Shaun McNiff begins the introduction with a description of how hungry people are for creative expression and when they give themselves permission to create are amazed by the outcome. He outlines his book, Trust The Process, as a guide for those seeking the “ways” of the creative spirit -- in the many forms of disciplines such as painting, writing, movement, drumming, and performance. He alerts his reader to “the ability to relax in periods of uncertainty and to trust that the creative intelligence will find its way.” As well as to be open to the ambiguity when in an absence of creative resources. Trust the creative process knows where it needs to go. This book will expand the reader’s perception of creativity with a way to review artwork as resting places of generated ideas. The author suggests these new ways of seeing are “guides and sources of illumination,” to keep not only the beginner going once they start creating, but also to assist the experienced artist with a more concrete practice. McNiff ends the introduction with a broader brush stroke in understanding the creative process as a deeper method of reflecting on living a creative life.
Creativity has many avenues in which to present itself into the world - music, painting, dance, the written word… ultimately creativity is just an idea manifesting itself no matter whether its in a concert hall, museum, kitchen or in an office. Yet the reader is reminded how our society likes to put creativity into specific boxes ... give it labels such as artist, musician, or chef. And along with these specific labels, we have different views of what creativity is and what it is not. McNiff uses the next 3 chapters to review the unknown, the emanation, and the mistakes and distortions of the creative process.
He opens his first chapter with the difficulties presented within our society about what constitutes art. A simple way of understanding creativity is that our creations are only limited by our consciousness. Humans create on a daily basis for survival. Yet society continues with placing limits on who are creators and who are not. McNiff states that everyone creates daily. Since we all are creators, it takes a mindshift from our socialization to risk experimenting within any creative endeavor, as well as letting go of the notion that we have to know the results before we begin. Trust The Processsets the framework of how to prepare for the creative rituals. Such as with a child learning to read, the same process cannot be explained, only trusted over focused exercises, preparation, and practice. McNiff equates the same for a creative process. The largest issue is TIME, as it is part of our humanness to want quick results. Learning patience with the process, and the patterns each person might replicate without an understanding of the process, usually contributes to a “quitting before beginning” outcome.
Several old stories continue to be replicated within our society such as: 1) art has to be profitable, 2) any creation is a waste of time or resources if it’s not made by a master artist, and 3) there are only a few that are considered master artists. McNiff asks his readers to image if these same stories were applied to education. We more than likely would no longer have elementary or high schools. While we might be able to teach art through learning different techniques, teaching creativity looks much different. Everything depends upon the quality of attention and attitude we take to which we apply to our perceptions. It is with the flexibility - the ability to change direction, one opens oneself to the expansive discovery within a creative process. In other words, just try it. Step into the unknown. Play. Experiment. Make no judgments. See what comes from your willingness to engage with creativity.
McNiff reminds his readers of the basic tenant of life - if nothing happens, nothing happens. One must engage with the creative process through the act of doing something on a repetitive basis. For some this might be an easy process and yet for others, they might need a midwife to assist them with the delivery of their creative offspring. Each person starts with what they know and build upon their knowledge through a learning of techniques. “As a rule,” McNiff states, “the process of emanation occurs on its own schedule and not on ours. Creative insights perversely appear when we are occupied with something else.” One can teach creativity techniques, not creativity. It is through these connections of ideas our minds generate is the precise skill creativity gathers and absorbs. Just as a child matures, so does an artist. Over a period of time a person broadens their understanding of what works and what does not. It is through this perspective of wonder and discovery and a willingness to put aside the judgment of one’s creations, the individual begins to flourish as art requires experimentation much like childhood. Everything depends upon the quality of attention and attitude we take to which we apply our own perceptions.
McNiff opens his third chapter with “The Mistake is a message that calls for attention.” Part of our socialization has distorted this message with a focus on one should not make a mistake rather than understanding the intention of the message. It is when a person obsesses about the mistake, they miss the message it is calling attention to...for example, cleaning up only the water found at the floor of kitchen sink rather than turning off the faucet. The mistake is the overflowing water found on the floor. The message the mistake was giving direction to is the faucet was left on. The same is within any creative expression. McNiff alerts his reader to be aware of how we perceive our mistakes as we might already have a framework as a reference. Many people do not begin any creative endeavor as they fear making a mistake may mean “theyarea mistake.” Their perception of “not doing something the right way,” is a normal condition of our socialization. Imagine never having been aware of any mistakes you have made. Mistakes are guides for what works and what does not. Even in an artmaking world, mistakes can become the necessary shift to lift our creative inhibitions much the way Picasso began with his work - to make use of them in novel ways. McNiff suggests to his readers "everything can be put to use in within the creative process," - recycle, reduce, reuse, even one's beliefs about our abilities to create.
