Reflections on a Collaborative Animation Project Run by Mental Fight Club, London

A self-case study of the female doctoral student's own creative metacognition on art expressions: Based on the theory of creative metacognition (CMC)

BackgroundThe creative arts have long been known for their therapeutic potential. These modalities, which include dance, painting, and music, among others, appear to be effective in enhancing emotional expression and alleviating adverse physiological and psychological effects. Engagement in creative arts can be pursued as a personal hobby, in a classroom setting, or through a formal therapeutic intervention with a qualified therapist. Engagement can be active (i.e., creating) or passive (i.e., viewing, listening). Regardless of the modality and manner of engagement, the mechanisms explaining the therapeutic efficacy of creative arts remain poorly understood.ObjectiveThis study aims to systematically review research investigating the neurological mechanisms activated during active or passive engagement in creative arts, with a specific emphasis on the roles of the medial prefrontal cortex (mPFC) and the amygdala in emotional regulation (ER) and creative behaviors. The review seeks to provide preliminary evidence for the possible existence of common neural mechanisms underlying both phenomena, which could inform the development of targeted therapeutic interventions leveraging creative arts for ER.MethodsA systematic review was conducted following the Cochrane Collaboration guideline and PRISMA standards to identify studies examining the neurological mechanisms underlying creative activities.ResultsA total of six out of 85 records meet the inclusion criteria, with all being basic research studies. Preliminary findings suggest that active and passive engagement with creative arts consistently activate neural circuits implicated in adaptive emotional regulation, including the mPFC and amygdala. These activations mirror the neural pathways engaged in effective ER strategies, suggesting the possible existence of shared mechanisms between creative expression and emotional processing.ConclusionThe evidence underscores the potential of creative arts as a complementary therapeutic strategy alongside conventional care and other evidence-based mind-body modalities. By elucidating the shared neural mechanisms between creative arts engagement and ER, this review contributes to the theoretical and practical understanding of the role of creative arts in mental health. Future research is recommended to further explore these neural correlations and their implications for therapeutic practice.

Background: Childhood trauma results in long-term health and economic complications. The original Adverse Childhood Experiences (ACE) inventory provided researchers and health experts a lens to explore the implications of early experiences of trauma on human development. The ACE inventory has been evaluated over the last two decades to include societal and community factors, however gaps in assessment warrant a further need for revision. The ACE-EX was built to combine current research and social determinants of health with data obtained directly from people who experienced trauma but were unable to be accounted for in the original or recent modified measures. This study demonstrates how relationships serve as a fundamental protective factor for traumatized children to experience post-traumatic growth. Objective: The authors examined creative art expression, in context with nurturing relationships, as a protective factor against long term negative outcomes associated with ACEs. Method: The researchers used grounded theory methodology and recruited 10 adult participants who reported having four or more experiences on an expanded trauma inventory (ACE-EX) and did not report significant negative health conditions. Participants completed two qualitative retrospective interviews regarding important relationships and the arts. Data analysis used the constant comparative method to complete both iterative and theoretical coding. Findings: Data supported the importance of nurturing relationships, combined with expressive arts, as protective factors against ACEs. Relationships and the arts provided a context for integrating experiences in relation to early trauma. Conclusion: The implications of chronic traumatic stress necessitate the need for building protective factors into the fabric of societal systems. Identifying variables such as creative expression within the context of supportive relationships with caring adults, and inclusive communities, suggest comprehensive prevention programs are possible and social policy reform is needed to aide in mitigating the long-term effects of childhood trauma.

This chapter examines the term 'Creative Expression' is borrowed to refer to both artistic creation and collective making. The meaning of Artist-as-Citizen could be defined as a professional artist who also plays the role of a citizen in a social movement; while Citizen-as-Artist refers to a citizen who creates art in a social movement, similar to a professional artist. The chapter argues that Art/Movement is a kind of expansion of art, a new form of public art, made by citizen-as-artists and artist – as citizens. Under the modernist paradigm, art is seen as autonomous, and thus art is expected to keep its distance from politics to maintain its freedom of creation. In summary, the Sunflower and Umbrella Movements should be considered as part of the global citizen movement, but they are deeply rooted in the 'anti-China sentiments' that prevail in Taiwan and Hong Kong.

