3 The creative process: Stages of growth
This chapter presents a reflection of the creation of the seven themes of the HumanTree born from the seeds mentioned before. In particular it describes and analyses the creative process with its musical creations and response to the following question: In what ways did the topic, ensemble processes, interaction, and leadership that took place during the HumanTree Project contribute to the artistic result?
This reflection in this chapter is framed by two analytic tools, the three workshop models by Jan Hendrickse (2005) and the Reflective Matrix by Gaunt and Treacy (2019).
My introduction to the workshop models of Jan Hendrickse (2005, see Figure 1.1), while reading the masters thesis of Nathan Riki Thomson (2013), gave me support and the rational for the development of the HumanTree process. Knowledge too was gained through Hendrickse’s different yet flexible phases used in a collaborative creation. Hendrickse (2015) three different phases, are not separate models, rather used as a ‘continuum ranging from process to product, or from creating through to refining’ (Hendrickse, 2015, p. 396). Interestingly, I could connect the early stages of the HumanTree project towards workshop models two and three, while the workshop model one would be representing the later rehearsal stages of ‘refining a collectively devised piece’ (Hendrickse, 2015, p. 396).
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Workshop Model One |
Workshop Model Two |
Workshop Model Three |
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All musical material is provided, and it is not transformed or augmented. |
Some musical material or information is provided, and will be transformed or augmented. |
No musical material of musical agenda is provided. |
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Participants produce a realisation of the music under direction. Their role is as interpreters. |
Participants contribute to the development of the final realisation, through discussion and/or improvisation. |
Participants are creating the music from the beginning. They are acting as composers. |
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The leader takes responsibility for transmitting the music to the participants. |
The leader shares the responsibility for developing the music to varying degrees. |
There may be no leader, or a leader may shape the material that emerges from the interactions that take place. |
Figure 1.1 The three workshop models (Hendrickse, 2005, p. 396)
The second important frame is the Reflective Matrix presented by Gaunt and Treacy (2019) and its four overarching themes that outlines a project 1) purpose and vision, 2) resources, 3) leadership, and 4) qualities of communication and interaction. The matrix proposes a set of continua for each theme that point ‘to nuances and creative tensions between ensemble types, disciplines and genres’ (p. 7). These themes and continua offer a frame to support reflection on diverse collaborations that enhance team work. References to these continua are italicised in the text that follows.