330 Braindance Activities Based on Minang Dance Basic Movements in Children Ages 5-6 Years Old Elindra Yetti, Erie Siti Syarah Universitas Negeri Jakarta, Indonesia Submitted: 2021-09-16. Revised: 2021-11-11. Accepted: 2021-12-19 Abstract Braindance activities based on Minang dance basic movements are moving activities carried out by children aged 5-6 years at an early childhood education institution in Bukittinggi City since 2019 when the trial results of the development of braindance based on the Minang dance basic movements were implemented at the Early Childhood Institutions. This study aims to (1) examine the uniqueness of the braindance movement based on the Minang dance basic movements, (2) examine the growth and development of children that appear after participating in the braindance activities, (3) examine the situation and condition of the child in the Minang braindance activities. This study used qualitative methods with data collection techniques through observation, interviews, and documentation. Data analysis was carried out with the stages of condensation, data presentation, and drawing conclusion. Data validation was carried out using triangulation of techniques, sources, and time. The study was conducted on fifteen students aged 5-6 years at an early childhood education institution in Bukittinggi. The results showed that: (1) Braindance based on Minang dance basic movements is an activity that combines gymnastic movements with the basic movements of Minang dance, as well as Minang music accompaniment; (2) Children’s motor skills become better, children can coordinate movement, brain, and feelings, and children’s creativity becomes more developed; (3) Minang braindance activities are fun for children. Keywords: Braindance Activities; Based on Minang Dance Basic Movements; Children Ages 5-6 Years Old How to Cite: Yetti, E., & Syarah, E. S. (2021). Braindance Activities Based on Minang Dance Basic Movements in Children Ages 5-6 Years Old. Harmonia: Journal of Arts Research And Education, 21(2), 330-339 Harmonia: Journal of Arts Research and Education 21 (2) (2021), 330-339 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v21i2.32046 as research conducted by Cheung (2010) that creative dance activities are designed based on four aspects: (1) theme introduc- tion; (2) acquire and explore movement skills; (3) creation and expression; and (4) performance and appreciation. The results showed that the response of children’s mo- vements became more varied and always surprised the teacher. Braindance, developed by Anne Green Gilbert is an effective full-body and brain warmer for all ages. It consists INTRODUCTION Early childhood movement activities can be carried out with various activities, such as sports, gymnastics, doing basic mo- vements, dancing, and so on. Movement activities can develop various abilities or skills of children, both related to body movements or motor skills, but also affect children’s attitudes and mentality. In ad- dition, movement activities can also deve- lop children’s creative thinking skills, such Corresponding author: E-mail: elindrayetti@unj.ac.id p-ISSN 2541-1683|e-ISSN 2541-2426 Elindra Yetti, Erie Siti Syarah, Braindance Activities Based on Minang Dance Basic Move- 331 of eight movement patterns that connect the central nervous system. By moving through this pattern can provide oxygen throughout the body and reset the brain for children and adults who do these ac- tivities (Gilbert, 2019). Another opinion about braindance movement activities, according to Chiang (2017) explains that braindance is a series of progressive and controlled physical movements and is based on eight main movement patterns of brain development. The next research is movement acti- vities in the context of physical education in the school environment which are car- ried out with basic movement exercises and sports games using tools such as balls, slides, spinners, teeter-totters, sandboxes, and others. The activities carried out are more aimed at physical fitness and suppor- ting children’s psychomotor development and have an impact on students’ cognitive, creativity, and social and emotional deve- lopment (Lykesas et al., 2020). In contrast to traditional dance- based braindance which was modified and developed using the basic movements of Minang dance in previous research (Yetti et al., 2019) it refers to eight (8) braindance movements that combine gymnastics with the basic