McNiff reminds his reader creativity manifests itself through the ordinary lives of those who are willing to "find the time to create.” In examining the mannerisms of artists, these are some of the common threads connecting each one - a willingness to explore, and a daily habit of following what is curious to them, all the while they live their ordinary lives of being a homemaker, a teacher, librarian, banker, or insurance executive, etc. The difference is they are willing to dedicate themselves to the expressive imagination ...consistently! McNiff’s chapter on the many ways of creating, begins to confront the ideas society has with the assumptions made about “talent.” Talent is a label with a fixed idea. He asserts that talent is “the most crippling obstacle used against you,”placing a hierarchy in a license to create. Those who are declare talented to create are deemed worthy and unquestioned of the title. All the while, we miss other creations, never to be viewed or witnessed mostly due to a lack of training and a belief system that holds others from even beginning. We, as a society, must learn that “something significant is always moving inside...” a person. When a person is given access to materials, resources, time to experiment and play, one begins to deliver the creativity within. He ends the chapter with an offering of developing the reader’s own creative profile; a simple exercise to open the mind to view one’s own creative spirit. This may assist with an attitude shift from “I can’t” to “I can,” thereby unleashing the power of imagination to flow freely and uninhibited.
In his next chapter, he brings his reader back to “creation requires attention and complete focus.” When nothing happens, nothing happens. Creativity requires a commitment to begin, no matter where you are, and to practice daily. There will always be obstacles in the way, and one of the biggest principles a creator must deal with is -- learning to work with limits. These limits offer insight in how to remain focused, improvise with what you have, and increase the imagination muscle. There will be periods of frustration. There will be times of not knowing how to proceed. There will be blank pages or blank canvases. Yet this emptiness does not mean there is nothing. It is a space waiting for creative forces to take shape. An incubation. Creative ideas “emerge through the movement of painting or writing.” Practice and play give form to emerging creative energy. An art teacher so equivocally reminds her students that most people when making something creative, want to create something on the same level of Monet or Renoir. But what most students fail to remember is they too had “shitty work,” and we needed to begin our own. It is through this practice of doing, of seeing what works and what does not, we open our attention and develop our focus as if it was a meditation. It is through this repeated practice does one develop the skills.
McNiff offers in his next chapter a fundamental creative skill of “reframing” as in its ability to “constantly re-vision the world” as everything goes through a renewal or recycle phase. The same with any idea with looking for new ways to explore or seeing the world. Our ability to expand our creativity requires the skill to reframe situations, to change perspectives for alternative ideas. When we do not respect the different ways of viewing the world, we limit our vision and possibility, and create negative circumstances. So in other words, our greatest impediment to change is fear when one wants to protect their integrity. Rather than looking at ourselves as flexible-beings with the ability to entertain contradictory positions, one become overly attached to our ideas and opinions. McNiff gives an example of placing a rock in the middle of the floor. He instructs the reader to move around the rock to change their perspective. He suggests for the reader to begin to notice the changes in the rock from the different vantage points. He also asks the reader to imagine the rock looking at them. And he asks his readers to review all perspectives and how one normally makes interpretations of data -- to latch onto a singular interpretation rather than imagine what is possible from so many different perspectives.
McNiff starts off the 8th chapter in section 2 with a reminder to his reader of the unique and individual styles of creativity. Yet no matter what the style is, there will always be obstacles to impede the development which are similar in any creative process. No matter what the creative block is, he suggests ACTION begins the process. Most of the blocks start with thoughts - “i can’t do this,” “I’ll fail,” “it won’t work.” The “control tower” is only in the mind. Moving other body parts such as with drumming, may begin to unblock the mind into action. Unrealistic expectations, procrastination, depression, or low self-confidence, doubt, frustration and discontentment may impede the creative process. It is through the action of stepping out of the mind-set of beginning and ends, to practice daily some sort of creative expression. He suggests visiting other creatives just as Picasso did and was welcoming to others to visit his studio. Creativity is but the appetite .. blocking it begins the malnurishment.
In the next chapter, McNiff begins the HOW to nourish the creative self through a call to active experimentation with different roles in order to shift a person’s thinking. It is through this action of doing something, with some consistency, does a move occur. As well as relinquishing the belief of any attempt to be perfect. He asks the reader to consider their type of creative on pg 84 such as “the solitary dreamer,” “the energetic team player,” “the organized planner,” etc. He suggests when one of these types of creative characters takes over, it is usually when a person becomes stuck or blocked. An openness to recognizing the typed, and a willingness to experiment with other types, does one move more toward cultivating a better understanding of their own creative process. At the end of the chapter, he warns the reader to be aware of any inflexible attempts at change could harden the resistance. The reader would need to be remain flexible, curious, and willing to explore what is behind each block in order to not to arrest the creative process.
