Observing the creative process
UNBOXED is a series of experiments in the field of movement arts. What does it aim to look at? Why should such a series of experiments be set up? How does one analyse such a subjective art? What are we to gain from such a process?
Artistes and performers pride themselves in the materialisation of a concept. When it materialises into a beautiful performance, there is heightened satisfaction. Beyond this, when this beauty lingers in the minds of the audience, it provides a sense of contentment to the artiste. The journey from seed to flower is not a linear graphical route. From concept to contentment, there lies a web of thought, emotion, reasoning, resilience, critique and much more.
How often is this creative process bared open to the audience? How often is it even bared open to co-creators or oneself? Very rarely, if not never. But isn't it important to stand aside and look at this creative process if we as artistes must grow? Of course, with limited time at hand, not many students of art have the luxury of assessing their own creative process. Add to it that such an exercise does not garner attention or accolades! And so we assume that our creative potential follows an upward curve and don't think too much about it. Most performers also believe that such exercises are for academics who aren't active performers- nothing could be farther from the truth. Objectively analysing the process must be the prerogative of every performer, academic and teacher of the arts, none excluded.
So where does one begin? At the beginning of course! Or not! The answer seems vague but here is why. The mind often flutters in different directions when a thought or concept emerges. For most, the directions that the mind takes every day is a different one and the mind seems to jump down a few roads, stroll down a few and skip over a few. To reign it in to take one step at a time is tedious. To be able to channel it in the right direction is the strength of very few students of art. It might therefore be helpful to begin assessing our turns and jumps at any point that suits our temperament. Does this bring in any order or create more confusion? It might take a few trials before order sets in, but that in itself will be a learning.
Secondly, Does assessing the process happen in silos? It does for some but one could definitely benefit from an objective critique that comes from another person. This other person could be lay audience, Guru, colleague or a practitioner from another technique. It goes without saying that this requires that we are open to discussion, debate and feedback. Not a tall order to fulfill I assume!
Third, In assessing the NOW of the creative process, it also becomes important to look back at our own learning curve, where on that curve we find ourselves currently and where we would like to take it forward. One feeds into the other- learning aids the organic growth of creative processes and the objective assessment of the latter shows us where we must invest our energy to further our learning. And that is a beautiful rhythm that we can set up for ourselves.
If we are invested in pursuing the arts for the love of it, we owe it to ourselves and the art to go beyond 'executionary performances'. To assess the 'language' that we have learnt to express ourselves in, to assess the manner in which we use this language or languages, to find a medium that is suited to our conviction, the times that we live in and the world that we want to create - all of this is possible if we invest our energy and time in taking a step aside. The creative process will unravel itself in a way that we may have not imagined. And that will be our contentment much before we reap the 'Aye' from the audience.
UNBOXED will aim to do just this. In a community of movement arts practitioners, UNBOXED will aim to look at the unravelling of creative processes in silos, in the company of co-artistes, across genre and much more. This is a series of experiments for students of movement art who have been learning the art for at least 10 years. Deciphering concepts and contexts, analysing the process, tangible and intangible aspects, will be at the core of these experiments. A curated experience by Janani Murali. (janani.meenashi@gmail.com)
Artistes and performers pride themselves in the materialisation of a concept. When it materialises into a beautiful performance, there is heightened satisfaction. Beyond this, when this beauty lingers in the minds of the audience, it provides a sense of contentment to the artiste. The journey from seed to flower is not a linear graphical route. From concept to contentment, there lies a web of thought, emotion, reasoning, resilience, critique and much more.
How often is this creative process bared open to the audience? How often is it even bared open to co-creators or oneself? Very rarely, if not never. But isn't it important to stand aside and look at this creative process if we as artistes must grow? Of course, with limited time at hand, not many students of art have the luxury of assessing their own creative process. Add to it that such an exercise does not garner attention or accolades! And so we assume that our creative potential follows an upward curve and don't think too much about it. Most performers also believe that such exercises are for academics who aren't active performers- nothing could be farther from the truth. Objectively analysing the process must be the prerogative of every performer, academic and teacher of the arts, none excluded.
So where does one begin? At the beginning of course! Or not! The answer seems vague but here is why. The mind often flutters in different directions when a thought or concept emerges. For most, the directions that the mind takes every day is a different one and the mind seems to jump down a few roads, stroll down a few and skip over a few. To reign it in to take one step at a time is tedious. To be able to channel it in the right direction is the strength of very few students of art. It might therefore be helpful to begin assessing our turns and jumps at any point that suits our temperament. Does this bring in any order or create more confusion? It might take a few trials before order sets in, but that in itself will be a learning.
Secondly, Does assessing the process happen in silos? It does for some but one could definitely benefit from an objective critique that comes from another person. This other person could be lay audience, Guru, colleague or a practitioner from another technique. It goes without saying that this requires that we are open to discussion, debate and feedback. Not a tall order to fulfill I assume!
Third, In assessing the NOW of the creative process, it also becomes important to look back at our own learning curve, where on that curve we find ourselves currently and where we would like to take it forward. One feeds into the other- learning aids the organic growth of creative processes and the objective assessment of the latter shows us where we must invest our energy to further our learning. And that is a beautiful rhythm that we can set up for ourselves.
If we are invested in pursuing the arts for the love of it, we owe it to ourselves and the art to go beyond 'executionary performances'. To assess the 'language' that we have learnt to express ourselves in, to assess the manner in which we use this language or languages, to find a medium that is suited to our conviction, the times that we live in and the world that we want to create - all of this is possible if we invest our energy and time in taking a step aside. The creative process will unravel itself in a way that we may have not imagined. And that will be our contentment much before we reap the 'Aye' from the audience.
UNBOXED will aim to do just this. In a community of movement arts practitioners, UNBOXED will aim to look at the unravelling of creative processes in silos, in the company of co-artistes, across genre and much more. This is a series of experiments for students of movement art who have been learning the art for at least 10 years. Deciphering concepts and contexts, analysing the process, tangible and intangible aspects, will be at the core of these experiments. A curated experience by Janani Murali. (janani.meenashi@gmail.com)
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