Creativity to transformation
The world is changing quickly, and we need new ideas to help us move forward. 2023/24 Clore Fellow Andrew Westle explores how artists and cultural spaces can work in new ways to help solve problems and make a positive difference in society.
In a rapidly evolving world characterised by complexity, uncertainty, and interconnectedness, the need for creative approaches has never been more apparent. The cultural sector has the ability to harness imagination, and to serve as an engine of societal transformation, driving innovation, fostering resilience and inspiring hope for a better future. From education to business, from healthcare to urban planning, the power of creativity can imbue every facet of society.
This provocation explores the multifaceted role of creativity in shaping an inclusive, sustainable and resilient society, drawing on real-world examples, insights and interdisciplinary perspectives.
This piece asks: what if our museums, art galleries, libraries and theatres didn’t just produce and display art, but also acted as spaces to incubate new ideas and approaches that might not resemble the creative outputs as we know them, through diverse collaborations? The art of the future won’t look like it does now, things will continue to shift and change, as they have historically. The proposition is an arts sector that further capitalises on creativity to grow and shape the future.
What is creativity?
From a theoretical standpoint, creativity is said to require both originality and effectiveness. Personally, I see at the heart of creativity a willingness to step into the unknown, to challenge assumptions and to embrace ambiguity, while contributing something new. Creativity isn’t a linear process, but a complex system that thrives on experimentation, exploration and play.
Nothing to lose
Towards the start of the pandemic, an advert showed a woman doing up her ballet shoes, with the caption “Fatima’s next job could be in cyber. (she just doesn’t know it yet).” The advert was ill-conceived, totally tone deaf and would later be cancelled, released at a time when the sector was on its knees. Another reading of the advert could consider the skills that Fatima has as an artist, which could be harnessed in other fields and realms, not instead of, but alongside or after a career in dance. Over a lifetime, people frequently work in multiple industries and Fatima has creative skills that should be embraced.
Indeed, the first Black female astronaut, Dr. Mae Jemison, has spoken about how dance helped give her a cutting edge in what is a competitive field. When she went into space, she took with her a poster of Judith Jamison performing Alvin Ailey’s Cry, in recognition of her love of dance. Jemison has said: “Science provides an understanding of a universal experience. Arts are a universal understanding of a personal experience. Both a part of us and a manifestation of the same thing … the arts and sciences are avatars of human creativity.”
The aim shouldn’t be to transition people out of the industry, but instead to provide a less siloed view of what the industry is and could be, with more permeable walls. We can harness unique collaborations and skills within the sector, to develop new ideas that might not result in an artistic output as we know it. Many of the jobs that currently exist didn’t historically, and the job market will continue to shift and change, especially with the increase in AI and automation. As a sector, the more we prioritise creativity, the more opportunities will be available and the more socially relevant we will become.
New connections, untapped potential
We talk a lot as a sector about audiences and participants – diversifying, representation, engagement and participation. There is a desire to bring people in, to consume or participate in something that has been created for them (sometimes, but rarely, with them). Generally, someone else has decided what is important for others. If we expand our understanding of creativity as one of the unique contributions we can offer as artists and cultural organisations, the potential knows no bounds. We can do this while sharing the tools for production, approaches and methodologies.
Partnerships and collaborations with those outside the sector normally result in some form of artistic output. If we believe art and culture are central pillars of a healthy society, why should we contain them to specific artistic disciplines, or formats of creative expression? All of society can benefit from creative thinking and cultural engagement, be it business, government, health or community.
Arts Council England’s Let’s Create strategy has a strong focus on the everyday creativity of the general population. Arts organisations have been quick to respond, with some simply ticking off the basic tenants of this with no real depth. Artists are being asked to think about their impact in often unfamiliar ways in order to get funding, i.e. offering workshops to children with no real interest or expertise. While everyone can be creative, not everyone is an artist. Conseuqently, the approach of an artist to creativity is unique. They can encourage others to see new and emerging futures. There is increased capacity to capitalise on the real potential of the Let’s Create strategy, to open up new ways of working and thinking.
The emerging future of work
The World Economic Forum lists creativity alongside analytical thinking and flexibility as the most important employability skills for 2025. Automation and AI are changing the shape of the workforce faster than expected, and will displace 85 million jobs in the next 5 years (World Economic Forum, The Future of Jobs Report 2020). AI is said to pose more risk to skilled professions such as those in law, medicine and finance. Predictions are that AI will not replace jobs that require social and emotional intelligence, creativity and innovation, or physical dexterity and mobility.
