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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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Chapter 7: Creativity, learning and apprenticeship


In the previous chapter, we examined the ways in which artists develop and use individual strategies for learning and knowledge building, with the purpose of acquiring skills and creative approaches to learning within their respective fields of art. However, there is more to learning than these individual strategies in artistic work processes. The artists also learn by participating in artistic communities, by experiencing and acting within artistic cultures of practices and by engaging in formal education and schools.

As we know, the interviewed artists seem to develop learning strategies for mastering the craft of their art and these have the function of paving the way for continual, explorative, open and creative engagement with the world. This engagement with the world includes experiences within artistic communities, school and education. But do these social and cultural settings support and contribute to these learning strategies and if so, then how? Do the interviews reveal anything about if artistic communities and educational programmes intentionally and actively create learning environments to provide artistic learning opportunities and if so, can other fields learn from that? Or do the artistic communities and art educations rather function as a resource that provides tools for thinking, acting and learning and can other fields learn from that? Lastly, we make a brief investigation into how the interviewed artists experience learning opportunities within formal education, with the aim of learning how to improve conditions for creativity in education.

Apprenticeship and the situated understanding of learning...

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