Creative Movement Research Articles

Neural Dynamics of Creative Movements During the Rehearsal and Performance of “LiveWire"

This report contains a description of physiological and motion data, recorded simultaneously and in synchrony using the hyperscanning method from two professional dancers using wireless mobile brain-body imaging (MoBI) technology during rehearsals and public performances of “LiveWire” - a new composition comprised of five choreographed music and dance sections inspired by neuroscience principles. Brain and ocular activity were measured using 28-channel scalp electroencephalography (EEG), and 4-channel electrooculography (EOG), respectively; and head motion was recorded using an inertial measurement unit (IMU) placed on the forehead of each dancer. Video recordings were obtained for each session to allow for tagging of physiological and motion signals and for behavioral analysis. Data recordings were collected from 10 sessions over a 4-month period, in which the dancers rehearsed or performed (in front of an audience) choreographed expressive movements. A detailed explanation of the experimental set-up, the steps carried out for data collection, and an explanation on the usage are provided in this report.

Effects of creative movement, general movement, or seated play interventions on motor performance in children with autism spectrum disorder: A pilot randomized controlled trial

BackgroundChildren with ASD experience significant gross motor challenges that could be addressed using motor interventions. However, contemporary ASD interventions that are sedentary in nature often target communication and fine motor skills and not children’s gross motor difficulties. MethodsIn the current pilot RCT, we evaluated changes in various motor outcomes (i.e., gross/fine motor coordination, locomotor skills, functional endurance, and praxis/imitation performance) following two types of whole-body motor interventions (Creative Movement (CM) or General Movement (GM)) and compared them to a Sedentary Play (SP) intervention focused on improving fine motor skills in children with ASD. Forty-five children with ASD (Mean Age ±SE: 8.7 ± 0.3, 38 males) were randomly assigned to the CM, GM, or SP groups and received 8 weeks of group-specific training. ResultsBoth CM and GM interventions led to medium-to-large improvements in gross motor performance, including improved body coordination, strength/agility, locomotor skills, and walking endurance. Children in the CM group additionally showed medium-to-large-sized improvements in praxis performance, while children in the SP group showed improvements in fine motor performance. These training-related improvements were supported by improvements reported via parental questionnaires. ConclusionsResearchers and clinicians should incorporate whole-body interventions targeting gross motor skills in the plan of care for children with ASD.

Assessing teachers' acceptance of traditional games-based creative movement for increasing preschool children's imagination

This research aims to explore the urgency, content expectations, and teachers' attitudes towards learning creative dance based on traditional folk games in building the imagination of preschool children. Knowledge about the teacher's urgency, content, and attitude is needed to develop a creative dance learning model that can increase the imagination of preschool children using traditional folk games. A survey conducted on 40 preschool teachers in Malaysia showed that teachers felt an urgency to improve children's imagination (mean = 4.48), proposed some content related to traditional games (mean = 4.45), and saw that traditional games could inspire a creative movement to increase children's imagination (mean = 4.41). This research is still in the early stages of evaluating teacher needs and readiness and has not yet reached the design or empirical testing of the Active-Tradir model. Nevertheless, these findings provide a strong basis for further development and implementation of a future creative movement learning model based on traditional games, which we have named "Creative Movement Based on Folk Traditional Games (Active-Tradir)." Keywords: children's imagination, traditional games, creative movements, preschool teacher, Malaysia

Shifting the Focus: Intra-acting with Diverse Agencies and Happy Objects in a Day Center of Disability Services

The article is based on the author’s experiences of facilitating creative movement groups in a disability services day center. Through artistic and performative research, she investigates different forms of agency in and around the movement groups. She draws on theoretical perspectives from critical disability studies, feminist new materialism and affect studies, par­ticularly focusing on Sara Ahmed’s (2010) notion of the “happy object,” to challenge the human-centric view of arts education and artistic agency. She proposes a shift of focus in arts education from individual agents to the intra-action of diverse agencies in art making, teaching, and learning in diverse contexts.

Developing Malay traditional dance model for preschoolers: Evidence from contextual and content needs

The uniqueness of the Malay dance community should be introduced to the children so that the beauty of the dance movements does not disappear. Therefore, this study analysed preschoolers' content and the contextual needs of developing the traditional Malay dance model. Quantitative studies using this survey method aim to obtain information about the contextual and content of traditional Malay dance models. 125 preschool teachers from the Ministry of Education (MOE) were selected to respond to the questionnaires. The results show that the necessities of the context should inhibit the aspects of creative movement. The results refer to the content aspect of the model of the basic movement elements in the traditional dances of the Malay community that should be taught to the children. The implication of this study from the development of the model helps preschool teachers in the performance of traditional Malay dances.