movements of Minang traditional dance, which are adapted to movement abilities of early childhood and accompa- nied by traditional Minang idiom music. So that it gives a different feel from the original braindance and is implemented in early childhood who come from the same culture, namely Minang, where children are very familiar with the form of Minang dance and the accompanying music. This is in line with Lykesas et al. (2020), which shows that a braindance program based on the analysis of traditional dance moves by Laban implemented and educational programs for children in Greece is also im- portant to improve structured, organized education. Creativity in a changing world has been considered important in various fields such as technology, art, economics, sociology, and education (Kanematsu & Barry, 2016). Creative thinking skills need to be developed from an early age so that children are trained in generating new ideas and being able to solve problems (Carroll & Howieson, 1991). Along with the increasing interest in creativity, Early Childhood Educators (ECEs) need to find ways to strengthen the creative potential of early childhood. The results also show that the emergence of creative behaviors, such as increased freedom of expression, a tendency to explore and experiment, and questioning what is generally accepted, is considered a consequence of implemen- ting music and movement education pro- grams (Chronopoulou & Riga, 2012). Se- veral experimental studies have delivered valuable information about the design and philosophy of educational programs and the methods of teaching music and move- ment activities in kindergartens (Lobo & Winsler, 2006; Moreno et al., 2011; Tsom- panaki, 2019; Williams, 2018). Dance involves the learner in the process of knowing through the transfor- mation of concrete experiences, moving creatively, reflecting on their own or ot- hers’ movements, evaluating them, and forming new meanings (Vygotski, 2012) about movement and the creative process. Dance activities need to be done to develop imagination skills which are fantasy situa- tions, and it is important to offer context to children in self-expression (Chappell, 2007). Dance in education, art education, culture, social, multicultural, and multi- disciplinary has benefits for children and makes children develop in self-knowled- ge, self-esteem, autonomy, the relationship between feelings, thoughts, and actions. Children can control their feelings and thoughts, develop communication skills, develop trust with others, and develop collaborative skills (Tsompanaki, 2019). Especially during the Covid-19 pandemic that hit the world, it is a situation that re- quires a lot of human creativity to survive. Cultivating creative thinking skills from an early age is important to prepare the younger generation to face bigger obstac- les (Glaveanu et al., 2020). Online teaching Harmonia: Journal of Arts Research and Education 21 (2) (2021): 330-339332 can be seen as a major change that dance educators are facing due to the COVID-19 pandemic. Over the past few years, there has been much discussion on technology and dance education, with scholars advocating the effective application of technology in dance education and dismantling the li- mitations of technology in dance educa- tion (Hong et al., 2020)including the lear- ning of artistic performance, is becoming increasingly popular. The research on the acceptance of artistic performance through social media is accumulating. Therefore, this study employs an integrated approach based on the technology acceptance model (TAM. Teachers also share their collective experiences about the types of hardware or technological tools that can enhance a child’s experience in dance education (e.g., wide-angle lenses; about the best appli- cations of portable wireless speakers; the best ways to use music and sound while talking, using a webcam with movement detectors, using dual screens, preparing the study room for better viewing). The creativity of the experts makes thoughtful and informative material and helps hun- dreds of dance educators hungry for ide- as on how to provide effective, engaging, and accessible distance dance instructi- on to both students and dance educators (Schmid & McGreevy-Nichols, 2021). The learning of children who are confined du- ring the pandemic requires different sti- mulation to improve various aspects of development (Singh et al., 2020). Traditional dance is