ROUGHER THAN ROUGH......ROUGH DRAFT

Hello fellow senior sem bloggers

Here is what I have so far on my academic portion of my project. I have focused here on the nature of Creative Collaborations and Integrative Collaborations. I have done some research on the subject and found some great material. The next phase of the paper, which I feel is the heart of it, will be my relfection on the collaborative process that took place from recording the track for the video to shooting the video. The video will be shot next weekend and I am looking very much forward to it. Enjoy your break people,



“The juxtaposition and joint exploration of ideas are crucial for constructing a new paradigm in art of science”
- Vera John-Steiner

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Collaboration can be defined as working jointly with others or together, especially in an intellectual endeavor. For my senior project I will be shooting a music video that will embody the nature of collaboration and then I will write a personal reflection of the process. My studies here at Appalachian State University have been in the concentration of the Music Industry with an emphasis on Recording and Production. Having completed my studies in this field, I have noticed how important the role of collaboration is in the music industry, in the recording studio, and in the true essence of music in general. Having acknowledged this, it is very clear to me how important the role of collaborations will be in my future. Thus, my purpose in my video shoot is to thoroughly exemplify the collaborative works that where present in my work with other artist.

Before I describe the actual collaborative works that I took part in, it is important to delve into the nature of collaborations themselves especially creative and integrative collaborations. The most important aspect of collaborations to understand is that it is a dictator-less process. No one party should have more control or input than the other or else the result would not be a true collaboration. The idea of mutuality has to be embraced and completely understood, i.e. there must be complete selflessness present in the endeavors. Once this is understood there then must be the ability for the parties to merge into a single identity for the creative collaboration to exist. This does not mean that the parties must be completely the same in thought and skill. The choreographer Murray Louis said that, “in creative works two parties can and are very different. Without any differences any collaboration would not have been possible.” (Steiner, 63) The expression “opposites attract” may very well apply to collaborations.

Though the two parties may be similar or different the crux of the process must possess a shared vision. “For a partnership to be truly creative-to change a discipline and transform a paradigm- multiple perspectives, complimentary in skills and training, and fascination with one’s partner’s contributions are essential.”(Steiner, 64) The need for mutual appreciation and support of the others talent is the catalyst for the give-and-take idea generation phase. “During the early stages of an integrative collaboration, mutual discovery and a certain temporary fusion of individual personalities take place. Enchantment with the partner contributes to eagerness to learn, to explore, and to engage in new work.”(Steiner, 83) Integrative Collaboration can be described as an artist discovering their complimentary and pushing further to create a union, which will result in transforming both artist work and personal life. (Steiner, 96).

Now that you have some notion on the basis for Integrative and Creative Collaborations, we need to take a step back and take into consideration the desire for such actions. What motivates people to take part in collaborative efforts? According to John Steiner, people wish to collaborate for the “desire to overcome the limitations of the self and as a response to the alienation widespread in modern life.”(124) He also says that “creative people often face loneliness, poverty, and reoccurring doubts about their abilities”(74). Artist, by temperament, tend to be introverted to focus on work, accept amiably the fact that art does not amount to millions, and are themselves their number one critic and cynic. The ability to engage in supportive partnership collaborations allow the “participants to experience emotional connectedness and a revival of purpose in shared work”(124). This is where supporting and believing in your partners ability must present itself and remain for the course of their work. “Belief in a partner’s capabilities is crucial in collaborative work as marginality, estrangement, and self-doubt frequently plague creative people” (Steiner, 127).

The collaborative process takes shape on the basis of interdependence, trust, shared creativity, and by taking risks. As far as interdependence goes, it is the catalyst for the creativity that is in work. It’s like Picasso said about his partnership with Braque, “We were inclined to efface our personalities in order to find originality”(Steiner, 130). The assistance that the two parties give one another constructs ideas by having an open ear to new ideas and results in one’s that would not have come about from their own temperaments. “Collaborative partners can build on their solidarity as well as their differences, complimentary in knowledge, working habits, and temperament adds to the motivation needed for effective partnerships”(Steiner, 128).

Trust and risk are two very important elements to a successful partnership. Since the artists themselves experience a level of emotional connectedness with their partner, they can justify a purpose in the work they share together. But this can only be felt when trust between the two parties is present and genuine. “Trust between collaborators often contributes to the heightened self-confidence needed to over-come the weight of artistic traditions”(Steiner, 79). Trust is essential because it protects the relationship that has been established. This notion fits in quite well with one of my collaborators verses, “Form a fifty-fifty partnership through the creative, once partnership is formed one must be careful not to abuse this power generated, danger exists”. He speaks on the fact that the creative process is absolutely dictator-less. No one party should have more input or control than the other, otherwise danger exists indeed. Trust also allows the artists, who know their craft and how to build on it, to “build some artistic distance between each other while treasuring their primary connection”(Steiner, 84).

The risk element of collaborations is also important to recognize. Without taking risks in the idea generation stage, existing works could be replicated. Taking risks allows artists to dive into uncertain areas, areas that could very well produce originality. Howard Gruber, a scholar in creativity, said, “by spreading the risk between partners, each participant is encouraged to take more chances,” which I feel is absolutely imperative for any creative endeavor to be groundbreaking. (Steiner, 79)