Creative Movement and Anti-Gentrification: Learning from Los Tjihapit Market's Coffee in Bandung

The phenomenon of gentrification, driven by the presence of the creative class, is a consequence of the global implementation of the Creative City concept. Bandung has adopted this concept, and one of the areas developed by the creative class is the Cihapit Market area. This article examines how the "creative" community, specifically Kopi Pasar Los Tjihapit, sustains its business amidst gentrification through a placekeeping strategy. Participatory qualitative descriptive research methods were employed to explore the role of architectural space as part of the placekeeping strategy. Five strategies were identified: 1) zoning to support maintenance, 2) collaboration spaces for various partnerships, 3) space flexibility through collective decision-making, 4) collaborative spaces to encourage community involvement, and 5) coordination of all aspects to preserve the public market character. In conclusion, the success of creative placekeeping strategies in architectural spaces combines non-technical aspects such as community enthusiasm with technical aspects such as the arrangement of physical architectural elements.

The embodied nature of physical theater: artistic expression, emotions, interactions

ABSTRACT The nature of physical theater can facilitate understanding of the complex characteristics of embodied movement . Given also the scarcity of empirical studies in the area , the purpose of this qualitative, phenomenological, and temporal study was to thoroughly examine the embodied nature of physical theater (e.g. unity of body and mind) within different aspects of movement, such as performativity, communication with others, and emotional expression. Seven undergraduate students (M age = 20.43 ± 1.28 years old) enrolled in a semester-long physical theater class at a major Southeastern US university. Based on the qualitative, phenomenological analysis, three physical theater themes emerged regarding improved embodied sensations over the class period: a) embodied artistic expression (e.g. body-mind unison; sense of flow; physical theater as a form of exercise), b) embodied emotions (e.g. body and mind in emotion, expressing emotions freely), and c) embodied interactions (e.g. body, mind, and emotion in communication; more attentive to body language; communicating with the audience). In the field of Performing Arts, viewing movement holistically as an end in itself can bring about senses of fulfillment, body awareness, improved consciousness, and increased value of physical culture (value of creative movement), and well-being.

From Opposition to Creativity: Saba Mahmood's Decolonial Critique of Teleological Feminist Futures

Abstract Saba Mahmood's anthropological work studies the gain in skills, agency, and capacity building by the women's dawa movement in Egypt. These women increase their virtue toward the goal of piety by following dominant, often patriarchal norms. Mahmood argues that “teleological feminism” ignores this gain in agency because this kind of feminism only focuses on opposition or resistance to these norms. In this paper I defend Mahmood's “anti-teleological” feminist work from criticisms that her project valorizes oppression and has no vision for a nonoppressive feminist future. I argue the future envisioned by teleological feminists gets caught in “the Hegelian” trap of replicating past oppression in their feminist future. I find in Mahmood's work the tools to escape this trap. I argue, rather than a movement of overcoming oppression, Mahmood's work suggests an immanent and creative movement that emphasizes difference for a truly new future. I turn to a Bergsonian metaphor and argue that this movement can be seen as akin to the movement of biological evolution. I conclude using the work of Eve Sedgwick that the Egyptian women that Mahmood studies are being read in a “paranoid” fashion and demonstrate using Leila Ahmed a better “reparative” reading of these women.

Motor creativity assessment: A test-retest reliability and validity protocol study in fibromyalgia and healthy women

