Session Information
Contribution
At a global level, creativity is increasingly mentioned and articulated as a value within educational thinking (e.g. Lund, Sjøvoll, Jensen et al, 2011, Florida 2004). This is part of a larger political ambition, where educational systems are seen as a part of national economies and competitiveness, where creativity is closely linked to innovation and economic growth (Lund, Sjøvoll, Jensen, et al., 2011). As a consequence, we see a growing interest in the creative values of artistic subjects, as there is a general assumption that arts and artistic activities in educational settings enhance creativity among students (Heyworth 2011). In this field, many assumptions and even stereotypes about the artists’ creativity are launched – however, we believe that much of the writing misses fundamental points in investigating and describing artists and artists’ working processes, because it never asks or explores the question: how do artists learn? Do they learn in a specific way? Are there certain environments, social settings and working procedures that stimulate creativity in and between individuals and facilitate the generation of ideas in groups? How do artists work and develop their ideas in relationships? Do artistic learning processes build on specific elements and common patterns? If so, how can they be conceptualised? Can the concepts be transferred into principles applicable into other domains such as teaching and process facilitating, and if so, how and why? The paper explores these questions as an empirical and theoretical contribution to the field of arts and creativity research from a learning perspective.
We have collected a number of interviews with professional artists, who are representing different artistic modalities: writers, visual artists, dancers/choreographs, theatre actors and directors, designers, architects, and musicians. We have analysed, how acknowledged artists conceptualise their own creative, learning and organising processes. Can we eventually learn from the artists’ experiences, in Dewey's understanding (Jackson, 1998), and transfer their ways of learning and creating into a more general model for enhancing creativity and innovation in educational environments? The paper will present and discuss preliminary findings in this field.
We understand learning as a basically creative enterprise, supported by several learning theories (among others deriving from Bruner, Czikzentmihalyi, Dewey, Polanyi, Vygotsky). The basic themes we have payed attention to are:
- Domain-specific and sub-domain-specific artistic creativity
- The artists’ learning and change perspectives
- The interplay between individual, group and community.
- Educational consequences of artistic learning
Method
Expected Outcomes
References
-Bruner, J. S. (2006). In search of pedagogy : The selected works of jerome S. bruner. London: Routledge,an imprint of taylor & francis books ltd. -Csikszentmihalyi, M. (1997). Creativity : Flow and psychology of discovery and invention. New York: Harper Perennial. -Dewey, J. (1980). Art as experience. New York: Berkeley Publishing Group. -Florida, R. (2004). The Rise of the Creative Class: And How It’s Transforming Work, Leisure, Community and Everyday Life New York: Basic Books (I ed. 2002). -Heyworth, J. (2011). Jumping through 'loops': A reflective study on preparing generalist pre-service teachers to teach music. Issues in Educational Research, 21(1), 42-64. -Jackson, P. (1998). John Dewey and the Lessons of Art. New Haven and London: Yale University Press. -Klafki, W. (1979). In Otto G., Schulz W. (Eds.), Didaktik und praxis / wolfgang klafki, gunter otto, wolfgang schulz Weinheim : Beltz. -Lund, B., Sjøvoll, J., Jensen, J.B., et al. (2011). Kreativitet, innovasjon og entreprenørskap i utdanningssystemene i norden bakgrunn og begrepsinnhold basert på politisk initiering og strategivalg No. TemaNord 2011:517). København: Nordisk Ministerråd. -Polanyi, M.(1962): Personal knowledge: Towards a post-critical philosophy. London: Routledge.
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