In the third section McNiff titles “every experience has something to offer,” and breaks down the next six chapters into bite size nuggets of discovering the HOW to use one’s experiences to improve their lives. He begins chapter 10 with where one has power -- it is through a cumulative effect of individual actions that contribute to lasting changes or improvements to society. McNiff is less impressed with what people want to do, and more impressed by what actions they have taken. While we might have celebrated artists such as the Monet’s or the Shakespeare's in our world, it is the other experiences of their lives we may never have any knowledge to what made them take action. For example, what had to set the stage for Shakespeare to do his writing? What was it that motivated him into action? His action of contributing to poetry, plays, etc., changed the world. Never underestimate one’s ability to contribute to the creative process of a civilization. McNiff suggests to his readers to immerse themselves in the doing, with repetition. To be aware of old messages which may pop up to limit one’s creative efforts. It is through this shift of seeing one’s creative contribution to a community, does one move to being significant in making our world a little bit better. One caution of patience to the process, as McNiff states that “even experienced creators find it difficult to accept”the gestation period, especially when there are “few signs of progress.” In other words, creativity is non-linear. It is through a commitment of immersing oneself in daily play do they have new insights to what creativity has to offers them.
The next chapter, McNiff takes the reader forward with a review of HOW to see the world - that is that for each person, one sees their world through their own lens; their own perspective. Within one’s perspective, one chooses what to see and what not to see. McNiff urges his reader to put aside their perspective to become open to other ways of seeing. It is through this exercise does one begin to see the patterns and themes which influence day-to-day personal living. He guides the reader to review metaphorically how shapes/patterns, images as guides, or the colors in one’s life create meaning. He encourages the reader to review how these qualities have influenced their creative style in playing with the various of mediums for expression. At the end of this chapter, McNiff brings to light that through this distillation of life’s multitude of forms of expression, it is the practice of broadening one’s perspective to see the influences and their contributions. There are many choices at one’s disposal, but it is the ability to see the possibility of expression through a wider consciousness.
Chapter 12 begins with a focus on the arrangement of things as McNiff suggest for the reader to sit and observe things as they are. For example, reviewing the things in one’s home may display the express of what one holds valuable. He urges his readers who may not view themselves as creative to remain open to viewing things in one’s life, as these things often influence person’s initiative in a creative expression. In paying close attention to what they hold as valuable, begins a “collaboration with the forces outside” themselves.
McNiff opens Chapter 13 encouraging readers to begin in “playful exploration” without expectation of the outcome. He suggests that "being present" is one of the essential skills an artist can use within a creative process. Play does not focus on the outcome. When one holds a view of play as "a waste of time or money" he cautions the reader to being aware of making critical statements as this statement tells the reader they are viewing their creative process from the end product perspective. For some people, being present to play is difficult as they are “reluctant to risk opening themselves to the unknown.” In other words, they think ‘better to not try than to try and fail.’ McNiff suggests that “free play” is the best way to achieve a practice of presence, as there are no hold to the desire of the outcome. Play will always act as a container for our expression. Life matures to an unrelenting exchange between play and technical proficiency.
In the next chapter, McNiff invites creativity into the workplace, asking the reader to explore how creativity would transform their organization. He shares how as dean of a graduate school was able to shift his own thinking about his role and the challenges he faced. He was able to apply a creative process to explore a more satisfying work environment. He first suggests to “re-invision what we take for granted.” He offers other suggestions such as sifting one’s attitude, changing perspectives, embracing mindfully, and “sit with what you have and dream with it in a new way.” Creativity is not something that is exclusively to an individual. But rather allowing creativity the opportunity within the workplace to interact in different ways to solve problems.
The chapter on Vision, McNiff offers how one action often leads to another. Creativity makes use of everything - internal and external influences, and even adversity. He states “visions are a sense of possibility and never rigid scripts. They grow from a person’s longing and interactions with the world.” Our lives are consistently moving in and out of creative inspiration, shaped by the experiences one has. The creative process flourishes within a challenging environment. He asks the reader to review their own life for phases of adversity, lost opportunities, or outrageous achievements. To review what was learned from missed opportunities in order to gain insight and influence a future sense of direction.