IntroductionPrevious studies have found brain abnormalities and deficits in cognitive functions in people with fibromyalgia. It is known that choreography or creative tasks significantly generate cognitive improvements. Various methods have been described in the literature to evaluate creative activities using electroencephalography (EEG), such as the imagination of dance improvisations. However, there is the notion that creative solutions can emerge during the action and that creative motor action may reflect new, statistically rare, and adaptive coordination and/or the control solutions performed. AimThis study seeks to establish an operational approach to test how constraints are combined to induce variability of movement and how to evaluate it, but without forgetting the ideation or preparation of the activity as a relevant section in the study of motor creativity. To this end, this study aims to validate and test the reliability and applicability of an innovative test of motor creativity: The Motor Creativity Assessment (MCA), with the aim of achieving an objective score of motor creativity that can be used to test patients and monitor the interventions. Material and methodsto correctly satisfy the requirements of the standard protocol for clinical trials, this study has followed the SPIRIT 2013 Statement Items. A total of 13 women with fibromyalgia and 13 healthy women were included in the study. The individual's cognitive impairment, sleep quality, pain, quality of life, level of physical activity, fear of falling, and the impact of fibromyalgia will be studied. This study develops a specific test of motor creativity without the use of objects, with the aim of achieving an objective score of motor creativity. An observation score sheet allows motor creativity to be analyzed and scored by viewing a video of the creative movement test. The Enobio® instrument (Neuroelectrics, Cambridge, MA, USA) and Neuroelectrics® instrument driver software (NIC1) were used to record EEG and heart rate variability signals.

A Pilot Study Comparing the Efficacy, Fidelity, Acceptability, and Feasibility of Telehealth and Face-to-Face Creative Movement Interventions in Children with Autism Spectrum Disorder.

We compared the efficacy, fidelity, acceptability, and feasibility of a creative movement (CM) intervention for children with autism spectrum disorder (ASD), delivered face-to-face (F2F) or through telehealth (TH). Fifteen children with ASD received the CM intervention F2F or through TH. Motor assessments were used to evaluate effects of F2F and TH interventions on children's motor skills, while video coding was used to assess affect, socially directed verbalization, interpersonal synchrony, and motor coordination during training. Stakeholder feedback and training fidelity data on the intervention were also collected. Children in both subgroups showed similar baseline performance and training-related improvements in motor skills, positive/interested affect, socially directed verbalization, interpersonal synchrony, and dual/multilimb coordination. Parents in the TH subgroup considered the intervention feasible and acceptable; however, they reported greater effort to supervise and redirect their child's attention compared to the F2F subgroup. Trainers for the TH subgroup reported more communication difficulties, technological issues, and longer session lengths, but found greater parental involvement compared to the F2F subgroup. CM interventions are consistent, acceptable, feasible, and effective in improving social, behavioral-affective, and motor skills of children with ASD, regardless of the method of delivery. Clinicians should make efforts to reduce communication/technological issues and parental burden when delivering CM interventions through TH. ClinicalTrials.Gov Study ID-NCT04258254.

Cortejando Medusa ou uma abordagem poética da teoria crítica dos processos de criação em artes

The article aims to expose the concept of “process documents” through a mythical format, touching on the position of the critic and the artist in relation to records, in addition to the immateriality of the creative process and the challenges of artistic creation. This approach is justified by enabling the reading of complex and abstract notions belonging to the critical theory of creative processes in the arts through a structure closely linked to human experience, that is, telling stories. To this end, the Greek myth of Perseus and Medusa was selected, especially the section in which the hero uses his shield as a mirror, in order to be able to see Medusa, given that this episode allows us to establish a bridge with the potential of the documents of process of enabling the glimpse of something, a priori, invisible, that is, the creative process itself. The breadth of meanings provided by the symbolic figures that make up the narrative and the specific way in which they relate enable an in-depth poetic investigation of the nature of the aforementioned concepts. For the theoretical basis and development of the discussion, the reasoning developed by Gaston Bachelard was used regarding the essential elements from which the creative movement originates - with emphasis on the water element - and the concepts of archetype and unconscious belonging to Analytical Psychology, formulated by Carl Jung. The study presents a qualitative approach and the procedure used was bibliographical research, emphasizing the unique contribution of Cecília Almeida Salles.

The Organology of Pencak Silat and Reog Ponorogo Dance

Pencak Silat is one of the well-developed sports in Indonesia, pencak silat is also a self-defence art that teaches spiritual and physical education to its devotees in living up to the moral values in it. The material object of this research is pencak silat and the formal object is the aesthetics of pencak silat. Through the collaboration of the Reog Ponorogo dance with the pencak silat movement, the aim is to create beautiful new creative movements. The implementation method uses training, practice and history through description, analysis and synthesis. The results of the research are martial arts styles which consist of mental-spiritual aspects, self-defence, arts and sports, and also arts in martial arts divided into wiraga, wirama and wirasa as well as collaboration with the Ponorogo reog arts. The art in pencak silat includes every attitude and movement that is shaped and regulated to achieve maximum artistic beauty. The criteria for art, especially dance, have been used as a guideline. The criteria are formulated with the words wiraga, wirasa, and wirama, which have the meaning of harmony and harmony between the body (raga), taste, and rhythm in displaying every attitude and movement of artistic martial arts which consists of three parts, namely exhibition arts, recreational arts pencak silat, and performance arts pencak silat.