a type of cultural expression that combines physical exerci- se, social relations, as well as personal and emotional expression. All these aspects combine to create a comprehensive expe- rience that delights people and increases their willingness to participate. Structu- red movement patterns are performed in response to rhythmic stimuli in this type of dance, which allows self-expression (Chatzopoulos et al., 2021). Like folk dance in Greece, it is an inseparable part of so- ciety and is performed at every important event in life. Traditional Greek dance has been shown to offer psychosocial benefits in several studies (Georgios et al., 2017). Likewise, braindance based on Minang dance basic movements developed from traditional Minang dance idioms also has uniqueness in terms of movement becau- se it combines gymnastic movements with the basic movements of Minang dance and Minang music accompaniment. One of the early childhood educati- on institutions in Bukittinggi has imple- mented braindance activities based on the Minang dance basic movements in every child’s movement activity. This activity has been running since 2019 until now. Previously, children’s movement activi- ties in early childhood education institu- tions only carried out sports, playing, and basic movements. Since the ECEs imple- mented the braindance activities based on the Minang dance basic movements, the children looked interested and happy, and the children were able to last longer in the braindance activity. Based on relevant re- search and the phenomena that have been explained, the purpose of this study is to examine the uniqueness of braindance movements based on Minang dance basic movements and to examine the growth and development of children that appear during braindance activities based on Minang dance basic movements in early childhood movement activities at the Early Childhood Institutions. METHOD This study used a qualitative method and was field research at one of the early childhood education institutions in Bukit- tinggi, West Sumatra Province. There were 15 children aged 5-6 years who were the subjects in this study. The primary data in this study is a braindance activity based on the basic movements of the Minang dance carried out by children aged 5-6 years at the institution. Secondary data is related to the profile and location of the institution. The primary data sources are te- achers and parents, while the secondary data sources are the principal of the Early Elindra Yetti, Erie Siti Syarah, Braindance Activities Based on Minang Dance Basic Move- 333 Childhood Institution. The research team collected data through interviews, obser- vation, and documentation. The research team carried out structured observations with the stages: 1) the location of the Ear- ly Childhood Institution, 2) observing the process of learning activities, 3) braindan- ce activities based on Minang dance basic movements, 4) time duration and schedu- le for the implementation of braindance activities based on Minang dance basic movements. Furthermore, the research team conducted interviews with teachers and parents in a structured manner with the stages: 1) planning interviews; 2) con- ducting interviews; 3) collecting interview data; 4) recording and evaluating activities after the interview. Furthermore, the col- lection of documentation data was carried out with the stages: 1) compiling a list of documentation, 2) taking data with pictu- res and videos, 3) collecting documentati- on data. Then after collecting the data, it is continued with data analysis using the model of Miles et al. (2014) with the stages: 1) data condensation, 2) data presentation, and 3) concluding. Validation of research data was carried out by triangulation of techniques, sources, and time. RESULTS AND DISCUSSION Based on research conducted on braindance activities based on the basic movements of Minang dance conducted at one of the early childhood education insti- tutions in Bukittinggi, the data and discus- sion can be described as follows. The Uniqueness of Braindance Move- ment Based on Minang Dance Basic Movement The results of the study of the uni- queness of braindance based on the basic movements of Minang dance and its dif- ference from the braindance developed by Gilbert (2019), can be seen in Table 1. Based on the observations of the braindance activities based on the Minang dance basic movements contained in Tab- le 1, in principle, the motion