Chapter 16 opens a new section on "Create with What You Already Have,” to deepen the understanding of the creative process. McNiff offers his readers to "reinvision what you already do” to build a creative consciousness to what is present. Yet in society, this is not usually seen as creative such decorating the home, writing a letter, or cooking a meal. If one is wanting to study creativity, they do not necessarily need to go to an art school, but begin to see how their lives are already living a creative life. There are dependable forms of creativity such as drawing, painting, dance, singing, etc. All of which takes a practice. McNiff shares with the reader how he assists many people to overcome the idea they are not creative or talented. He suggests to his reader to review where they are most engaged, the areas of their life which are frequently overlooked, and what in their life bothers them the most. The creative process makes use of life experiences. McNiff encourages his reader to also review the materials a person may have already access to using. For example, if one is most engaged at home, look for the ways they have been creative with making the home aesthetically pleasing such as decorating a bedroom or organizing a kitchen. McNiff reminds his reader that conflicts or tensions are a normal part of life. He suggests to use the conflicts rather than spend the energy to get rid of them. He alerts his reader to be aware to use the message of the situation as it may be suggesting how to live another way. His example of a car, with it breaking down, one could write “an ode to the car,” as a metaphor of how to handle other life stresses or disappointments. All of his exercises he suggests can also be used with paint and brushes. The theme of this chapter is to bring awareness of one’s limiting self-consciousness, to create an openness to explore the vastness of possibility of what one already knows.
The next chapter reviews one’s environments and how these impact a creative process or as McNiff calls it a “creative ecology.” He again calls attention that everything is in a constant interaction with one another. Societal norms show how we are influenced to take vacations to beautiful places or build homes that are spacious because they support us not only physically but also emotionally. Our spaces we inhabit evoke an emotional response. And it does not matter whether a space is cluttered or organized as each person has their own response to their environment. It’s not the quality of the design that makes one space better than the other. It’s the quality of the consciousness — the ability to adjust and compensate, no matter what shows up. McNiff offers at least 15 exercises in this chapter to better help the reader determine their own environment for more successful interactions in their own creative process.
In chapter 18, McNiff urges his readers to do some reflective work on their own childhood. He states most artist and scientist shared how influential their childhood was for their work - the imagination, their inquisitive, and the wonder originates in the early years. This chapter offers several prompts to help the reader obtain childhood memories. McNiff suggest that by returning to these old memories of childhood, the reader begins to open the door to imagination and playfulness we often loose in adulthood. He also suggests that beginning painters return to their childhood exploration, such as with broad strokes of color and movement. This allows them to be in the play part of their creative development rather than focused on perfecting the details. If Picasso and Matisse can return to their childhood, and use these types of childhood qualities, then we might want to also incorporate these techniques in our own creative development.
McNiff opens the last section of the book on a call to understand that everything in life takes a practice. He encourages his reader to review presenting life challenges, and within a repetition practice, become aware of how new techniques helps one see what works and what does not. But what he found that gives the most satisfying results, is a commitment to a disciplined practice. The necessary ingredient in any practice is time. Time to mature as a creative. Creativity is a process. It is through a willingness to use time, learning “repeatedly," what works and what does not to strengthen the creative muscles.
In Chapter 20, McNiff again encourages his reader to review their environment with fresh eyes. Asking how one environment can be boring to some yet stimulating to another. He suggests the reader consider one’s environment as though they were a stranger in a new land, seeing it for the first time. He presents other reflective exercises in this chapter to strengthen the imagination muscle. McNiff’s intention is to shift the reader’s perspective in how they might “have always done things,” to a view of how the perspective as a stranger changes one’s daily routines. For example, if one creative approach was to draw, he suggests to possibly water color or paint. The focus is to keep changing to the stranger perspective, that seeing something for the first time assists with gaining a better sense of new materials. His hypothesis is that one does the same things over and over to find the familiarity and to possibility avoid potential conflict. Conflict is the agent of change, and useful in development of the creative consciousness. McNiff suggestion for artists to distance themselves from their artwork, as that habit produces more of the same. The author shares other prompts to expand the reader’s ability to see in new ways their creative growth.
There are reoccurring themes in one’s artwork. Repetition creates a focus to find variations and strengthens the creative muscles toward innovation. In chapter 21 McNiff takes the reader through various reflection methods to experiment with their creative expression, no matter whether it’s painting, song writing, or writing music. He states Picasso was not worried about the repetition within his own works. Yet McNiff cautions, new artists are concerned about “the task of inventing something completely new.” He expands this as it is one of the largest obstacles for a beginning creative, that is the assumption that "creativity always involves the invention of something new.” Creativity comes through the play and exploration of materials, elements, environments, emotions, etc. Much like a river, allowing it to flow - expression is like a river, through which a creative stream flows imagination. Let every river of creation return to the sea of imagination ...to that instinctive source of expression - PLAY.