Musicogram Use by Preschool Teachers in Listening Activities

Limited and mostly superficial exposure to music experiences during childhood negatively affects various musical competencies that develop early on, such as auditory and perceptual skills, a sense of rhythm, and the ability to sing in harmony. High-quality music education in early childhood can only be achieved by incorporating meaningful and active music listening activities into teaching practices by teachers, creating learning environments aimed at enhancing musical skills in children. The learning needs, motivations, and preferences of teachers shape the musical practices in music education. The selection of techniques for implementation, preparation, or equipment deficiencies leads to a series of interrelated outcomes affecting teachers and children. With this aim, the research was conducted to gather the opinions of preschool teachers regarding the use of musicograms in their music activities and to identify the shortcomings in the appropriate use of musicograms for their intended purpose. The research employed a qualitative research method with a case study design. The study group consisted of 33 teachers working in preschools. Data was collected using the focus group technique, and the data collected were analyzed using content analysis. As a result of the research, it was determined that teachers mainly included song activities (singing and listening), rhythm activities, and, to a lesser extent, musical games (ront), and creative movement and dance activities within the framework of music activities. It has been found that most teachers do not know what “musicogram” means. Musicogram was defined as “musicomoviegram,” essentially a musical animation. Additionally, it was determined that teachers need in-service and post-service support, prefer music activities to be conducted by specialized music teachers, emphasize the use of music more as a conceptual tool than for its artistic content, face material and equipment shortages, and particularly lack theoretical and practical background in using musicograms in listening activities. Teachers were found not to include different types of music that reveal changes in musical features such as dynamics, meter, and tempo in their classrooms, and they did not express a need to include such music types.

Вторая русская революция и утопический проект духовной аристократии Н.А. Бердяева

Throughout many years Berdyaev discusses the problem of spiritual aristocracy formation in Russia. The Russian philosopher defends an imperishable value of spiritual aristocracy, as he doesn’t see a direct connection between the socio-historical environment and the emergence of “knights of spirit”. In his works he underlines the priority of the universal objective Divine will, calls for renewing Christianity and all aspects of public life, connects religious revival only with the development of a person. Berdyaev believes that the ‘people-nation’ can be aristocratic if it is ready to subordinate their own actions to the absolute Divine will. In 1917-1918 the idea of a hierarchical structure of any reality defines a train of Berdyaev’s thought. The being of the free person is closely connected with cosmic hierarchy. Creativity and social equality are not compatible, creativity demands inequality; the nature of creativity and the essence of the person are aristocratic. The Russian thinker welcomes the overthrow of autocracy. He denies class foundation of the ongoing revolution, exposes bourgeois, non-creative base of the socialist idea. Berdyaev sees the cause of ‘the sacred realm’ downfall in the estrangement of Russian people from the state power, absence of spiritual aristocracy in Russia. He accounts for the victory of democracy as an external condition of spiritual knighthood’s making, whose thoughts are directed outside of the empirical world, a necessity and compulsion realm. The Russian philosopher hopes that the democratic revolution will release spiritual forces of the people, whose ascending creative movement will be accompanied by the formation of national spiritual aristocracy. But in July 1917 Berdyaev ascertains that Russia is sacrificed to revolutionary element. He considers the propensity of the Russian person to social utopias as a consequence of centuries-old slavish existence of the people, the absence of the sense of duty and responsibility in the Russian national character. The victory of Bolsheviks in race for power by autumn of 1917 has confirmed Berdyaev’s worst fears: the triumph in Russia of a bourgeois ideal of prosperous habitation in the material world, ideals of equality and justice over a hierarchical principle of the universe design acted as a characteristic symptom of Russian people’s degradation, transformed the project of national aristocracy of spirit into a utopia. The article also shows how the adherents of Marxist ideology have turned this project into a caricature on the philosophy of history.