Teachers heavily rely on the dominant language of instruction—a spoken and written mode of communication—rather than expressing creative art forms through actions, signs, symbols, and other means. The reliance on monolingual forms of instruction to teach these art forms may diminish their efficacy. This research thus aimed to optimise the use of multilingualism in the context of Creative Arts and expression. Teachers teach Creative Arts with the aim of equipping learners with fundamental knowledge and skills in the arts, thereby fostering creativity, imagination, and appreciation for artistic activities. Multilingualism also entails using the human senses to see, understand, and navigate the various symbolic worlds humans encounter. The study adopted a transformational paradigm based on qualitative participatory research, focusing on ten eighth-grade learners purposefully selected from a particular school. Semiotics, the study of signals and the epistemology of their presence in society, served as the theoretical foundation for the research. The researcher collected data through focus groups and observations and then used a narrative analysis method for analysis. The findings revealed that limitations such as insufficient instructional time, a lack of training and linguistic dominance, a lack of resources, and limited preparedness impede the effective use of multilingual instructional methodologies. The researcher concludes that compulsory incorporation of semiotics in Creative Arts instruction may be crucial in fostering creative thinkers who cannot only express creative practices in a conventional manner but also use their talents in other domains, such as animation in creative practice. Keywords: Multilingualism, Creative Arts, Semiotics, Transformational Paradigm, Participatory Research.

The Doctoral research was carried out with the primary purpose of reviewing past practice designs and for identifying how body movements contributes to these designs. The context in which the body movements are understood are that of discipline enforced by culture and other physio-biological restraints. A discussion on the relationships of body experience in restricted conditions are carried out, which includes the interaction between movement and space in the application of painting, moulding, biological markers, and moving images. The discipline, socially acceptable practices and regulations present in the researcher’s personal life and culture frame the artworks and a fascinating exploration of dynamics between freedom of movement in artwork construction and restrain of behaviour has been analyzed. In the process of art production, significant points discussed were with respect to the identification, succession and repetition of habitual acts. In addition, bodily movement could be considered as a synthesis of spatiality and temporality. The key point which contains the elements of time and space remains relevant to my creative practice and theoretical research. The core interest of my practice is in understanding the settings and simple rules for bodily movement, which is inspired by the past and forms a possible creation for the future. In this research, the attempt was not to display a comprehensive understanding on how body influences the design of art but rather to explain how understanding body movements provides a trace of my works, from origin, the working process and to completion. Relevant artworks and reflection of personal experiences are discussed as needed to help the reader gain more insight on the interactions of body in art creations.

The interaction of creativity (terms “innovation”, “creative process”, “creative activity” and “creativity” are also used synonymously) and law gives rise to discussions and issues of application of legal norms, trying to ensure a balance between manifestations of legal norms, creative freedom and public interests. Creativity exists within a legal framework that both promotes and restricts its expression. Laws regulating creative activities are necessary to protect the rights of creative individuals, promote cultural development and maintain societal values while protecting public interests related to social responsibility and ethics. Creative freedom allows artists to address controversial or provocative issues, challenge societal norms and promote public debate. However, it is not absolute. Legal boundaries are set to prevent expressions of creativity that harm public interests. The task of setting boundaries without violating creativity is a challenge for the legal system and the legislator. Public opinion, cultural values and historical context influence what is considered acceptable or unacceptable in creative activity. Legal regulations that protect public morals or safety may impose restrictions, but it is important to ensure a foundation and balance so that creative activity maintains its freedom and continuity. As part of the study, the authors examine the understanding of creativity in law, including the freedom of creativity stipulated in Article 113 of the Constitution of the Republic of Latvia, the priorities for the expression of creativity set out in the policy planning documents of the Republic of Latvia, as well as current practice of analysis (the so-called “Puppet Opera” case, “Gossip Case”, “Brekte’s Mural”). The aim of the study is to explore the understanding of creativity in law and to clarify how the legal system and public interests influence creative expressions, focusing in particular on the restrictions on freedom of creativity and the legal framework that promotes or restricts creativity in modern society, answering questions about the proportionality of creativity and legal framework – to what extent is freedom of creativity protected by law, and how are limits set to prevent potentially harmful effects on society, and what protective mechanisms are necessary for the legal framework to proportionately ensure both creativity and public interests without turning into censorship. The study concludes with conclusions and proposals for the development of the understanding of creativity, including the improvement of legal framework: a diverse understanding of creativity is observed in Latvian regulatory acts, mostly associating it with artistic creativity. This approach is not only restrictive of the expressions of creative persons, but can also limit the rights and legal protection of creative persons – including, būt not limited to authors. The assessment of creative work is always related to a certain context, including public opinion, cultural values and historical events, as well as the knowledge, experience, perception and assessment of each member of society. This is relevant for the possible impact of creativity on society and its various groups. The state is obliged to balance the protection of freedom of creativity and the interests of society.

