Young artists' development of creative identity

Transcription

1 The 16th ICER Young artists' development of creative identity Jongho Shin, Jiwon Shin, Eunbyul Cho, Suyeon Jo, Juhyun Eune, Shin Hyung Rhee

2 Introduction I say that I created him (a medieval detective character Brother Cadfael) but he s been busy creating me. Novelist Ellis Peters being creative involves several aims to be in control of one s own identity, to see that identity more clearly, to free it from everyday limits (and that) creative behavior is a demonstration of the legitimacy of one s identity and talent (Albert, 1990, p. 26)

3 Introduction Creative Identity? A self-image that stems from how a person organizes his or her experience of creativity (Bloomgarden, 1995) The identity of being a creator is certainly a developing project that requires others to see and relate to the person as a creator (Glăveanu & Tanggaard, 2014) Cultural psychology perspectives System Model (Csikszentmihalyi, 1988), We-paradigm (Glăveanu, 2010, 2011)

4 Introduction Identity & Creativity Positive relationship - Poetry writing, photo essay, creative performance (Waterman & Archer, 1979; Waterman, Kohutis, & Pulone, 1977; Dollinger & Dollinger, 1997; Dollinger, Clancy Dollinger, & Centeno, 2007) Mediator of creativity - Mediating between individual/environment variables and creative performance (Farmer, Tierney & Kung-Mcintryre, 2003; Wang & Zhu, 2011) Tendency to behave in accordance with identity (Shamir, 1990)

5 Introduction Why Young Artist? Art emphasizes social evaluation strongly (Hooker & Csikszentmihalyi, 2003) Artists peak time of creativity is mid-twenties. (Dennis, 1966) Through one s life, the most abundant production predicts the best creativity (Simonton, 1991) Therefore, studying the early introduction in art fields will give us a chance to grasp changing aspects of creative identity

6 Purpose Call for Empirical Studies : Need to explore relationship between creative identity and creativity empirically (Dollinger, Clancy Dollinger, Centeno, 2005; Jaussi, Randel, & Dionne, 2007; Shalley, Zhou, & Oldham, 2004) 1 How is young artists creative identity developed in the process of creativity development? 2 How is young artists creative identity related to social context?

7 Method ~ (6 months) 1:1 interviews - 3 times - 9~12 hours per person Observation - Visiting on atelier - Performance, exhibition Literature analysis - Portfolios, Critiques, Newspapers, SNS etc.

8 Method Participant : Five Korean young artists (average age= 32.5) ID Gender Age Experience in the field of art Kim M 30 Lee M 37 Jung M 40 Choi M 33 Ham F 23 Visual art (abstract painting) Majorin western painting, arts education Modern dance (dancer and choreographer) Majorin modern dance Installation art (canvas relief) Majorin western painting Performing arts (audio-performance) Majorin business management Writing (Novel, play-scripter). Mono-dramatic performing arts Majorin playwriting

9 Method Analysis - Read all resources several times by all researchers - Identify key concepts - Sort the concepts into subthemes and main themes - Develop main themes Validation - Reconfirm repeatedly until a unanimous agreement was reached - Reviewed by 4 people (2 post-doctorates and 2 doctoral candidates) who were not associated with this research

10 Result Young artists' development of creative identity State 1 State 2 State 3 State 4 State 5 Socially imposed creative identity Disciplined creative identity Domain specific creative identity Domain integrated creative identity Social creative identity

11 Result Stage 1. Socially imposed creative identity Social Context Social evaluation about the artists strange personalities Art? Decision to enter the field of art Creative Identity a person to become a creative artist

12 Result Stage 1. Socially imposed creative identity Watching me act like that, they probably Social judged me as an unusual person so that Art? it Context turned out to be very convenient for me actually Social because evaluation about they stopped bothering Affect on decision to me. (Choi) the artists peculiar personalities enter the field of art Creative Identity a person to become a creative artist

13 Result Stage 2. Disciplined creative identity Social Context Creative Identity Acknowledged by their own field Art an official artist psychological stability Elaboration of Creative identity, comparing with legitimacy of art

14 Result Stage 2. Disciplined creative identity When introducing me as an artist, then Social people nodded like 'artists Context Artare always like that' and so... the way that people saw me differed totally from before and after Recognized by Elaboration I of entered art school. (Han) their own field Creative identity, comparing with Creative legitimacy of art Identity an official artist psychological stability

15 Result Stage 3. Domain specific creative identity Social Context Art experiences, expert evaluations, and social interactions within their domain Creative Identity an artist building up my artistic world

16 Result Stage 3. Domain specific creative identity Jung Social got a good feedback on sculptures Context dealing with texture and Art space rather than descriptive drawings. Therefore, his recent works focus experience, on realizing expert evaluation, shapes and through social interaction very arduous processes. within their domain Creative Identity an artist building up my artistic world

17 Result Stage 4. Domain integrated creative identity Social Context Art New! New! conflict with their domain Creative Identity a person changing social contexts for CI

18 Result Stage 4. Domain integrated creative identity Social Not only physical expression but also musical Context expression. (Lee) Art New! Creative Identity New! A new genre called Audio-performance (Choi) conflict with their domain a person changing social contexts for CI

19 Result Stage 5. Social creative identity Social Context Society Art Creative Identity creativity in general social level

20 Result Stage 5. Social creative identity Social Observing others and reading Society the society are Context important. This is the base of my work as well and unless, there is no reason to throw Art an exhibition. (Kim) Creative Identity creativity in general social level

21 Discussion 01_Need for self-actualized approach Role of creative identity as a core individual factor relative to creativity - Positive role of ego-strength on creativity (Runco, 2004) - The deeper self-actualization, the more creative artistic trials (Shin et al., 2013). Mutual influences between previous and proceeding creative identity - For creativity development, previous creativity affect on proceeding ones (Csikszentmihalyi, 1996; Gardner, 1993) State 1 State 2 State 3 State 4 State 5 Socially imposed CI Disciplined CI Domain specific CI Domain integrated CI Social CI

22 Discussion 02_ Investigation of social interactions Bilateral relations between individual and social factors - social context individual (Harrington, Block, & Block, 1987; Simonton, 1984) cf) genius, gatekeepers social context (Csikszentmihalyi, 1988) Tendency for a gradual expansion of social context in creative identity development - The more mature levels of creativity show social contribution (Shin et al., 2013; Cohen, 1989) - Domain integration facilitate creative performance (Atkinson & Mayo, 2010; Dieker, Grillo, & Ramlakhan, 2012)

23 Discussion 03_Future Research Possibility of maturity on Social creative identity level - a few eminent artists and scientists accomplish concrete social changes on the last stage of creativity development (shin et al., 2013; Cohen, 1989; Csikszentmihalyi, 1996) Factors leading to the next stage of creative identity - reflection on social discourse, openness to other domain, etc. Domain-specific researches - ex) Art vs. Science / Dance domain vs. Visual arts domain

24 Implication Understand creativity on cultural psychology perspectives (Csikszentmihalyi, 1988; Glăveanu, 2010, 2011) Suggest that creative identity could be divided into various types depending on the level of development - creative role identity (Burke & Tully, 1977; McCall & Simmons, 1978) vs. creative personal identity (Brewer & Gardner, 1996) - promoted creative identity, denied creative identity, problematic creative identity (Glăveanu & Tanggaard, 2014)

25 Thank you