As technology influences the ways in which we learn, relate and possess knowledge, Corazza (2016) argues that the importance now lies in generating “new ideas, concept, and artefacts.” They argue: “In the lifespan of but a few generations, creativity will therefore pass from a sort of scientific singularity reserved to a few talented individuals to an essential ability for the entire human species.” The sector is well placed to support this social transition.
The subsidised sector is currently framed in a way where art is often removed or separated from other aspects of society. While art and culture are unique and deserve to be treated as different, it is also this differentiation that has allowed governments to position arts and humanities subjects as inferior to science, technology, engineering and maths. In doing so, they are ignoring the root of all innovation. Within science, technology, maths and engineering, creativity is the core element of progression. Siloing creativity as something that only ‘special people’ do, does us all a disservice. It is how our brains solve problems, and while artists have a unique place in helping society to adapt to new approaches, creativity is not the preserve of those in arts. Creativity is a core competency of the past, and in the future it will be required more than ever.
Big conversations
Art has long been at the forefront of some of the biggest conversations, such as Olafur Eliasson’s work Ice Watch, a project that involves transporting icebergs to urban environments. He explains: “It is knowledge that doesn’t have a physical sort of storage; there’s no memory (of it) in our bodies… One of the things that art can do – and it’s not the only thing – is it can sort of bring a physical narrative to something that one knows.”
Similarly, movements such as Act Up or the Guerrilla Girls built awareness and raised collective consciousness. Art here is the catalyst to help us think newly shaped thoughts.
Artists and creatives have applied their creative skills to new approaches. For example, Forensic Architecture utilise a diverse team of creatives of architects, film makers, software developers, journalists, scientists and lawyers, to investigate state and corporate violence. Similarly, Birmingham-based MAIA Group, resource artists to imagine a world with new possibilities. Australian Dance Theatre (ADT) inspired neuroscience research, utilising technology embedded in its work, Proximity, to work with those with neurological impairments.
Expanding opportunities
Artists are often pigeonholed into narrow categories – painters, musicians, playwrights – their talents confined within the walls of galleries, concert halls and theatres. If we were better able to support and encourage artists to step into uncharted territories, they could wield their creative prowess to tackle so many issues. This requires those outside the arts to better understand the potential of artists; this is an area where advocacy is required.
To be clear, there are many perspectives, ideas and views of artists, and the sector is far from homogeneous. But the arts has long been a space for holding some of the most difficult conversations, for fostering new perspectives, and for holding ambiguity. Artists can hold up a mirror to the world and encourage us to think differently; by confining this expression to our buildings and institutions, we miss out on the wider benefits collaborative approaches might offer.
The potential
At a time when organisations are struggling to keep up with higher operating costs, standstill funding and changes in audience behaviour, capitalising on innovation could diversify funding, creating new income streams. This proposition unlocks the whole sector’s potential, with the possibility of being a catalyst for innovation away from market capitalism.
Critics may argue that artists should stick to what they know best, but to remain within confined boundaries is to stifle potential and deny society increased opportunity for progress. Arts can remain a space for escapism, entertainment and celebration – and, indeed, should. The proposition of utilising creativity as one of the core tenants of what the sector does, doesn’t seek to diminish or prescribe one type of making work. Instead it seeks to offer a wider range of perspectives and possibilities. The world is in dire need of fresh perspectives, bold ideas and unconventional approaches – and artists are uniquely equipped. If successful, we can strengthen our story and our impact on society.
Creative communities
Building connections across disciplines, cultures, and communities can only enrich our collective understanding, and inspire new ways of thinking and being in the world. There are a wealth of examples of artists utilising creativity in regenerative ways. Take Chicago based artist, Theaster Gates’s work in urban revitalisation, an incredible demonstration of how artists can collaborate with communities, policymakers and urban planners to transform neglected spaces into vibrant hubs. Involving local residents in the creative process, Gates encourages communities to shape their own futures and reimagine their urban environments. It is easier to see a direct role of artists and cultural organisations in the context where there is a direct outcome. Similar principles underpin the Creative People and Places programme.
The power of creativity needn’t be seen just in the space of regeneration, often the precursor to gentrification. What Gates demonstrates is the role of artist to broker relationships and bypass politics. This ability to bypass political systems is demonstrated in the work of Slung Low – during the pandemic they used their networks, staffing teams and relationships to serve the community in ways that could circumnavigate bureaucratic systems.
Artist for change
I have seen first-hand the impact of using a theatre-based methodology, where creativity is a core mechanism, to unlock innovation and initiate social change. The Agency is a programme working with young people 15-25 in some of the most underserved areas of the UK. Created by Brazilian artist Marcus Faustini, The Agency has repeatedly demonstrated that no problem is too big for a creative rethink.
