These findings may reveal information that can allow dancers to more easily access flow states. Csikszentmihalyi’s constructs were essential to the participants’ descriptions of flow. This study found that Csikszentmihalyi’s individual constructs often overlapped within the individual’s subjective experience. Participant responses were compared to each other as well as Csikszentmihalyi’s original constructs. The recurrent themes that emerged in dancers’ language about their experiences of flow were feeling of not thinking, sense of automaticity and confidence, intuitive decision making, and kinesthetic alertness. This study investigated the universal and individual phenomenological experience of flow for three professional dancers through open-ended interviews and qualitative analysis. Research on flow in dance has described that competency, confidence, and positive interaction with others supports a flow state. Previous studies have shown that intrinsic motivation and positive affect increase states of flow. The present study aimed to investigate the relationship between flow experiences and psychological well-being (PWB) among 50 female Indian classical dancers. Since Csikszentmihalyi’s initial investigation, these constructs have been used in qualitative and quantitative studies to understand flow in comparison to age and affect, as well as intellectual and physical engagement in order to understand the antecedents and inhibitors of flow states. Csikszentmihalyi (1975) developed nine constructs that described this state. The concept of flow describes the state of consciousness experienced while fully absorbed in a task, often leading to an optimal experience and positive performance outcomes. This page is about releasing the natural expression of your body. You can dance for your own joy and pleasure you can let your body move, and enjoy the beauty of dancing. You can express yourself with language of body and motions. It's a way of expressing feelings and experiences with your body. Our results confirm previous findings that associated flow with a state in which the person feels simultaneously cognitively efficient, motivated, and happy, and that these states can be facilitated in groups characterised by trust.The purpose of this research was to explore three professional dancers’ experiences of flow while dancing. Dancing flows out from the depths of our souls. While findings concerning movement may be specific to dance, others are more generic to the process of group creativity. ![]() Moreover, flow and group settings facilitated creativity through maintaining a desired creative focus for longer, lowering self-judgment and inspiring novel solutions. ![]() Dancers commonly associated flow with a highly creative state where they tended to find surprising, very 'organic and natural' movement solutions. When experienced in collaboration, the flow was described as 'becoming one with the group'. ![]() Effortless attention and enjoyment were predominant themes that emerged from the dancers' reports while describing the flow. We interpreted their responses using qualitative content analysis. We conducted individual semi-structured interviews with all participants supported by a video-cued recall of experience from the workshop. Six dancers took part in an improvisation workshop, reflecting on their creative practice and any associated flow. Our focus was upon the creative process itself, rather than upon creative outcomes. The role of flow experience in a group creativity task, contemporary dance improvisation, was explored through qualitative content analysis.
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