has the same motion motif as the original braindance but is modified and stylized by using the Minang dance basic movements which Table 1. Summary of Data Analysis Type of Braindance of Minang Dance Basic Movement The Uniqueness of Minang Braindance Movement Type of Braindance Movement Braindance Activi- ties (Guilford) Sambah motion Stylized braindance move- ments based on the Minang dance basic movements • The activity is performed by dancing the movements of the hands, feet, body, and head following the basic movements of Minang dance starting from movement 1 to 8. • Movements are adapted to the movement abilities of children aged 5-6 years, and children can also develop movements according to their imagination. • Minang braindance move- ment accompanied by Minang nuanced music. Breath Moving according to the 8 brain- dance move- ments, such as doing gymnastics. Pitunggua motion Tactile touch Lapiah Jarami motion Core distal Pijak baro + Gelek motion Head - tile Langkah Panjang (ling step) motion Upper lower Cabiak kain motion Body half Tangan silang - langkah silang (handcross-cross step) motion Cross lateral Alang Tabang motion Vestibular Harmonia: Journal of Arts Research and Education 21 (2) (2021): 330-339334 have the characteristics of pencak silat mo- tion and are more dynamic and provide refreshment on the body. The musical ac- companiment used is Minang traditional idiom music. Then, the braindance is app- lied to children who come from the same culture, namely Minang. Growth and Development of Children Participating in Minang Braindance Ac- tivities Children’s Motor Skills Based on research data related to braindance activities based on Minang dance basic movements, the findings show that children’s motor skills improve well. This indicates that dance helps children improve coordination, balance, flexibility, and control over their movements. Kauf- mann and Dehline (2014) explain that dan- ce increases stamina and physical strength. Recognizing the center of gravity and shif- ting muscle tension during movement pro- vides refinement and aesthetic qualities for a pleasurable physical activity. One of the main skill components of dancing is sen- sorimotor synchronization, which is defin- ed as the coordination of rhythmic move- ments with external rhythms (Repp & Su, 2013). The opportunity to dance is also an interesting means to help young children improve their balance skills (Chatzihi- diroglou et al., 2018)we compared an ex- perimental group of preschool children (n?=?22; mean age?=?5 years, 8 months. This requires great attention from early childhood educators (ECEs) to implement more specific programs to children’s brain development, such as modified brain dan- ces. Coordination of Movement, Brain, and Feelings This study presents that children can integrate movement with the brain and involve feelings. This can be seen when the child moves, namely awareness of the position of the motion with control carried out by the brain, as well as facial expressions that describe the child’s fee- lings, because rhythmic synchronization, balance, and reaction time of movement are important factors for the success of the dance (MacPherson et al., 2009). Ki- nesthetic intelligence is related to body movements produced by the brain in the form of knowledge about the regulation of body movements (Gardner, 2008). The ba- sic movements of Minang dance, such as the Long Step or upper-lower (braindance) can increase emotional stability, and the cabiak kain motion or body stops functio- ning to support the horizontal vision. This movement is related to the ability of ima- gination and analogical reasoning that can overcome fixed thinking patterns and find various alternatives. Development of Children’s Creativity The next finding is that the basic mo- vement of Minang dance, such as Lapiah Jarami or core-distal, is a movement that trains self-awareness of the surrounding environment, and Pijak Baro or head-tile is a movement to train reflex head move- ments as shown in Figure 1. This can be seen when the child moves his head to the right and left; the child can align with body movements. These two movements can de- velop body alignment and visual acuity so that they can build different thinking skills which are important strategies in adjusting to new circumstances (Nikkola et al., 2020). Divergent thinking can be described as the process of retrieving existing knowledge and associating and combining