In these last three chapters, McNiff begins to summarize how he sees the creative process, beginning with a daily practice of connecting with the creative spirit. Setting aside a time of day devoted to examining the ordinariness of life. Being open and a willing participate to the direction the process takes one, exploring inconsistencies along the way. He states that his “excessive self-consciousness,” was a “major inhibitor” to his own creative journey. He discloses that it was through is own willingness to accept his experiences, the difficulties, the ups/downs of life, that he had to keep showing up for the learning, no matter how difficult the lesson. Giving up and surrendering were also part of the process, and learning to trust the process had information on where he needed to go. For a creative, there is the battle of the process or the product. He sees the product of a creative as their off-spring. Neither right or wrong. The product is but an expression of one’s actions. And no matter the medium, there will always be some form of critique, whether it is one’s self or another. He offers the reader a method in understanding the psychological insights criticism has to offer.
One method is not to pay any attention to any criticism as well as condemning those that offer judgments of one’s creations. This keeps one in the possible fearful position of hearing any message about one’s artwork as negative, rather than guiding. He suggests the best place to find critique is in an environment that is safe, respectful and nurturing. To remember that mistakes are part of the creative process, to be part of the practice of any creative process in the learning of what works and what does not, to remain flexible in the growth in review of attitudes, opinions, experiences, or ideas. Part of the process of criticism's role is to strengthen one’s own critical eye for the creative process to work together in things taking form by a call to attention. Criticism is to be used as direction, not judgment for who one is, or what they have created. But more to offer a freedom of direction with their expression.
He leaves the last chapter with a call to connection through expression. He engages the reader to find what creative expressions reveal about themselves. And some difficulty people find with expressing is the fear that others may know more about them through their creative abilities than they desire. There is a responsiveness to the creative process as “creations of the imagination carry imprints of their makers.” He shares that what we make carries along with it a part of our humanness. Yet he steers the reader to remember that it is not that one leaves their imprint on their artwork, but how their artwork left an impression up on them. McNiff ends his book with a call to stay in the flow on creation, and to trust the process.
I have a huge appreciation for Shaun McNiff’s work on the creative process. From his works of Trust the Process, Art Heals, and Imagination in Action, and as well as with many other authors' descriptions of the creative process, all of these authors have reinforced my own theory of what the creative process is …
•time
•access to materials and resources
•willingness to explore
•willingness to accept failure
•openness to the ambiguity
•non-linear
•final.
In this book, McNiff reinforces each of these points. TIME is the dominating factor for any creative process. We created paints that dry faster. We want to speed up the process to get on to the final product… Before 1816 if one wanted a picture of themselves, one had to make an appointment with a portrait artist. Now we have cell phones with camera’s inside them. Trust the Processgave more definitive answers with regards to time, with an emphasis on every thing takes a practice. Time is what most beginning creators have difficulty with as McNiff stated throughout his book the old beliefs one has about creating. It takes time to practice learning how art materials work, writing music notes, creating dance steps, or writing sentence structures for clarity. All require the discipline of a daily practice to experiment, a willingness to explore what works and what does not. And if one IS a seasoned artist, to review one’s environment as though they were a stranger, seeing it with fresh eyes. If something does not work, to experiment. To try new materials. To look for other resources in assist with creating. McNiff emphasized creating with what one already has at their disposal. He discussed how criticism, no matter whether provided by one’s self or others, is to be used to see what works and what does not. That’s it. It’s not to be misused as a person is a failure because they did not create a masterpiece.
In several chapters, he reminds one to be open to the ambiguity of the creative process, through a willingness to play and explore, letting it guide one’s discovery of what expression is to be delivered to the world. Trust the process: creativity has the intelligence to lead. Every experience has something to offer. And just because one thing shows up, does not mean we get to assume success will follow. While McNiff did not discuss directly in this book, the creative process has an end. Everything we create, at some point comes to a grand finale.
Why I love this book - I see the creative process as a template for understanding one’s life. Everything takes time. We might not always have access to all the materials and resources to create our lives as we think they should be. Learning how to use what we ALREADY have access to, and being open to exploring new ways of learning with whatever shows up. Every experience we have becomes a part of our learning about being a spiritual being having a human experience. We are a work in progress. And learning to trust this process, especially when old messages resurface reminding us of our failures. Learning how to accept what is, no matter what shows up. And just because I think my life should be a certain way, I’m learning that it is going they way it is. My task is to begin a daily practice with a focus cherishing what does show up, as at some point, there will be an end.
Creativity has many avenues in which to present itself into the world - music, painting, dance, the written word… ultimately creativity is just an idea manifesting itself no matter whether its in a concert hall, museum, kitchen or in an office. Yet the reader is reminded how our society likes to put creativity into specific boxes ... give it labels such as artist, musician, or chef. And along with these specific labels, we have different views of what creativity is and what it is not. McNiff uses the next 3 chapters to review the unknown, the emanation, and the mistakes and distortions of the creative process.
