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Monday, 06 October 2014 21:45

Creativity News and Events

E Paul Torrance tribute book

May 11, 2020
This book, edited by Fredericka K Reisman, comprises a valuable series of insights into the life…

105th Birthday Torrance Lifetime Creativity Awards

Dec 20, 2019
Journal editor Dr Marilyn Fryer was delighted to be one of the three recipients of the prestigious…

16th ICIE Conference 2018 ‘Excellence, Innovation & Creativity in Basic-Higher Education & Psychology’

Mar 21, 2018
The International Centre for Innovation in Education16th ICIE Conference 2018 ‘Excellence,…

Views on Cultural Diversity in the EU

Apr 19, 2017
In 2015 VSDB Consultancy, which is the business of our Co-Editor, Venu Dhupa was approached by the…

Anglo-Japanese Collaborations

Nov 07, 2016
This special issue of Japanese papers, guest edited by Emeritus Professor, Dr Kenichi Yumino, is…

Jamaica's Beauty and How We Can Preserve It

Jul 19, 2016
Denise Salmon is a professional creative writer. She enjoys writing stories for children, songs,…

A Review of Cumulus 2016: In this Place

May 23, 2016
The delegates gathering over lunch, in the wonderful Nottingham Trent University Newton building,…

In This Place - CUMULUS Event 28 April – 1 May 2016

Dec 01, 2015
The School of Art & Design at Nottingham Trent University, UK (one of our valued sponsors) is…

Thank you for voting!

Dec 01, 2015
Many thanks to everyone who voted for our Creating Your Future 2015 project. I’m delighted to say…

Art therapy in Ukraine

May 24, 2015
I am currently in Kyiv, Ukraine giving art therapy training to psychologists and counselors who…
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Call for Submissions - Innovation Forum, Boston, March 2016

Apr 23, 2015
ISPIM, the International Society for Professional Innovation Management, is delighted to announce…
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Innovators Under 35

Mar 19, 2015

Crea Conference in Italy - 15-19 April 15

Feb 10, 2015
Registration is open for the 13th Annual International Conference on Creativity and Innovation. The…

Prof Anna Craft 1961-2014

Nov 10, 2014
We were shocked and saddened to hear of the death of Professor Anna Craft, who worked tirelessly to…

Welcoming Kirsten Hardie

Nov 10, 2014
Dr Kirsten Hardie is Associate Professor at the Arts University Bournemouth, UK. I first met her in…

Vincent Nolan

Sep 03, 2014
It is with great sadness that we learned of the death of Vincent Nolan. Vincent was instrumental in…

Acre 20 International Creativity Conference in Africa

Aug 14, 2014
From October 14 -17, 2014 the Acre 20 International Creativity Conference will be held at Bela…
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The International Joint MSc in Strategic Innovation & Future Creation

Jul 04, 2014
Applications are now open for the October 2014 intake of the International Joint MSc in Strategic…

What Estonian Students Think about Creativity in Post-Soviet Estonia

May 21, 2014
Estonia is often regarded as one of the most go-ahead and creative European countries. But how do…

Welcoming Dr Doris J Shallcross

May 21, 2014
We warmly welcome Doris J Shallcross Ed.D., Professor Emerita University of Massachusetts, to our…

Creative Development and Arts Practice

May 02, 2014
Here at the Creativity Centre we have just completed a project with artists in our local area.…

Congratulations to Dr Ana Maria Hojbota

Mar 04, 2014
We'd like to offer many congratulations to Ana Maria Hojbota, co-author of Understanding Creativity…

Creative Development and Arts Practice

Feb 04, 2014
Artists and arts students in Devon are invited to book a fully funded place on our half day…

Creativity Live Update from Denise

Dec 18, 2013
I'm delighted to report that, following her involvement in Creativity Live, Denise Salmon's book…
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Thank You!

