ACA – The Creative Process

I am currently reading ‘Out of Our Minds – Learning to be Creative’ by Ken Robinson and I am really interested to hear how he talks about the creative process.

“I define creativity as the process of having original ideas that have value. There are three key terms here: process, original and value. Creativity is a process more often than it is an event. To call something a process indicates a relationship between its various elements: that each aspect and phase of what happens is related to every other. Being creative involves several processes that interweave within each other. The first is generative. The second is evaluative.” (Robinson, 2011, page 151-152)

I am fascinated by the creative process; the stages that I move through when creating music for children, when creating music with children. The creative music making process with music students and young children. How does this work? How do music student teachers and children create music together? How do I support this? What role does each person have in the creative process?

I am also interested to explore the concept of ‘value’. How do we evaluate our musical outputs in Community Music or Music Education settings? If it has meaning and relevance for the children or young people involved, is this enough? How do we define quality of experience or aesthetic quality, musical quality?

How do we teach creative music making? How do we reveal the processes involved in work of this nature without allowing the work to become stagnant or fixed? What do we use as our sources of inspiration? How do we share approaches to this work?

The following words are floating in my mind:

repertoire/sources of inspiration/themes

methodology/approach

autonomy/direction

freedom/structure

freedom within structure

What has always drawn me to the Orff Schulwerk approach is the way in which the creative process grows and how opportunities for creativity can flourish within structure. It is interesting to read Robinson’s thoughts on this.

“Creativity does not always require freedom from constraints or a blank page. A lot of creative work has to work to specific briefs or conventions and great work often comes from working within formal constraints. Some of the finest poetry is in the form of the sonnet, which has a fixed form to which the writer must submit……..These do not inhibit the writer’s creativity; they set a framework for it. The creative achievement and the aesthetic pleasure lie in using standard forms to achieve unique effects and original insights.” (Robinson, 2011, page 152)

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