Objective: Creativity to be stimulated
Outcome: Creativity is stimulated
Measure: Creativity stimulated
Short description
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
Full description
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
Activities
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
These include the provision of local studio access for artists on a temporary basis, leasable studios for defined periods, whether applying competitively or not; and regional or international studio residency opportunities and exchanges.
Commissioning of public art (not acquired)
New work commissioned by the organisation to be experienced in a public space and not forming part of the cultural collection or an exhibition. It can exist according to its natural life or for a pre-determined period and is not regarded as a cultural asset and is for public viewing or engagement. Including: Murals, temporary installations, site-specific artwork, pop-up performance or art. Excluding: Public art commissioned and acquired as part of a cultural collection, existing monuments or memorials, permanent works maintained by the organisation.
Conferences, lectures, seminars and public talks
Events where a new idea or work is presented and explained to an audience.
Including: Lectures and Talks where information is presented and analysed; Seminars: educational events that feature one or more experts delivering information primarily via lecture and discussion; Conferences: gathering of audiences receiving current information about industry trends and developments; Forums: a meeting or medium where ideas and views on a particular issue can be exchanged.
Events where a new idea or work is presented and explained to an audience.
Including: Lectures and Talks where information is presented and analysed; Seminars: educational events that feature one or more experts delivering information primarily via lecture and discussion; Conferences: gathering of audiences receiving current information about industry trends and developments; Forums: a meeting or medium where ideas and views on a particular issue can be exchanged.
Opportunities provided for arts participation for people who would not necessarily consider themselves artists or artists-in-development. Including: Activities where the intent is purely for creative recreation, leisure and enjoyment. Excluding: activities offered for those who seek or experience professional employment in the arts and activities design for educational purposes; Public presentations where participants play no active role.
Performances: performing arts all forms
Public presentations of all performing artforms, including music, (of all forms including opera, orchestral music and musical theatre), dance (of all forms from ballet to jazz to culturally specific styles), theatre (of all forms including circus and physical theatre, performance art, puppetry, comedy and other), performances of literary arts such as readings or poetry and other performances held in theatres, halls, open spaces or on temporary stages; including story times and public book readings in libraries.
Activities for artists of all ages and levels to develop skills, share ideas and form networks, with professional development intent.
Including: scheduled events such as classes and training workshops where specialist technical knowledge is passed on, structured with specific topics of interest; programs in which advice and mentoring is provided to artists as individuals, or activities to broker new relationships between artists and audiences, sponsors or funders, etc. such as artists’ register. Excluding: activities designed for educational purposes and those offered for purely for creative recreation; Public presentations where participants play no active role.
Published material that is stand-alone, including creative writing publications, academic journal articles, novels, short stories, poetry, screenwriting, playwriting, local histories, films, videos, including distribution or broadcast by radio, television or Internet such as website, podcast or streaming event etc.
Results
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.
Creativity Stimulated
18 activities / 183 responses / Average attainment 8.05
Evaluation measure
Stimulation of creativity.
References
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.[/accordion-item]