No. 2

Practice, Baby, practice

In the second week as a Falmouth University MA student I learned a lot about creativity. Especially hearing about Elizabeth Gilbert’s TED talk Your Elusive Creative Genius’ made me not only chuckle but think. One sentence of her that I will definitely not forget was “Do not always behave rational!” (Gilbert 2009). I very much love this statement since it takes away pressure of the need to ever perform highly. We are allowed and sometimes maybe even obliged to think outside the box, to be unorthodox.

dead thing_2

The idea of doodling appeals to me, I only believe it might be hard to graft it into my daily schedule. In my opinion one needs time and a certain amount of relaxation to  doodle freely. As a consequence I’d like to practice myself in the art of doodling on a daily basis because I’m convinced of its benefits. Even if I have a stressful day, I might only need to accept that my doodles doesn’t have to be perfect (that’ll might do the trick!).

Doodling.jpg
Fig. 1: Rageth. 2017. Artistic Doodling

I noticed that all the tasks from week 2 were particularly practice oriented – I found that rather refreshing! Yes, we all study in an academical surrounding but that fact doesn’t keep us from mastering our practical skills (because at the end of the day that is the only thing that counts, whether or not we are able to actually organise and plan an event as creative practitioners).

“The essence of the planned event is that of an experience that had been designed, which would not otherwise occur.” (Getz and Page 2016: 8)

Is there something else more practical than experiences? They can only be felt in the field, solely writing about them might be a little dull in the long run. Event Managers might be as well called experience generators in order to emphasise the importance of “the growth of the scale of the creative economy which goes hand-in-hand with an increase in people’s desire for shared artistic and cultural experiences, both in how they are produced and how they are experienced” (Howkins 2013: 46). There is an actual “experience economy” (Getz and Page 2016: 222). But not only because of that experience is vital, it is also no surprise that “participatory (arts) projects can fail or underachieve for a variety of reasons, including inexperience and under-resourcing” (Matarasso 1997: Summary VI).

Horowitz

In summary, it can be stated that creative practice needs practice – at least that’s what I believe. As a consequence I will try to train myself in the approaches I became acquainted within week 2 such as reflecting on the statements made in Teresa Amabile’s inspiring text on “How to Kill Creativity” or applying the six-segment model by Claire Eason Bassett, managing director at Mackerel Sky Events and lecturer at Falmouth University.

I believe it is important to reflect on the “principle of creativity – intrinsic motivation” as well (Amabile 1998), the latter being the salt in every experience (quite literally seasoned and/or produced). With this in mind: Only practice makes perfect – even though nobody’s perfect…!

 

B i b l i o g r a p h y 

GETZ, Donald and Stephen J. PAGE. 2016. Event Studies. Theory, research and policy for planned events. Third Edition. London and New York: Routledge.

HOWKINS, John. 2013. The Creative Economy. How people make money from ideas. Second Edition. London: Penguin Books Ltd.

MATARASSO, François. 1997. Use or Ornament? The social impact of participation in the arts. Online PublicationComedia.

RATCLIFFE, Susan. 2012. Little Oxford Dictionary of Quotations. Fifth Edition. Oxford: Oxford University Press.

R e f e r e n c i n g   W e b s i t e s

AMABILE, Teresa. September-October 1998. Harvard Business Review. How to Kill Creativity. Available at: https://hbr.org/1998/09/how-to-kill-creativity [accessed 7 February 2017].

GILBERT, Elizabeth. 2009. Your Elusive Creative Genius. Available at: https://www.ted.com/talks/elizabeth_gilbert_on_genius?language=de [accessed 7 February 2017].

HOROWITZ, Vladimir. Unknown. The difference between ordinary and extraordinary is practice. Available at: http://www.nordangliaeducation.com/our-schools/shanghai/puxi/article/2016/11/10/the-difference-between-ordinary-and-extraordinary-is-practice [accessed 7 February 2017].

F u l l   l i s t   o f   f i g u r e s

Figure 1: RAGETH, Onna. 2017. Artistic doodling. Private Collection: Onna Rageth.

 

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