Dirty materialism: what Jennifer knew

New Materialism and the Environmental Humanities challenge assumptions about human exceptionalism by telling environmental stories from diverse points of view. Combining these tendencies in thought and practice is what I call dirty theory. Dirt is both method and subject-matter, and its transdisciplinary effects are to be found in ethnography, geography, media theory, as well as in the architectural humanities. Dirt offers a means of paying attention to mundane worldly relations, including repair, maintenance and making do, and aims to foster an overarching ethics of care. In all the above, from the vantage point of the present, Jennifer Bloomer can be re-read as a precursor to whose work an incomparable novelty might be restored. What Jennifer knew, what she intimated in her work, was both an awareness of the critical implications of textual play and the importance of thinking with admixtures of environmental and socio-political subject-matter. Across her essays, from her dirty drawings to her dirty ditties, and in such installation works as the Tabbles of Bower, dirt is discovered as a creative movement. I argue that the burgeoning interest in (feminist) New Materialism and the Environmental Humanities enables a reengagement in the legacy and after-effects of Bloomer's remarkable body of work.

EXPLORATION IN BODY EXERCISE COURSE AS A SOURCE OF INSPIRATION FOR MOTION IN THE CREATION OF DANCE WORKS (CHOREOGRAPHY)

The aim of the research is to find out about the exploratory process in body sports courses to produce movement in creating dance works and to find out other factors that influence exploration, such as imagination, intuition, and creativity. The research method used is based on the problem to be solved, beginning with a study of the choreography development of Dance Program students using qualitative descriptive methods. The results of research conducted at Universitas Negeri Jakarta (UNJ) with the object of dance art education program students. The exploration process in body exercise courses can be a source of inspiration for movement through imagination, intuition, and creativity so that students are able to create dance works with varied movements. It is expected to support the research results. So that it can be used as an appreciation of motion and music as student choreography learning. A form of exploration of motion, through imagination, intuition, and creativity as a reflection of the student's body in expressing motion. students gain the discovery of personal movements so that during the choreography learning process students can feel the freedom of learning fun creative movements. Furthermore, students find movements that are appropriate to wiraga, wirama, wirasa, and beautiful movements.

Development of Dance Learning Model at School

This research was motivated because the learning activities of cultural arts at SMA Negeri 1 Koto Balingka were not carried out correctly. The teaching and learning process was carried out less than optimally, extracurricular activities did not go well. Therefore, this study aimed to 1) find out the model used in class IPA SMA N 1 Koto Balingka, 2) produce a dance learning model design in school, 3) obtain a dance learning model in school and 4) produce a dance learning model in school. This research was development research using a 4D development model (define, design, develop, and disseminate). The type of data generated was a product trial assessing the creative movement resulting from the educational dance learning model. The instrument used to collect data consisted of a validity questionnaire by validators/experts/experts. The data analysis techniques in this study were product validity analysis, product practicality analysis, product effectiveness analysis. The research results could be concluded that learning to design dance works using the Development of Educational Dance Learning Model based on Themes (RIDAMA) is very attractive to students. Dance learning activities were easy to understand. It could be seen from the value of the model's validity of 90.26 with very valid criteria. The value of the practicality of the model by the teacher was 93.4 with very practical criteria. In comparison, students' practicality of the model was 98 very practical criteria. The model's effectiveness consisted of an overall assessment of student activity with a score of 92 with very active criteria and student learning outcomes in the knowledge aspect with a score of 97 with a very good predicate. The study results concluded that the Theme-based Educational Dance Learning Model (MPTPbT) developed was valid, practical, and effective. This model can overcome the limitations of dance learning tools in schools.

Development of Dance Learning Model at School

This research was motivated because the learning activities of cultural arts at SMA Negeri 1 Koto Balingka were not carried out correctly. The teaching and learning process was carried out less than optimally, extracurricular activities did not go well. Therefore, this study aimed to 1) find out the model used in class IPA SMA N 1 Koto Balingka, 2) produce a dance learning model design in school, 3) obtain a dance learning model in school and 4) produce a dance learning model in school. This research was development research using a 4D development model (define, design, develop, and disseminate). The type of data generated was a product trial assessing the creative movement resulting from the educational dance learning model. The instrument used to collect data consisted of a validity questionnaire by validators/experts/experts. The data analysis techniques in this study were product validity analysis, product practicality analysis, product effectiveness analysis. The research results could be concluded that learning to design dance works using the Development of Educational Dance Learning Model based on Themes (RIDAMA) is very attractive to students. Dance learning activities were easy to understand. It could be seen from the value of the model's validity of 90.26 with very valid criteria. The value of the practicality of the model by the teacher was 93.4 with very practical criteria. In comparison, students' practicality of the model was 98 very practical criteria. The model's effectiveness consisted of an overall assessment of student activity with a score of 92 with very active criteria and student learning outcomes in the knowledge aspect with a score of 97 with a very good predicate. The study results concluded that the Theme-based Educational Dance Learning Model (MPTPbT) developed was valid, practical, and effective. This model can overcome the limitations of dance learning tools in schools.