He opens his first chapter with the difficulties presented within our society about what constitutes art. A simple way of understanding creativity is that our creations are only limited by our consciousness. Humans create on a daily basis for survival. Yet society continues with placing limits on who are creators and who are not. McNiff states that everyone creates daily. Since we all are creators, it takes a mindshift from our socialization to risk experimenting within any creative endeavor, as well as letting go of the notion that we have to know the results before we begin. Trust The Processsets the framework of how to prepare for the creative rituals. Such as with a child learning to read, the same process cannot be explained, only trusted over focused exercises, preparation, and practice. McNiff equates the same for a creative process. The largest issue is TIME, as it is part of our humanness to want quick results. Learning patience with the process, and the patterns each person might replicate without an understanding of the process, usually contributes to a “quitting before beginning” outcome.
Several old stories continue to be replicated within our society such as: 1) art has to be profitable, 2) any creation is a waste of time or resources if it’s not made by a master artist, and 3) there are only a few that are considered master artists. McNiff asks his readers to image if these same stories were applied to education. We more than likely would no longer have elementary or high schools. While we might be able to teach art through learning different techniques, teaching creativity looks much different. Everything depends upon the quality of attention and attitude we take to which we apply to our perceptions. It is with the flexibility - the ability to change direction, one opens oneself to the expansive discovery within a creative process. In other words, just try it. Step into the unknown. Play. Experiment. Make no judgments. See what comes from your willingness to engage with creativity.
McNiff reminds his readers of the basic tenant of life - if nothing happens, nothing happens. One must engage with the creative process through the act of doing something on a repetitive basis. For some this might be an easy process and yet for others, they might need a midwife to assist them with the delivery of their creative offspring. Each person starts with what they know and build upon their knowledge through a learning of techniques. “As a rule,” McNiff states, “the process of emanation occurs on its own schedule and not on ours. Creative insights perversely appear when we are occupied with something else.” One can teach creativity techniques, not creativity. It is through these connections of ideas our minds generate is the precise skill creativity gathers and absorbs. Just as a child matures, so does an artist. Over a period of time a person broadens their understanding of what works and what does not. It is through this perspective of wonder and discovery and a willingness to put aside the judgment of one’s creations, the individual begins to flourish as art requires experimentation much like childhood. Everything depends upon the quality of attention and attitude we take to which we apply our own perceptions.
McNiff opens his third chapter with “The Mistake is a message that calls for attention.” Part of our socialization has distorted this message with a focus on one should not make a mistake rather than understanding the intention of the message. It is when a person obsesses about the mistake, they miss the message it is calling attention to...for example, cleaning up only the water found at the floor of kitchen sink rather than turning off the faucet. The mistake is the overflowing water found on the floor. The message the mistake was giving direction to is the faucet was left on. The same is within any creative expression. McNiff alerts his reader to be aware of how we perceive our mistakes as we might already have a framework as a reference. Many people do not begin any creative endeavor as they fear making a mistake may mean “theyarea mistake.” Their perception of “not doing something the right way,” is a normal condition of our socialization. Imagine never having been aware of any mistakes you have made. Mistakes are guides for what works and what does not. Even in an artmaking world, mistakes can become the necessary shift to lift our creative inhibitions much the way Picasso began with his work - to make use of them in novel ways. McNiff suggests to his readers "everything can be put to use in within the creative process," - recycle, reduce, reuse, even one's beliefs about our abilities to create.
McNiff reminds his reader creativity manifests itself through the ordinary lives of those who are willing to "find the time to create.” In examining the mannerisms of artists, these are some of the common threads connecting each one - a willingness to explore, and a daily habit of following what is curious to them, all the while they live their ordinary lives of being a homemaker, a teacher, librarian, banker, or insurance executive, etc. The difference is they are willing to dedicate themselves to the expressive imagination ...consistently! McNiff’s chapter on the many ways of creating, begins to confront the ideas society has with the assumptions made about “talent.” Talent is a label with a fixed idea. He asserts that talent is “the most crippling obstacle used against you,”placing a hierarchy in a license to create. Those who are declare talented to create are deemed worthy and unquestioned of the title. All the while, we miss other creations, never to be viewed or witnessed mostly due to a lack of training and a belief system that holds others from even beginning. We, as a society, must learn that “something significant is always moving inside...” a person. When a person is given access to materials, resources, time to experiment and play, one begins to deliver the creativity within. He ends the chapter with an offering of developing the reader’s own creative profile; a simple exercise to open the mind to view one’s own creative spirit. This may assist with an attitude shift from “I can’t” to “I can,” thereby unleashing the power of imagination to flow freely and uninhibited.