Dec 18, 2013
I'd like to thank to everyone who has helped to make the first year of this ejournal such a…
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Japanese Creative Problem Solving

Dec 09, 2013
Want to know more about Japanese creative problem solving and KJ Ho - the most popular Japanese…

More Peruvian Adventures

Dec 05, 2013
Many of you have said how much you've enjoyed reading Venu's Peruvian adventures. So if you're…

Lachrymose: A polyphonic choral salute to those lost at sea

Nov 20, 2013
This autumn Turner Contemporary presents the musical performance Lachrymose, which has been…

Dr Ashfaq Ishaq judges slavery memorial for UN

Sep 26, 2013
The International Child Art Foundation's founder and chairman Dr. Ashfaq Ishaq was one of the five…

Return to Nepal

Sep 26, 2013
Award winning artists Anne Riggs and Alex Pinder, authors of Bamboo, Banyan & Bodhi, will be…

Profile of Denise Salmon - Children’s author and Creativity Live ‘Problem owner’

Jul 15, 2013
As you can see from Creativity Live, Denise has a passion for writing, especially for children, and…
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Never standing still

Jun 24, 2013
We’ve received some fantastic material for our current theme, Creativity around the World, from all…

Our competition winner!

Jun 04, 2013
Some months ago, before the journal was launched, we sent out a questionnaire to find out what…

Video - Making your workplace more productive and enjoyable

May 19, 2013
Have a look below at this brand new video from Synectics Education Initiative. 'Build - Don't…

All our Futures Conference 5-12 Oct 2013 - Rio de Janeiro

May 18, 2013
The nature of education is rapidly changing across the world. New curricula and new approaches to…

Positive feedback from Conexion Dracula

May 18, 2013
We're delighted to hear from Andres Maduro that there has been a great response from six different…
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Competition announced for Dancers, Choreographers, Physical Theatre and Contemporary Circus Performers

May 16, 2013
October 21 - November 19, 2013 4 week intensive lab with final demonstration/work-in-progress at…

Dr James C Kaufman joins the Review Panel

May 13, 2013
Another new and exciting addition to our Review Panel is Dr. James C. Kaufman. James is a Professor…

Gayle McPherson joins the Editorial Board

May 13, 2013
We are delighted to announce that Professor Gayle McPherson has joined our Editorial Board. Gayle…

Dr Mark Runco joins the Review Panel

May 13, 2013
We are excited to announce that Dr Mark Runco has joined our Review Panel! Mark Runco earned his…

What's your problem?!?

Apr 16, 2013
We're launching our Creativity Live project and we need YOUR problems to solve! We are looking for…

World Creativity & Innovation Week

Apr 15, 2013
To celebrate World Creativity & Innovation Week this week we are making two premium articles free…

Introducing Diane Kessenich - founder member of the journal

Apr 08, 2013
We are delighted to introduce Diane Kessenich, Founder Member of Creativity & Human Development and…

ACA 2013 International Conference - call for proposals

Mar 21, 2013
We are very pleased to announce the Call for Session Proposals for ACA's 2013 International…
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How to make comments

Mar 11, 2013
We have been experimenting with ways of making it easier to make comments on articles, but…

Conexion Dracula - invitation to artists' retreat in Panama July 2013

Mar 11, 2013
Conexion Dracula is an artists' retreat that takes place in Finca Dracula, one of the world's ten…
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Call for papers, features and other material

Feb 14, 2013
We've received some fascinating material which we'll be using to expand Creativity Exploded over…
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Thank you for your feedback!

Feb 14, 2013
‘The journal looks terrific and makes a great change from many of the journals that you see these…

Stopped in its tracks – I don't think so

Feb 14, 2013
The recent pronouncement by the current UK Secretary of State, reinstating the General Certificate…

The Travelling Creativity Man in Brasil

Nov 13, 2012
Creativity and creative thinking are what I see, hear, smell, taste, touch, feel whether I am…

Introducing Alan, the Travelling Creativity Man

Sep 18, 2012
Robert Alan Black, a long time friend of ours, has spent many years travelling the world visiting…
Thursday, 15 May 2014 15:28

K. Alexis Alatsis

While my passport would confirm that I'm a fifty years old Athenian, I understand myself rather as a citizen of the world. I have lived in different countries and have discovered that the status of the 'foreigner' makes me feel quite at home. That's because it allows me to be an observer, which is something very natural to me. Being an observer does not mean staying outside the social and political reality of the place I live in - quite the contrary. This, for me, is the real meaning of citizen: not connected to citizenship, tied to a birthplace, but part of the place in which one lives and works. In every new place, I'm fully immersed and devoted.