"InMotion"-Mixed physical exercise program with creative movement as an intervention for adults with schizophrenia: study protocol for a randomized controlled trial.

Schizophrenia is among the world's top 10 causes of long-term disability with symptoms that lead to major problems in social and occupational functioning, and in self-care. Therefore, it is important to investigate the efficacy of complementary treatment options for conventionally used antipsychotic medication, such as physical training, and psychosocial interventions. To combine aerobic and strength training with cognitive, emotional and social stimulation in one intervention for people with schizophrenia and test the feasibility and effects of this intervention. The study is a mixed-method randomized controlled trial to evaluate the effects of a 12-week intervention for adults with schizophrenia. The treatment group (30 participants) will receive the intervention in addition to standard care and the control group (30 participants) only standard care. The intervention consists of 24 biweekly sessions with a duration of 60 min. The pre-test (weeks from 4 to 2 prior to the intervention) and post-test (week 12) include clinical measure (PANSS), quality of life, social performance, movement quantity, brain function and eye tracking measures. In addition, a treatment subgroup of 12-15 participants and their family member or other next of kin will complete a qualitative interview as a part of their post-test. Two follow-up tests, including clinical, quality of life, brain function and eye tracking will be made at 6 and 12 months from the completion of the intervention to both study groups. The primary outcome is change in negative symptoms. Secondary outcome measures include general and positive symptoms, quality of life, social performance, movement quantity, brain function and eye tracking. Explorative outcome includes patient and family member or other next of kin interview. Pilot data was collected by June 2023 and the main data collection will begin in September 2023. The final follow-up is anticipated to be completed by 2026. The InMotion study will provide new knowledge on the feasibility, efficacy, and experiences of a novel intervention for adults with schizophrenia. The hypothesis is that regular participation in the intervention will reduce clinical symptoms, normalize physiological measures such as brain activation, and contribute to new active habits for the participants. ClinicalTrials.gov, identifier NCT05673941.

The Effect of Creative and Traditional Games on Motor Coordination and Creativity in Action and Movement in Girls 6 to 7 Years Old

Background and Aims Creative solutions are essential to success in sports, the development of talent, and the selection system, and it is important to be flourished in the early years. On the other hand, the play environment is one of the most effective environments in supporting the motor creativity of preschool children. This study aimed to investigate the effect of creative and traditional games on motor coordination and creativity in action and movement in girls aged 6 to 7 years. Methods The present quasi-experimental study is an applied study that was conducted with a pretest-posttest design. A total of 107 girls aged 6-7 years were selected by the available sampling method based on inclusion and exclusion criteria and divided into two creative and traditional games. Demographic questionnaire, thinking creatively in action and movement (TCAM) test, motor coordination test (The Körperkoordinations test für kinder [KTK]), and motor games were used. The practice protocol included creative movement games such as crab-style walking relief competition, bubble game, hungry wolf, play with small colored balls, balloon games, and traditional games. For the pretest and posttest, the TCAM and KTK tests were performed. Data were analyzed using combined factor analysis of variance with repeated measures and Bonferroni post hoc test using SPSS software, version 22. Results The results showed that the main effect of the evaluation steps was significant (P=0.001) for the motor coordination variable and was better in both groups posttest in the motor coordination test. The main effect of the group is significant (P=0.001), and the creative exercise group had better motor coordination in the posttest. The interaction effect of the group in the evaluation stages is significant (P=0.001). The average total score of creativity and components of fluidity, initiation, and imagination in the posttest was higher in the pretest, and the creative game group obtained higher scores in these components. Performing creative games had a more significant effect on children’s creativity, movement, and physical coordination than traditional games. Conclusion The children’s physical coordination and motor creativity increase with the practice of creative games. Children’s motor creativity skills, especially mental skills, and their originality and imagination are supported through play. It is better to use creative practice and games to develop children’s mental and motor skills during school physical education hours.