Objective: Creativity to be stimulated
Outcome: Creativity is stimulated
Measure: Creativity stimulated
By creativity stimulated, we mean the sparking of imagination, creativity or curiosity that leads to a desire for creative expression.
Full description and underpinning theory
This outcome is about how engagement in cultural activity stimulates the creativity, sparks the imagination or piques the curiosity of the participant (which includes all participants, from experienced artists to members of the public experiencing this creative activity for the first time). Creativity is defined here as the use of imagination or original ideas to create something new and worthwhile – the act of turning new and imaginative ideas into reality. Creativity involves two processes: thinking, then producing.
This is the most dynamic outcome, with the participant experiencing creative stimulus, which may result in desire to engage more with similar or different cultural experiences and/or inspiration to create new artworks, working either alone or with others. Desired endpoints are more creativity stimulated, leading to the potential of more new work created. Both are unlimited.
Theory underpinning this outcome
This outcome corresponds closely to UCLG’s concept of ‘creativity’ and Agenda 21’s culture and human rights theme in which artists are invited to ‘commit themselves with the city, improving coexistence and quality of life, increasing the creative and critical capacity of all citizens’ (UCLG, 2006). Cultural creativity is recognised as a cornerstone of sustainable development (UNESCO, 1998) and ‘a source of human progress’ (Intergovernmental Conference on Cultural Policies for Development, 1998).
‘If ever there was a need to stimulate creative imagination and initiative on the part of individuals, communities and whole societies the time is now. The notion of creativity can no longer be restricted to the arts. It must be applied across the full spectrum of human problem-solving’ (World Commission on Culture and Development).
The importance of creativity for good quality of life is well established, for example, with it forming one of Rogers’ five characteristics of a fully functioning person (McLeod 2007b). Artistic creation is recognised as one of the ‘oldest, most available reservoirs of human inventiveness and self-fulfilment’ (de Beulelaer & O’Connor, 2017, p. 28). The creation of new and diverse artistic work and cultural experiences offers potential for exploration of community issues and aspirations (Pope & Doyle, 2006).
“Art is the only afterlife of which we have evidence – the transmission of human experience and thought” (author Shirley Hazzard).
Evidence that this outcome occurs
This section is currently in development. Updates will be posted here as they are completed.
Activities contributing to this outcome
As of April 2021, there were 89 activities in Takso selecting this outcome with 18 completed and evaluated. Types of activities undertaken to achieve this outcome include:
- Artists' residencies and studio programs
- Commissioning of public art (not acquired)
- Conferences, lectures, seminars and public talks
- Creative community
- Creative recreational
- Performances: performing arts all forms
- Professional development
- Publications in all media
Over the 18 completed activities that addressed this outcome, 183 people responded to the evaluation question. On a scale of 1 to 10, with 1 being not at all and 10 the most imaginable, respondents reported an average attainment of 8.05 for this outcome.
18 activities / 183 responses / Average attainment 8.05
Stimulation of creativity.
Camlin, D. (2014). Whose quality is it anyway? Inhabiting the creative tension between presentational and participatory music, Journal of Arts & Communities 6(2), DOI: 10.1386/jaac.6.2-3.99_1
De Beukelar, C. & O’Connor, J. (2017). The creative economy and the development agenda. In Stupples, P., & K. Teaiwa (Eds.). Contemporary perspectives in art and international development, pp. 27-47. London: Routledge.
Dunphy, K. (2013). The role of participatory arts in social change in Timor-Leste, PhD thesis, Melbourne: Deakin University. https://manyhands.org.au/resources/ Available in book form https://www.lap-publishing.com/catalog/details/store/gb/book/978-3-659-59296-6/the-role-of-participatory-arts-in-social-change-in-timor-leste?search=role%20of%20participatory%20arts%20in%20social%20change
Goldman, K.H., Yalowitz, S., Wilcox, E., Audience Viewpoints Consulting (2016). The Impact of Arts-Based Innovation Training on the Creative Thinking Skills, Collaborative Behaviors, and Innovation Outcomes of Adolescents and Adults. New York: The Art of Science Learning. Retrieved from http://www.artofsciencelearning.org/phase2-research-findings/
Intergovernmental Conference on Cultural Policies for Development (1998). Stockholm, 30 March- 2 April 1998.
McLeod, S.A. (2007). Carl Rogers. Retrieved from http://www.simplypsychology.org/carl-rogers.html
United Cities and Local Governments (UCLG) (2006). Agenda 21 for Culture. Barcelona: UCLG. Retrieved from http://www.agenda21culture.net/sites/default/files/files/documents/multi/ag21_en.pdf
UNESCO (1998). Action plan to place culture at the heart of development, the Intergovernmental Conference on Cultural Policies for Development, Stockholm, http://www.lacult.unesco.org/docc/1998_Action_Plan_Cultural_Policies_for_Dev_UNESCO.pdf
Pope, J. & Doyle, S. (2006). Strengthening Local Communities: Arts in Community Settings – The Evaluation of Two Community Support Funded Arts Programs. Melbourne: Department for Victorian Communities.