unrelated knowledge in new and meaningful ways (Marron & Faust, 2018). Figure 1. The activity of the pijak baro motion to train reflex head movements Another important finding is the tan- Elindra Yetti, Erie Siti Syarah, Braindance Activities Based on Minang Dance Basic Move- 335 gan silang-langkah silang motion or cross- lateral that aims to synchronize the move- ment of the opposite side of the body and build pathways between the right and left hemispheres of the brain to support the body consciousness and strong thinking. At the same time, the alang tabang motion and the vestibular motion are aimed at ba- lance responses and sensory input proces- sing. Both movements can build the ability to find and solve problems. Teaching crea- tive problem solving will give students the right tools to solve various problems in the future rather than helping them solve spe- cific problems (Marron & Faust, 2018). The research findings show that the results of the analysis of the basic move- ments of the Minang dance can be modified into braindance for the creative thinking skills of early childhood. Creative thinking skills are among the most sought-after life and work skills in the 21st century. Accor- ding to research, educational programs that integrate braindance and dance pro- grams have a good influence on children’s creative thinking, imagination, and imp- rove the development of rhythm, fluency, flexibility, inventiveness, mental proces- sing, and freedom of expression, even in preschool children (Chronopoulou & Riga, 2012; Theocharidou et al., 2018). However, the demand for creativity exceeds the level of its availability and development (Ritter et al., 2020). Preschool teachers must provide children with stimulation to spark their imagination, provide opportunities to ima- gine and explain their ideas, respect the individuality of children, and encourage their different points of view (Dere, 2019). Teachers can carry out various activities to stimulate students’ creative thinking skills, such as moving activities. Thus, based on the results of interviews and observations, it provides an overview of the results of the analysis of Minang dance movements that are modified into braindance for crea- tive thinking skills for early childhood. Another important finding is that the Minang dance basic movements such as the panjang langkah motion or upper- lower can improve emotional stability, and the cabiak kain motion or body halt func- tions to support the horizontal vision. The- se movements are produced by moving the body’s upper half or the lower half. The effect is increased joint function and mo- bility and maintaining body stability and expression in movement. Aligned posture can be a major source for children’s skill development and enjoyment (Lykesas et al., 2020). This movement is related to the ability of imagination and analogical rea- soning that can overcome fixed thinking patterns and find various alternatives (Sun et al., 2020). The communicative potential of dance is found in its ability to activate the whole body under multiple terms of description through the collaboration of all the senses. It also helps children develop their psychomotor, cognitive, creative, so- cial, and emotional skills and their connec- tion and communication skills with their peers (Lykesas et al., 2009). A further important finding is that the cross-hand motion harmonizes mo- vements of the opposite side of the body (cross-lateral movement), establishes pathways between the right and left he- mispheres, and supports body awareness and strong thinking. At the same time, the alang tabang motion and the vestibular motion are intended for balance responses and sensory input processing. Both move- ments can build the ability to find and sol- ve problems. Teaching creative problem solving will give students the right tools to solve various problems in the future and not help them solve certain problems (Kas- hani-Vahid et al., 2017). Teaching dance can shape the per- ception of action and the application of its nerves in the brains of young people and adults (Kirsch et al., 2018). Therefore dance training is of special urgency at this time, especially during the Covid-19 pandemic, which has taken a lot of happiness for most people. Braindance with a variety of move- ments (Gilbert, 2005) and accompaniment music with traditional idioms will bring people to a happier atmosphere because of familiar local music. Attention