Introduction to the special issue on creative arts therapies in the treatment of substance abuse

How Does Creative Arts Therapy Reduce Distress for Children With Cancer? A Metasynthesis of Extant Qualitative Literature.

This study employed a systematic literature review (SLR) to compare the applications of information technology, digital technology, and artificial intelligence in arts education and to explore their synergistic effects. The PRISMA process guided literature screening, and we combined quantitative analysis with visual representation to assess the strengths and limitations of these technologies across diverse cultural contexts and artistic disciplines. Findings revealed that information technology promotes resource sharing and interactive learning, supporting the personalized development of arts education. Digital technologies, especially virtual reality (VR) and augmented reality (AR), enhance students’ creative expression and learning experiences. Artificial intelligence optimizes learning and artistic creation through personalized guidance, real-time feedback, and creative support. The integration of these technologies has innovated teaching methods and laid a theoretical foundation for global collaboration in arts education. However, practical challenges remain, including infrastructure gaps, adaptability issues, and ethical concerns. Future efforts should focus on integrating emotional cognition with intelligent creativity and on fostering cross-cultural exchange. The proposed Triadic Synergy Model (TSM) offers a framework for intelligent and personalized development, guiding arts education toward a balance between technological advancement and humanistic values.

This study investigates the sensory experiences of China’s Generation Z within art museum environments and examines the healing perception generated through museum-based creative art healing, aiming to assess the feasibility of implementing art healing programs in museums. Drawing on a series of art healing workshops held at the Art Museum of Nanjing University of the Arts since 2023, the research combines quantitative analysis, literature review, and case studies. Through questionnaire data, it explores whether participants can achieve healing experiences through artistic creation in museum spaces and whether such experiences foster place attachment and loyalty to the museum. Findings demonstrate that healing-oriented spaces significantly enhance Generation Z’s healing perception. This effect is further reinforced by participants’ creative expression, social interaction, and imaginative engagement during healing activities. Ultimately, the study confirms that such healing experiences play a decisive role in strengthening place attachment to museum spaces and increasing long-term loyalty to art healing programs.