In his next chapter, he brings his reader back to “creation requires attention and complete focus.” When nothing happens, nothing happens. Creativity requires a commitment to begin, no matter where you are, and to practice daily. There will always be obstacles in the way, and one of the biggest principles a creator must deal with is -- learning to work with limits. These limits offer insight in how to remain focused, improvise with what you have, and increase the imagination muscle. There will be periods of frustration. There will be times of not knowing how to proceed. There will be blank pages or blank canvases. Yet this emptiness does not mean there is nothing. It is a space waiting for creative forces to take shape. An incubation. Creative ideas “emerge through the movement of painting or writing.” Practice and play give form to emerging creative energy. An art teacher so equivocally reminds her students that most people when making something creative, want to create something on the same level of Monet or Renoir. But what most students fail to remember is they too had “shitty work,” and we needed to begin our own. It is through this practice of doing, of seeing what works and what does not, we open our attention and develop our focus as if it was a meditation. It is through this repeated practice does one develop the skills.
McNiff offers in his next chapter a fundamental creative skill of “reframing” as in its ability to “constantly re-vision the world” as everything goes through a renewal or recycle phase. The same with any idea with looking for new ways to explore or seeing the world. Our ability to expand our creativity requires the skill to reframe situations, to change perspectives for alternative ideas. When we do not respect the different ways of viewing the world, we limit our vision and possibility, and create negative circumstances. So in other words, our greatest impediment to change is fear when one wants to protect their integrity. Rather than looking at ourselves as flexible-beings with the ability to entertain contradictory positions, one become overly attached to our ideas and opinions. McNiff gives an example of placing a rock in the middle of the floor. He instructs the reader to move around the rock to change their perspective. He suggests for the reader to begin to notice the changes in the rock from the different vantage points. He also asks the reader to imagine the rock looking at them. And he asks his readers to review all perspectives and how one normally makes interpretations of data -- to latch onto a singular interpretation rather than imagine what is possible from so many different perspectives.
McNiff starts off the 8th chapter in section 2 with a reminder to his reader of the unique and individual styles of creativity. Yet no matter what the style is, there will always be obstacles to impede the development which are similar in any creative process. No matter what the creative block is, he suggests ACTION begins the process. Most of the blocks start with thoughts - “i can’t do this,” “I’ll fail,” “it won’t work.” The “control tower” is only in the mind. Moving other body parts such as with drumming, may begin to unblock the mind into action. Unrealistic expectations, procrastination, depression, or low self-confidence, doubt, frustration and discontentment may impede the creative process. It is through the action of stepping out of the mind-set of beginning and ends, to practice daily some sort of creative expression. He suggests visiting other creatives just as Picasso did and was welcoming to others to visit his studio. Creativity is but the appetite .. blocking it begins the malnurishment.
In the next chapter, McNiff begins the HOW to nourish the creative self through a call to active experimentation with different roles in order to shift a person’s thinking. It is through this action of doing something, with some consistency, does a move occur. As well as relinquishing the belief of any attempt to be perfect. He asks the reader to consider their type of creative on pg 84 such as “the solitary dreamer,” “the energetic team player,” “the organized planner,” etc. He suggests when one of these types of creative characters takes over, it is usually when a person becomes stuck or blocked. An openness to recognizing the typed, and a willingness to experiment with other types, does one move more toward cultivating a better understanding of their own creative process. At the end of the chapter, he warns the reader to be aware of any inflexible attempts at change could harden the resistance. The reader would need to be remain flexible, curious, and willing to explore what is behind each block in order to not to arrest the creative process.
In the third section McNiff titles “every experience has something to offer,” and breaks down the next six chapters into bite size nuggets of discovering the HOW to use one’s experiences to improve their lives. He begins chapter 10 with where one has power -- it is through a cumulative effect of individual actions that contribute to lasting changes or improvements to society. McNiff is less impressed with what people want to do, and more impressed by what actions they have taken. While we might have celebrated artists such as the Monet’s or the Shakespeare's in our world, it is the other experiences of their lives we may never have any knowledge to what made them take action. For example, what had to set the stage for Shakespeare to do his writing? What was it that motivated him into action? His action of contributing to poetry, plays, etc., changed the world. Never underestimate one’s ability to contribute to the creative process of a civilization. McNiff suggests to his readers to immerse themselves in the doing, with repetition. To be aware of old messages which may pop up to limit one’s creative efforts. It is through this shift of seeing one’s creative contribution to a community, does one move to being significant in making our world a little bit better. One caution of patience to the process, as McNiff states that “even experienced creators find it difficult to accept”the gestation period, especially when there are “few signs of progress.” In other words, creativity is non-linear. It is through a commitment of immersing oneself in daily play do they have new insights to what creativity has to offers them.