should Harmonia: Journal of Arts Research and Education 21 (2) (2021): 330-339336 be paid to developing learning techniques for more efficient forms of dance teaching, always emphasizing creative teaching ap- proaches and in particular, practices that enhance students’ expressive capacity in the school environment (Lykesas et al., 2020). Gilbert’s (2019) research finds that children develop and improve their proprioception, memory, eye-focusing ability, balance, behavior, and motor skills during the first year of life. By performing and repeating eight basic movement pat- terns (braindance), children will get po- sitive results for their overall progress as an educational process (Gilbert, 2019). So that the results of this study are expected to provide an overview for teachers and parents that movement activities such as dance related to braindance and created with basic movements in Minang traditio- nal dance can build creative thinking skills in early childhood. In addition, the basic movements of Minang dance which are identical to pencak silat are self-defense mo- vements that can develop children’s sensi- tivity to situations (Asriati et al., 2019). Braindance Based on Minang Dance Ba- sic Movements as a Fun Activity Minang braindance activities make boys and girls happy when doing these movement activities. The braindance acti- vity based on the Minang dance basic mo- vements carried out by children aged 5-6 years at one of the early childhood institu- tion in Bukittinggi, was carried out in the form of dance movements and accompa- nied by Minang nuanced music, so that the children looked cheerful in expressing the movements because Minang dance is very well known by early childhood children in the Early Childhood Institution, and musi- cal accompaniment uses Minang nuanced music, as shown in Figure 2. The findings in this study explain that the basic movement of Minang dan- ce is the sambah motion or breath motion which is done by regulating the breath ser- ves to relieve feelings of stress. This bre- athing movement requires a way to inhale deeply through the nose to fill the stomach, diaphragm, lungs, and exhale through the mouth. The flow of oxygen to the brain is increased, allowing exercise to flow effort- lessly, minimizing stress, leaving the brain and body refreshed. Breath flow also pro- vides the basis for movement skills and is very important for emotional balance so that it creates a sense of pleasure (Lykesas et al., 2020). Figure 2. Braindance activities based on the basic movements of Minang dance The pitnggua motion or tactile-touch motion serves to develop body awareness and sensory integration. The technique of introducing dance to children as early intervention has been widely studied. So now it can be seen how dancing will natu- rally build and strengthen one’s self-confi- dence and self-esteem, help further reduce feelings of tension and stress (Gurusathya, 2019). Feelings of comfort in children can develop independence and also have the confidence to appear in public because dance activities can build confidence and encourage the development of children’s potential (Chappell, 2007). Braindance cre- ations can be used as a warm-up or prima- ry exercise with all ages and at all levels of learning as they contribute to harmonizing the body, resetting the central nervous system, developing focus and concentrati- on, releasing stress, and improving social skills (Lykesas et al., 2020). CONCLUSIONS The most important substance ob- tained from the research results related to Elindra Yetti, Erie Siti Syarah, Braindance Activities Based on Minang Dance Basic Move- 337 braindance based on the basic movements of Minang dance is that it has uniqueness in terms of movement that is modified and created through stylizing motion into a ‘brain dance.’ Braindance activities based on the Minang dance basic movements carried out by children in activities bring out children’s growth and development such as better motor skills, foster feelings of pleasure and confidence, build coor- dination of body movements, brain, and feelings, increase awareness of body move- ments, and develop creativity in children. The results of this study also show that movement activities such as brain dancing based on the basic movements of Minang dance for early childhood can be carried out with the aim that children know and love their culture more, namely by pro- viding stimuli related to Minang music and movements, as well as traditional arts that become familiar with the culture. The prospect of developing this research is the application of media with local cultural content that can assist teachers in develo- ping various aspects of children’s growth and development and can create various forms of dance learning models and media for children. ACKNOWLEDGMENTS We would like to deliver our gra- titude to Universitas Negeri Jakarta for funding this research through a grant from Badan Layanan Umum (BLU) of Graduate School. REFERENCES Carroll, J., & Howieson, N. (1991). Rec- ognizing creative thinking tal- ent in the classroom. Roeper Re- view, 14(2), 68–71. https://doi. org/10.1080/02783199109553390 Chappell, K. (2007). Creativity in primary level dance education: Moving be- yond assumption. Research in Dance Education, 8(1), 27–52. https://doi. org/10.1080/14647890701272795 Chatzihidiroglou, P., Chatzopoulos, D., Lykesas, G., & Doganis, G. (2018). Dancing Effects on Preschool- ers’ Sensorimotor Synchroniza- tion, Balance, and Movement Re- action Time. Perceptual and Motor Skills, 125(3), 463–477. https://doi. org/10.1177/0031512518765545 Chatzopoulos, D., Chomoriti, K., Lyke- sas, G., Lola, A., & Kapodistria, L. (2021). Effects of a Greek Tradition- al Dance Program on Sensorimo- tor Synchronization and Response Time of Young Children. Lnterna- tional Electronic Journal of Elementary Education, 14(1), 1–8. https://doi. org/10.26822/iejee.2021.224 Cheung, R. H. P. (2010). Designing move- ment activities to develop children’s creativity in early childhood edu- cation. Early Child Development and Care, 180(3), 377–385. https://doi. org/10.1080/03004430801931196 Chiang, L. H. (2017). Enhance Learning through BrainDance Movements: An Empirical Study. International Jour- nal of Educational Methodology, 3(1), 17–23. https://doi.org/10.12973/ ijem.3.1.17 Chronopoulou, E., & Riga, V. (2012). Τhe Contribution of Music and Move- ment Activities to Creative Thinking in Pre-School Children. Creative Edu- cation, 03(02), 196–204. https://doi. org/10.4236/ce.2012.32031 Dere, Z. (2019). Investigating the creativ- ity of children in early childhood education institutions. Universal Journal of Educational Research, 7(3), 652–658. https://doi.org/10.13189/ ujer.2019.070302 Gardner, H. E. (2008). Multiple Intelligences: New Horizons in Theory and Practice. Basic Books. https://books.google. co.id/books?id=8K54fg6YU4EC Georgios, L., Ioannis, G., Olga, T., Dimi- tris, C., & Maria, K. (2017). Τhe Ef- fect of a Traditional Dance Program on Health-Related Quality of Life as Perceived by Primary School Stu- dents. Journal of Education and Train- ing Studies, 6(1), 96. https://doi. Harmonia: Journal of Arts Research and Education 21 (2) (2021): 330-339338 org/10.11114/jets.v6i1.2878 Gilbert, A. G. (2005). Dance Education in the 21st Century: A Global Perspec- tive. Journal of Physical Education, Recreation & Dance, 76(5), 26–35. https://doi.org/10.1080/07303084.2 005.10608250 Gilbert, A. G. (2019). Brain-compatible dance education (Second Edition). Human Kinetics, Inc. Glaveanu, V. P., Hanchett Hanson, M., Baer, J., Barbot, B., Clapp, E. P., Corazza, G. E., Hennessey, B., Kaufman, J. C., Lebuda, I., Lubart, T., Montuori, A., Ness, I. J., Pluck- er, J., Reiter-Palmon, R., Sierra, Z., Simonton, D. K., Neves-Pereira, M. S., & Sternberg, R. J. (2020). Advanc- ing Creativity Theory and Research: A Socio-cultural Manifesto. Journal of Creative Behavior, 54(3), 741–745. https://doi.org/10.1002/jocb.395 Gurusathya, C. (2019). Dance as a Catalyst for Stress Busting. Central European Journal of Sport Sciences and Medicine, 26, 15–29. https://doi.org/10.18276/ cej.2019.2-02 Hong, J.-C., Chen, M.-L., & Ye, J.-H. (2020). Acceptance of YouTube Applied to Dance Learning. International Journal of Information and Education Technology, 10(1), 7–13. https://doi. org/10.18178/ijiet.2020.10.1.1331 Kanematsu, H., & Barry, D. M. (2016). STEM and ICT Education in Intel- ligent Environments. Intelligent Sys- tems Reference Library, 3–7. https:// doi.org/10.1007/978-3-319-19234-5 Kashani-Vahid, L., Afrooz, G. A., Sho- koohi-Yekta, M., Kharrazi, K., & Gho- bari, B. (2017). Can a creative inter- personal problem solving program improve creative thinking in gifted elementary students? Thinking Skills and Creativity, 24, 175–185. https:// doi.org/10.1016/j.tsc.2017.02.011 Kaufmann, K. A., & Dehline, J. (2014). Dance Integration: 36 Dance Lesson Plans