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Behind the Scenes of Artistic Creativity

Processes of Learning, Creating and Organising

Tatiana Chemi, Julie Borup Jensen and Lone Hersted

Throughout the literature of creative learning, many assumptions and even stereotypes about the artists’ creativity are nurtured, often according to myths going back to the Romanticism. The authors have been investigating and describing outstanding artists’ creativity and learning/working processes, asking the question: how do artists create, learn, and organise their work? This book explores these questions by means of original empirical data (interviews with 22 artists) and theoretical research in the field of the arts and creativity from a learning perspective. Findings shed an original light on how artists learn and create, and how their creative learning and change processes come about, for instance when facilitating and leading creative processes.
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Recognised by whom? Insights on research considerations, by Tatiana Chemi and Julie Borup Jensen


← 18 | 19 → Recognised by whom? Insights on research considerations

by Tatiana Chemi and Julie Borup Jensen

In writing this book, our curiosity was directed toward the qualities of creative learning and generative processes in individual artists and ensembles. Even though we did not understand (and still do not understand) creativity as a phenomenon exclusive to the arts, we wanted to focus on the domain-specific form of creativity in the arts, because artists and artistic communities seem to cultivate and nurture creativity as one of the means and ends of learning, communicating, engaging in relationships and living their lives (on domain-specificity see Baer 2010). However, our studies on creativity showed that the need for more focused attention on the specific domain of artistic creativity was still strong and unaccomplished. Therefore we designed a research study that focused specifically on artistic creativity and that made use of the power of focused observation. Our purpose was to describe the phenomenon of creativity by means of artists’ recollections, retrospective narratives, conceptualisations, ideas, processes and relationships.

Because creativity is a basic need of and a well-acknowledged expectation within artistic achievements, we intended to ask full-time professional artists (the so-called Pro-C level of creativity, the professionals) who had made an original contribution to the domain in which they operated, who were broadly recognised (the Big-C level of creativity) and who had proved a clear interest in meta-reflections and artistic conceptualisations (see chapter 1 for a description of the different levels...

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