The First Amendment has long provided protections for artists’ creative expression and is a fundamental right for all United States citizens. However, with the rise of a predominantly digital world, those protections begin to blur with the introduction of non-fungible tokens (NFTs). Artistic creation often stems from an inspired source, and sometimes, that inspiration may come from registered intellectual property, specifically trademarks. Trademarks are everywhere we look, so it is not unusual for artists to be inspired by the logos, images, colors, figures, or symbols that are featured on billboards, magazine covers, or everyday items. When these trademarks are used in third-party artistic works, the situation often results in trademark owners gearing up to protect their marks and artists invoking their First Amendment rights to protect their creations. NFTs have become an extremely lucrative market, presenting a new route for artists to explore their creative ideas and an appealing business opportunity for luxury brands to enter into a unique space. Courts and practitioners must focus their attention on the rise of NFTs and trademark-related issues as litigation gradually increases. There has been a longstanding precedent formed by Rogers v. Grimaldi that gives courts some guidance on how to balance First Amendment protections and trademark rights, but with the introduction of NFTs, circuit courts are interpreting and applying the Rogers test in various ways resulting in inconsistent outcomes. This calls for another look at the Rogers test and a reconsideration of its design to balance First Amendment and trademark interests. This Article examines the nuances of First Amendment and trademark law to determine the effectiveness of the traditional Rogers test. This Article concludes that while courts have applied Rogers in unique ways, the emergence of NFTs requires a uniform approach that can only be accomplished by reconsidering Rogers’s application to the digital world. This Article encourages courts to include a more fact-intensive analysis in Rogers cases so fact finders can distinguish between expressive artistic works and ordinary consumer products while discerning the works’ true motives.

Creativity in the arts offers a profound exploration of the intricate interplay between creative expression and psychological dimensions, examining how emotions, thoughts, and personal experiences shape artistic output. This article analyzes the psychological stages of idea formation, obstacles encountered, and strategies to enhance creativity, highlighting the role of psychology in shaping unique works of art. It also explores artistic creativity as a tool for mental health, emphasizing its therapeutic potential and contribution to emotional well-being. Additionally, it examines the connection between creative expression and personal development, demonstrating how art fosters self-awareness and individual growth. By adopting a multidimensional perspective, the article provides a comprehensive understanding of artistic creativity as both a profound form of expression and a reflection of human psychology, offering insights into its broader psychological and developmental impacts.

This study aimed to investigate the effects of online peer assessment of art appreciation in the unit of “Architecture and Sculpture of Temple in Taiwan” for students in elementary school. A quasi-experiment with pre-test and post-test research was used in this study. Two- class students of the sixth-grade were subjects, one class as experimental group , the other as the control group. The experimental group used facebook for online peer assessment, while the control group adopted face-to-face peer assessment in classroom. The main objective of this study is to investigate the effects of peer assessment on students’ creative expression, art appreciation and satisfaction of art appreciation learning community. The result showed learning in art appreciation, the experimental group and the control group in the art appreciation course proficiency test scores improved thereafter volume, the experimental group described in the content, form and meaning interpretation of the improved performance capabilities are superior to the control group. Value judgments in the control group scores slightly better than the experimental group. It also showed online peer assessment for students with learning to appreciate art can enhance the effect. In the creation of performance, the experimental group expressed the benefits of art appreciation and an understanding of their work to help use the creative arts appreciation, the use of art appreciation learning community for art appreciation concept is more clearly. The results showed that online peer assessment can improve students’ learning motivation and can also promote students’ active learning. In the peer assessment feedback, the participating situations of online peer assessment group are better than face to face peer assessment group, teacher intervention is fewer. The control group gave more supportive feedbacks, while the experimental group gave more critising, suggesting and social feedbacks. Also this study found that online peer assessment group tended to directly give peers the revising proposals, while face to face peer review group is easier to express positive affirmations.

This research investigated how the use of designed soundscapes influenced perceptions of learning affect and creative expression in a design and media course conducted online during the COVID-19 pandemic. Forty-six diploma level students from an arts institution in Singapore attended an online design and media course. Due to the pandemic, part of the course, which involved a site visit for creative project work at Ayutthaya, a UNESCO World Heritage Site, could not be implemented. This study explored how auditory learning with designed soundscapes could be used as an alternative strategy to stimulate creative interpretations of place. Auditory learning was implemented where students learnt by listening to audio tracks that comprised the lesson content with designed soundscapes. The soundtracks were rhythmically created and produced by the first author and these consisted of musical and sound effects articulations to emulate a narrative account of a journey to Ayutthaya. Students completed two drawing tasks with and without using designed soundscapes. The study found that students’ perceptions of learning affect and creative expression improved when using designed soundscapes. The implications for enhancing online learning in creative arts courses through auditory learning with designed soundscapes are discussed.