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This workshop has be used
in the acedemic setting and has occured in setting and approaches
that are not as formal as presented below.
This creative arts workshop
will focus on intuitive knowing, poetry and sculpture for
the purpose of discovering and developing new awareness
of your creative potential. Over the course of the workshop
participants will have experiences at producing sculpture,
writing poetry and exploring the nature of creativity as
a unity of mind and body.
Seminar Description
This interdisciplinary creative arts
seminar will focus on intuitive knowing, poetry and sculpture
for the purpose of discovering and developing new awareness
of your creative potential. Through the course of the seminar
learners will have experiences at producing sculpture, writing
poetry and exploring the nature of creativity as a unity
of mind and body. Learners who have never written a poem
or produced a sculpture, as well as learners with substantial
prior accomplishments in either sculpture or poetry, are
invited to attend. It is hoped that learners who will attend
will represent a wide range of disciplines.
The seminar will introduce a variety
of innovative approaches to mind/body listening and expression,
felt sense learning and formulating, and right brain/left
brain thinking and creating. The application of intuitive
knowing and felt sense learning skills in stimulating idea
building and creative expression will be introduced through
techniques of relaxation, guided imagery and focusing, among
others. These skills for creative idea building will be
applicable to other areas of learners' academic and professional
work.
The sculpting components of the seminar
will involve innovative approaches to creating sculptures
in clay; making a plaster mold; and casting a finished sculpture
in cement fondue. Body mapping and drawing will give learners
experience at conceptual development from kinesthetic thought.
The poetry writing segments will be directed towards: expressing
the process of creativity while sculpting, and developing
language representation for the meaning and image found
in the art works which learners create.
Because of the nature of the learning
experience to be generated, this seminar will have a limited
enrollment. Through out this seminar learners will be emersed
in working with the language, visual and kinesthetic minds.
Time constraints will mean this will be an intense and demanding
seminar in terms of learner participation in direct working
sessions. Morning and afternoon sessions will be direct
sculpting and writing workshops. Evening sessions will provide
opportunity for refining sculptures, and afford a supportive
group setting for individual readings of the emerging poems.
This is an experiential art workshop,
clothing which can become clay muddy and plaster sloppy
should be brought. Art supplies will be provided on site.
Bibliography:
Read and familiarise yourself with
the books in category A.; and read at least one book in
each of the other two catagories.
A. Required Reading
Gendlin, E. Focusing. New York: Bantam
Books. 1978.
Ricco, G. Writing the Natural Way. L.A.: J.P. Tharcher,
Inc. 1983.
-- one of the following or some other book on sculpting
in clay and plaster casting:
Beecroft, G. Casting Techniques for Sculpture. New York:
Charles Scribner's Sons, 1979, (chapters 1 to 6).
Slobodkin, L. Sculpture Principles and Practice. New York:
Dover Publications, Inc. 1973, (chapters 1, 5 and 9).
Padovano, A. The Process of Sculpture. Garden City, New
York: Doubleday and Company, 1981, (chapter 1)
-- Recommended Reading
B. Writing:
Capacchione, L. The Creative Journal.
North Hollywood: Newcastle Publishing, 1989.
Gould, J. The Writer in All of Us: Improving your Writing
Through Childhood Memories. New York E.P. Dolton, 1989.
Klauser, H. A. (1987). Writing on Both Sides of the Brain.
San Francisco: Harper and Row, 1987.
Progoff, I. At a Journal Workshop. New York: Dialogue House
Library, 1975.
C. Creativity:
Arnheim, R. Visual Thinking. Berkeley:
University of Calif. Press, 1969.
Bergson, H. The Creative Mind. New York: Citadel Press,
1946.
Blakeslee, T. R. The Right Brain. N.Y.: The Berkely Publishing
Group, 1980.
Bry, A. Visualization: Directing the Movies of Your Mind.
New York: Barnes and Noble, 1979.
Dreher, D. The tao of peace: A Guide to Inner and Outer
Peace. New York: Donald I. Fine, 1990.
Edwards, B. Drawing on the Artist Within. New York: Simon
and Schuster, 1986.
Edwards, B. Drawing on the Right side of the Brain. Los
Angeles: J.P. Tarcher. 1979.
Gawain, S. Creative Visualization. New York: Bantam Books,
1979.
Ghiselen, B. The Creative Process. N.Y.: Harper and Row,
1983.
Miller, A. Pictures of a Childhood. New York: Farrar, Straus
and Giroux, 1986.
Moustakas, C. Heuristic Research. Beverly Hills, Ca: Sage
Publications, 1990.
Murdock, M. Spinning Inward: Using Guided Imagery with Children
for Learning, Creativity and Relaxation. Boston: Shambhala
Publishing, 1987.
Pirsig, R. Zen and the Art of Motorcycle Maintenance. N.Y.
William Morrow, 1974.
Richards, M.C. Centering: Poetry, Pottery, and the Person.
New York: Columbia University Press, 1962.
Williams, L. V. Teaching for the Two-Sided Mind. New York:
Simon and Schuster 1983.
OPTION ONE:
DAY ONE
Afternoon session:
Relaxation and guided imagery; body drawing; clustering
and poetry.
Evening session:
Relaxation and guided imagery; sculpting blindfolded; clustering
and poetry; cluster and poetry reading.
DAY TWO
Morning session:
Relaxation and guided imagery; sculpting in clay; cluster
of early sculpture.
Afternoon session:
Relaxation and guided imagery; sculpting in clay; clustering
and poetry directed to expressing creative process.
Evening session:
Refining and cleaning up sculptures. Group process refining
poems.
DAY THREE
Morning session:
Relaxation and guided imagery; sculpting in clay; clustering
and poetry directed to the learner's sculpture.
Afternoon session:
Last touch ups on sculptures; make plaster molds.
Evening session:
Cleaning clay out of molds; casting cement fondue (possible
late session for some learners). (put heat on molds overnight)
DAY FOUR:
Morning session:
Remove plaster from cement fondue.
Afternoon session:
Finish and polish sculptures; relaxation and guided imagery;
clustering and poetry.
DAY FIVE:
Morning session:
Read poems of sculptures; group discussion of of process;
package sculptures; closure.
OPTION TWO
DAY ONE
Afternoon session:
- Greetings and meeting each other.
- Relaxation and guided imagery; body drawing; clustering
and sculpting blindfolded.
Evening session:
- Relaxation and guided imagery; sculpting in clay; clustering
and poetry writing.
DAY TWO
Morning session:
- Relaxation and guided imagery; sculpting in clay; clustering.
Afternoon session:
- Relaxation and guided imagery; sculpting in clay; clustering
and poetry directed to expressing creative process.
Evening session:
Refining and cleaning up sculptures. Group process refining
poems.
DAY THREE
Morning session:
- Last touch ups on sculptures; make plaster moulds.
Afternoon session:
- Clean clay out of moulds. Make cement fondue sculptures.
DAY FOUR
Morning session:
- Remove plaster from cement fondue. Touch up cement fondue.
Afternoon session:
- Finish and polish sculptures; relaxation and guided imagery;
clustering and poetry.
Evening session:
Relaxation and guided imagery: clustering and poetry.
DAY FIVE
Morning session:
- Pack sculptures. Group discussion of process. Closure.
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