I have lived in Italy, France and Germany, and I speak these countries' languages as a native speaker. I have lived for shorter periods in the UK and the USA and my English is fluent as well. A language for me is timbre and rhythm, and, probably due to my musical background, I learn it quite fast which allows me to adapt without any difficulty to different places and cultures – at least so far within Europe. Of course, apart from Greece, the country closest to me is Germany, as I have lived and worked there for a good thirteen years.

Although I first studied music and worked as a young pianist, I was always attracted to the stage, so naturally I was led to theatre. While officially I was doing my doctorate in musicology in Paris, 'unofficially' I was doing everything related to arts and culture: theatre at the Lecoq School, jazz, street theatre, dance and cinema. In addition philosophy courses with Julia Kristeva and semiotics with Umberto Eco. Things weren't easy and I had to live with very little money, but I didn't want to set my mind on a career before I knew what I wanted. I needed to test not just the medium but also my own skills. And I was curious about everything. Curiosity is a great motivator. Looking back, I know that I wouldn't want to have done things differently. I met amazing people who influenced me and I learned a great deal. Besides, if I had rushed to a career, I would have compromised myself, my sense of who I am. Now, I can comfortably say: I'm a political animal that does theatre.

I'm a theatre director who is interested in new writing, in contemporary theatre texts, but also classic works from the international repertoire. I move comfortably in different genres and different countries. I also often translate the plays I direct. I have translated and directed works by Sarah Kane, Elfriede Jelinek, Saara Turunen, Peter Verhelst and others. I like working with large groups of performers and enable them to become an orchestra of voices when working on plays that allow the use of a chorus. I did it in directing ancient Greek Tragedy in Hambourg, Dantons' Death by Buechner in Berlin in 2011 but also in the directing of Jelinek's About Animals in 2010 and of poetic texts by Kavafis, Brecht and Mueller last year in Athens in a scenic composition of my own. However, I can just as easily focus on a single actor and work on a monologue. I also like contemporary opera and working with contemporary choreographers in dance-theatre projects. I directed an opera of Maurice Ohana in New York's La MaMa back in 1996, but also operas of various contemporary composers in Germany and Italy. I have worked as a director or as a dramaturg with many choreographers in Italy, Germany and Greece in interdisciplinary dance-theatre projects.

Cultural management

Programming in a cultural field requires that you have a deep understanding of the type of arts you programme as well as of the framework in which you programme them. Contrary to what some people might think, programming arts for a festival is different from programming for a specific venue which again is different from programming for a city organisation and so on. Not least of all, because they have different audiences.

My own ability as a programmer is based on the fact that I have an excellent knowledge of very different types of performing arts, either in theatre or circus or street theatre or music or dance or even literature presented in public spaces, or installations or any kind of performance. And I have a good knowledge of educational work as well. I have studied and worked on many artistic fields and I keep myself informed with the artistic production not locally but internationally. Having worked in different countries and frameworks, I understand how the production conditions vary in different contexts and I have learned to adapt fast in new environments. I have developed a great flexibility in order to understand production situations, mentalities and expectations, and I take all these into consideration in my programming work.

I am not particularly interested in any star system. What drives me is merit, craft and artistry. For that reason, I have been considered as unconventional and different from other programmers. When I receive applications, I am interested in the concept and the craft. I pay less attention to whether the work matches my personal taste or if it is trendy or if it suits a specific agenda or ideology. It is the idea and the craft that interests and excites me.

Of course, I don't only rely on receiving proposals; I also value my ability to commission work, to imagine possible collaborations and projects. I challenge artists to go in directions they haven't been before, to try new things, to form collaborations they haven't yet imagined. This does not mean that I encourage artists to do the things that I would do as an artist. I spend time with their work, I 'read' their own potential, discover possibilities for them. In a sense this is also the job of the curator.

No programming should take place without consideration of the audience. You have to know the audience you are programming work for. But this knowledge should not limit you as a programmer. It doesn't mean that you will fulfill their expectations, but rather that you have to understand them in order to challenge and expand their cultural horizon. It's not about stroking their ears, but challenging them and taking them further. It's not about serving them what they think they want. As a programmer, you have to challenge them, and that involves respecting them and taking them seriously. This is the essence of the job, in my opinion: to invite artists whose presence wasn't guaranteed, and to do the same with the audience.