for Science and Mathematics (First Edition). Human Kinetics. Kirsch, L. P., Diersch, N., Sumanapala, D. K., & Cross, E. S. (2018). Dance Train- ing Shapes Action Perception and Its Neural Implementation within the Young and Older Adult Brain. Neural Plasticity, 2018. https://doi. org/10.1155/2018/5459106 Lobo, Y. B., & Winsler, A. (2006). The Ef- fects of a Creative Dance and Move- ment Program on the Social Com- petence of Head Start Preschoolers. Social Development, 15(3), 501–519. https://doi.org/10.1111/j.1467- 9507.2006.00353.x Lykesas, G., Chatzopoulos, D., Styliani, D., & Bakirtzoglou, P. (2020). Brain- dance: An Innovative Program for The Teaching of Traditional And Creative Dance in The School Subject of Physical Education. Sport Science, 10. Lykesas, G., Koutsouba, M., & Tyrovola, V. (2009). Creativity as An Approach and Teaching Method of Traditional Greek Dance in Secondary Schools. Studies in Physical Culture and Tour- ism, 8. MacPherson, A. C., Collins, D., & Obhi, S. S. (2009). The Importance of Temporal Structure and Rhythm for the Optimum Performance of Motor Skills: A New Focus for Practitioners of Sport Psychol- ogy. Journal of Applied Sport Psychol- ogy, 21(sup1), S48–S61. https://doi. org/10.1080/10413200802595930 Marron, T. R., & Faust, M. (2018). Free Association, Divergent Thinking, and Creativity: Cognitive and Neu- ral Perspectives. In R. E. Jung & O. Vartanian (Eds.), The Cambridge Handbook of the Neuroscience of Cre- ativity (1st ed., pp. 261–280). Cam- bridge University Press. https://doi. org/10.1017/9781316556238.016 Miles, M. B., Huberman, A. M., & Saldaña, J. (2014). Qualitative data analysis: A methods sourcebook (Third edition). SAGE Publications, Inc. Moreno, S., Bialystok, E., Barac, R., Schel- lenberg, E. G., Cepeda, N. J., & Chau, T. (2011). Short-Term Music Train- Elindra Yetti, Erie Siti Syarah, Braindance Activities Based on Minang Dance Basic Move- 339 ing Enhances Verbal Intelligence and Executive Function. Psychological Sci- ence, 22(11), 1425–1433. https://doi. org/10.1177/0956797611416999 Nikkola, T., Reunamo, J., & Ruokonen, I. (2020). Children’s creative thinking abilities and social orientations in Finnish early childhood education and care. Early Child Development and Care, 0(0), 1–15. https://doi.org/10.1 080/03004430.2020.1813122 Repp, B. H., & Su, Y.-H. (2013). Senso- rimotor synchronization: A review of recent research (2006–2012). Psy- chonomic Bulletin & Review, 20(3), 403–452. https://doi.org/10.3758/ s13423-012-0371-2 Ritter, S. M., Gu, X., Crijns, M., & Biekens, P. (2020). Fostering students’ creative thinking skills by means of a one- year creativity training program. PLoS ONE, 15(3), 1–18. https://doi. org/10.1371/journal.pone.0229773 Schmid, D. W., & McGreevy-Nichols, S. (2021). Building the dance commu- nity virtually during COVID-19. Arts Education Policy Review, 1–8. https:// doi.org/10.1080/10632913.2021.193 1598 Singh, S., Roy, D., Sinha, K., Parveen, S., Sharma, G., & Joshi, G. (2020). Im- pact of COVID-19 and lockdown on mental health of children and adolescents: A narrative review with recommendations. Psychiatry Re- search Journal, January. Sun, M., Wang, M., & Wegerif, R. (2020). Effects of divergent thinking train- ing on students’ scientific creativity: The impact of individual creative potential and domain knowledge. Thinking Skills and Creativity, 37, 100682. https://doi.org/10.1016/j. tsc.2020.100682 Theocharidou, O., Lykesas, G., Giossos, I., Chatzopoulos, D., & Koutsouba, M. (2018). The Positive Effects of a Combined Program of Creative Dance and BrainDance on Health- Related Ouality of Life as Perceived by Primary School Students. Physi- cal Culture and Sport. Studies and Research, 79(1), 42–52. https://doi. org/10.2478/pcssr-2018-0019 Tsompanaki, E. (2019). The Effect of Cre- ative Movement-Dance on the De- velopment of Basic Motor Skills of Pre-School Children. Review of Euro- pean Studies, 11(2), 29. https://doi. org/10.5539/res.v11n2p29 Vygotski, L. S. (2012). Thought and Lan- guage. MIT Press. Williams, K. E. (2018). Moving to the Beat: Using Music, Rhythm, and Move- ment to Enhance Self-Regulation in Early Childhood Classrooms. International Journal of Early Child- hood, 50(1), 85–100. https://doi. org/10.1007/s13158-018-0215-y Yetti, E., Yufiarti, & Syarah, E. S. (2019). Pengembangan Model Tari Pendidikan Berbasis Stimulus Otak untuk Kreati- vitas Anak Usia Dini [Unpublish Re- port]. Universitas Negeri Jakarta.