The artists encourage young people to see their communities in a new light, just as an artist might approach a problem or a blank canvas with a sense of potential. Importantly, creativity doesn’t need to, and often doesn’t, result in an artistic output. The programme recognises people’s inherent creativity, working predominately with people who don’t identify as creative and have not participated in the arts except at school.
Projects that have just been developed from this approach include:
- A rage room
- An exercise and nutrition project
- An Afro hair braiding project
- Girls only football coaching
- A STEM robotics project.
Resistance remains in some sections of the industry – a fear that the art is being reduced or diluted. However, there is extraordinary potential demonstrated in this approach; creativity has been successfully embedded within communities and artists are respected for their skills. We can see the potential to reimagine futures, while maintaining the integrity of the art forms.
Laying the groundwork for a new vision
Business and other sectors recognise the role of creativity in leadership and innovation. The challenge is set for art organisations to broker relationships, and to better package and capitalise on the skills of artists.
Innovation labs, design processes and cross-disciplinary collaborations are becoming essential tools for driving creativity and innovation in the business world. For example, Ars Electronica works across sectors, connecting art, technology and society. Their work demonstrates how creativity can be harnessed to address a wide range of questions, while developing new interdisciplinary collaborations.
This vision requires a radical shift in mindset. It demands that we abandon the notion of art as a mere indulgence and embrace it as a catalyst for innovation. It calls for breaking down the barriers that separate disciplines, and fostering a culture of collaboration and experimentation. It requires leadership to foster new relationships and build capacity for innovation.
Across the charity sector, boards are often made up of lawyers, HR experts, accountants and other professions. What if artists were equally encouraged to sit on the boards of business and government bodies? What new thinking might they add? We need to continue to utilise our networks, and advocate for artists and the real impact these voices could make.
Embracing creativity requires confronting uncertainty and ambiguity. In a world that rewards certainty and conformity, it can be challenging to embrace the messy, unpredictable nature of creativity. Yet it is precisely in these moments of ambiguity that true innovation occurs, as we grapple with complex problems and search for novel solutions. We are well placed as artists and the creative sector to navigate the unknown, and to do so with a scarcity of resources. Leadership needs to help craft these possibilities, to advocate for the broader influence of creativity.
Conclusion
Dream of a world where boundaries blur, where art knows no limits, and where artists are the architects of a brighter, more inclusive future. In a world in turmoil, now is the time to start elevating creativity and the unique contribution we can make, to unlock new ideas and shepherd in the changes we need.
In a world defined by boundaries, artists often subvert the rules and dismantle the limitations that confine innovation and progress. It’s time to unleash the true power of creativity by challenging artists to break free from their respective fields to shape the very fabric of society. Ironically, it is arts companies who need to think creatively, to rise to the challenge to centre creativity as one of the unique contributions they make to civic society.
If this approach succeeds, widespread benefits would flow, and artists would find a renewed recognition outside the areas in which they currently succeed. We would see an increase in paid opportunities and the potential for real world impacts. The ecosystem in which artists work would be expanded. We would ensure creativity, art and culture remain central pillars of a healthy society.
Creativity is not a luxury but a necessity for navigating the complexities of the 21st century. It is the engine of societal transformation, driving innovation, fostering resilience and inspiring hope for a better future. It is creativity that will give humans the edge against the AI systems and automation that are coming rapidly. By cultivating a culture of creativity in education, business and beyond, we can unlock the limitless potential of human ingenuity and create a world where creativity flourishes and thrives.
Reference:
World Economic Forum. (2020). The Future of Jobs Report 2020. Geneva: World Economic Forum. Available at: https://www.weforum.org/reports/the-future-of-jobs-report-2020
About the author
Andrew Westle is the National Programme Manager for The Agency at Battersea Arts Centre, where he leads the award winning programme The Agency. Prior to this, he was the Engagement Manager (Co-Creation) for Manchester International Festival, steering participatory projects that bridged art and social impact. Andrew’s career defies simple categorisation, weaving together research, socially engaged arts practice, performance, evaluation, writing, and public health.
Originally from Australia, Andrew has lived in the UK for eight years, contributing to a wide range of organisations including All The Queens Men, the Australian Ballet, the University of New South Wales, and Manchester Craft and Design Centre. He is the creator of Delving into Dance, a podcast and web platform that has reached an international audience of over 80,000 people.
Andrew holds a PhD and a Master of Fine Arts (Cultural Leadership) from the National Institute of Dramatic Art (NIDA), where he was part of the inaugural cohort. He was a Clore Fellow in 2023/24.
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