This is how I worked in the Olympic Games of Athens in 2004, where I headed up the Cultural Programme. This post held the responsibility of designing and implementing all the cultural programmes that were happening during the games, in and outside the Olympic venues. Practically, this meant a programme with very different sections, with different audiences (spectators of the athletic events, or the athletes themselves, people of the city, events of the torch relay). It meant hundreds of events. And, although the Olympic Games was of course an international event with very strong commercial aspects, and complicated issues relating to sponsors' interests, within the overall political agenda of the games, I worked in the way I explained. It was hard work but it certainly paid off.

In the case of Cultural Capital of Europe - Patras in 2006, where I held the post of the Artistic Director, there were more complications. I got appointed at the very last moment, and I needed to do within a few weeks things that would normally need three and four years of preparation. What I was really asked to do was not the 'normal' job of the artistic director, but a rescue operation of the 'five minutes before the catastrophe' sort of thing. My high achievement was that it did actually happen. Against all odds, and having an enormous pressure from specific local lobbies, reactions from the internal organisations and also from the central government, and with the local press trying to sabotage it all the way. But the Cultural Capital of Europe - Patras 2006 did take place: the programme was rich and challenging, with a great number of unexpected events, with bold programming, with international artists and imaginative collaborations.

Now I am seeking new challenges. Ideally I would love to work in a framework where I could employ all aspects of my artistic identity: the programmer and the director, the teacher and the researcher. Most importantly, somewhere where it would be meaningful and make a difference. If you know of such a place then let me know and I'll be there.


Friday, 02 May 2014 14:16

Dr Ana Maria Hojbotă

Dr Ana Maria Hojbotă is an educational psychologist, with an MA in Work and Organizational Psychology from the "Alexandru Ioan Cuza" University, Iași, Romania. She recently completed her PhD at the same institution under the guidance of Professor Ana Constantin PhD. Ana Maria has worked in various research and intervention projects concerned with the evaluation and stimulation of academic motivation, persistence and self-regulation, with application to mainstream and special education. For her PhD thesis, she studied naive theories of creativity and their correlates with the creative level and motivations for engaging in creative behaviour as individuals and in teams. Other areas of interest are epistemic emotions, the psychology of science and technology, intragroup conflict and group cognitive synergy.
Ana Maria is currently a member of the East-West European Research Group (EWER Group), a team of researchers established in Iași, interested in conducting cross-cultural research projects with partners from Western Europe, Eastern Europe and the Far East. She is also member of the Editorial Staff of The Romanian Journal of Artistic Creativity as Psychology Officer.

Friday, 02 May 2014 14:08

Dr Doris J Shallcross

Doris J. Shallcross, Ed.D., is Professor Emerita of the University of Massachusetts Amherst where she directed the Graduate Program in Creativity.  Her major work there was with doctoral candidates specializing in creative behavior. She is past president of the Creative Education Foundation and continues to serve as a consulting editor for The Journal of Creative Behavior. She continues to present at the Creative Problem Solving Institute, the annual conference of the Creative Education Foundation.  She has published five books:  Teaching Creative Behavior; three with Dorothy Sisk – The Growing Person, Leadership: Making Things Happen, and Intuition: an Inner Way of Knowing, and one with Rosalie Deer Heart,  Celebrating the Soul of CPSI.  She is also the author of numerous articles and a monograph on intuition. Dorie has done extensive work around the world in creativity, presenting at conferences and teaching at universities. For five summers she taught in the Masters’ degree creativity program at the Universidad de Santiago de Compostela in Spain.

Dr. Shallcross is a founding Board of Trustees member and spent 15 years of service – 11 as president - working with working with the Pioneer Performing Arts Charter School in South Hadley, Massachusetts. She served on the Massachusetts Charter School Association as well with three years as vice-president.  She also serves on the Commonwealth of Massachusetts Commission on Creative and Innovative Opportunities in Schools.

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I can't understand why people are frightened of new ideas. I'm frightened of the old ones.

John Cage


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