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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 10: Collaboration in Artistic Teamwork

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As we have seen in the previous chapter, the interviewed artists are essentially engaged in dialogue with a whole set of traditions and internalised others. But obviously, they are also in moment-to-moment dialogue and interaction with people around them in their daily life. In the present chapter we will mainly look at how these artists engage in and collaborate in creative teamwork. We might assert that artistic creativity is always collaborative because it draws on the ideas and work of past or contemporary creators and also depends heavily on interaction with the audience, readers, publishers, curators and with different kinds of cultural providers. In this way artists are always in dialogue with the past, the present and the future. In this chapter we will take a closer look at these collaborative and dialogical practices and maybe we can even learn from them. The following questions have been guiding us through our research and the structuring of the present chapter: How do these highly creative people work collaboratively in groups, ensembles, projects, communities and networks? What kinds of components appear to be important in their different ways of collaborating? How do the interviewed artists relate to and communicate with their working partners and other stakeholders? How do they coordinate during the process and move towards the final artistic product together? And could there also be some challenges to collaborative artistic creativity?

Let us start with an example of a collaborative situation during rehearsals for an opera, explained...

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