed a

sociometer—is a factor in determining their self-esteem.

According to the research of Macinnes D. L. (2013) The results support the

opinion that there are similarities between self-acceptance and self-esteem, but that

there are also certain theoretical differences between the two concepts. Sociometer

theory, one of the prominent theories about the nature and function of self-esteem,
 11

argues that self-esteem monitors the degree of social acceptance that one enjoys from

one’s social circle and alerts the self to any threats to belonging that may arise

(Cameron & Stinson, 2017).

Sociometer theory states that the sole purpose of self-esteem is to function as a

system for monitoring others’ reactions to the self (Leary, 2013), which suggests that

self-esteem fluctuates along with the level of approval from others.

The acceptance literature has identified two domains of acceptance “self-

acceptance” and “acceptance of others” with theory and research pointing to the

positive association between the two (e.g., Sheerer, 2013).

Conceptual Framework

Figure 1 shows the conceptual model of the study. The arrow from the two

independent variables (Cultural Sensitivity) and (Emotional Association ) is directed

towards Contemporary Dance Literacy as the dependent variable. In this model.

Independent Variable Dependent Variable

CULTURAL
SENSITIVITY

CONTEMPORARY
DANCE LITERACY
 12

EMOTIONAL
ASSOCIATION

Figure 1. Conceptual Framework of the Study

Definition of Terms
To facilitate better understanding to the readers, the variables in the research title

were defined conceptually as follows:

Family Support –Family support has also been associated with improvement of

children’s self-acceptance and academic performance (McIntyre et al., 2013). In this

study, it plays a crucial role in an individual's well-being and can be a significant source

of strength and stability.

Social Engagement –Social engagement consists of social interactions with

peers and adults and the willingness to maintain the relationships while learning (Wang

et al., 2016). It encompasses a wide range of activities and behaviors that enable

people to connect, communicate, and build relationships within their communities and

society at large.

Self-acceptance –Self-acceptance is the ability to accept both your strengths and

your personal faults without judgment, (Meghan, 2014). It involves having a positive and
 13

nonjudgmental attitude toward oneself and recognizing one's inherent worth as a human

being. Self-acceptance is an essential component of emotional well-being and personal

growth.

BPE Students – In this study, this refers to the respondents of the study who are

currently enrolled in School A. These respondents are tasked to answer the adapted

research instrument.