The next chapter, McNiff takes the reader forward with a review of HOW to see the world - that is that for each person, one sees their world through their own lens; their own perspective. Within one’s perspective, one chooses what to see and what not to see. McNiff urges his reader to put aside their perspective to become open to other ways of seeing. It is through this exercise does one begin to see the patterns and themes which influence day-to-day personal living. He guides the reader to review metaphorically how shapes/patterns, images as guides, or the colors in one’s life create meaning. He encourages the reader to review how these qualities have influenced their creative style in playing with the various of mediums for expression. At the end of this chapter, McNiff brings to light that through this distillation of life’s multitude of forms of expression, it is the practice of broadening one’s perspective to see the influences and their contributions. There are many choices at one’s disposal, but it is the ability to see the possibility of expression through a wider consciousness.
Chapter 12 begins with a focus on the arrangement of things as McNiff suggest for the reader to sit and observe things as they are. For example, reviewing the things in one’s home may display the express of what one holds valuable. He urges his readers who may not view themselves as creative to remain open to viewing things in one’s life, as these things often influence person’s initiative in a creative expression. In paying close attention to what they hold as valuable, begins a “collaboration with the forces outside” themselves.
McNiff opens Chapter 13 encouraging readers to begin in “playful exploration” without expectation of the outcome. He suggests that "being present" is one of the essential skills an artist can use within a creative process. Play does not focus on the outcome. When one holds a view of play as "a waste of time or money" he cautions the reader to being aware of making critical statements as this statement tells the reader they are viewing their creative process from the end product perspective. For some people, being present to play is difficult as they are “reluctant to risk opening themselves to the unknown.” In other words, they think ‘better to not try than to try and fail.’ McNiff suggests that “free play” is the best way to achieve a practice of presence, as there are no hold to the desire of the outcome. Play will always act as a container for our expression. Life matures to an unrelenting exchange between play and technical proficiency.
In the next chapter, McNiff invites creativity into the workplace, asking the reader to explore how creativity would transform their organization. He shares how as dean of a graduate school was able to shift his own thinking about his role and the challenges he faced. He was able to apply a creative process to explore a more satisfying work environment. He first suggests to “re-invision what we take for granted.” He offers other suggestions such as sifting one’s attitude, changing perspectives, embracing mindfully, and “sit with what you have and dream with it in a new way.” Creativity is not something that is exclusively to an individual. But rather allowing creativity the opportunity within the workplace to interact in different ways to solve problems.
The chapter on Vision, McNiff offers how one action often leads to another. Creativity makes use of everything - internal and external influences, and even adversity. He states “visions are a sense of possibility and never rigid scripts. They grow from a person’s longing and interactions with the world.” Our lives are consistently moving in and out of creative inspiration, shaped by the experiences one has. The creative process flourishes within a challenging environment. He asks the reader to review their own life for phases of adversity, lost opportunities, or outrageous achievements. To review what was learned from missed opportunities in order to gain insight and influence a future sense of direction.
Chapter 16 opens a new section on "Create with What You Already Have,” to deepen the understanding of the creative process. McNiff offers his readers to "reinvision what you already do” to build a creative consciousness to what is present. Yet in society, this is not usually seen as creative such decorating the home, writing a letter, or cooking a meal. If one is wanting to study creativity, they do not necessarily need to go to an art school, but begin to see how their lives are already living a creative life. There are dependable forms of creativity such as drawing, painting, dance, singing, etc. All of which takes a practice. McNiff shares with the reader how he assists many people to overcome the idea they are not creative or talented. He suggests to his reader to review where they are most engaged, the areas of their life which are frequently overlooked, and what in their life bothers them the most. The creative process makes use of life experiences. McNiff encourages his reader to also review the materials a person may have already access to using. For example, if one is most engaged at home, look for the ways they have been creative with making the home aesthetically pleasing such as decorating a bedroom or organizing a kitchen. McNiff reminds his reader that conflicts or tensions are a normal part of life. He suggests to use the conflicts rather than spend the energy to get rid of them. He alerts his reader to be aware to use the message of the situation as it may be suggesting how to live another way. His example of a car, with it breaking down, one could write “an ode to the car,” as a metaphor of how to handle other life stresses or disappointments. All of his exercises he suggests can also be used with paint and brushes. The theme of this chapter is to bring awareness of one’s limiting self-consciousness, to create an openness to explore the vastness of possibility of what one already knows.
The next chapter reviews one’s environments and how these impact a creative process or as McNiff calls it a “creative ecology.” He again calls attention that everything is in a constant interaction with one another. Societal norms show how we are influenced to take vacations to beautiful places or build homes that are spacious because they support us not only physically but also emotionally. Our spaces we inhabit evoke an emotional response. And it does not matter whether a space is cluttered or organized as each person has their own response to their environment. It’s not the quality of the design that makes one space better than the other. It’s the quality of the consciousness — the ability to adjust and compensate, no matter what shows up. McNiff offers at least 15 exercises in this chapter to better help the reader determine their own environment for more successful interactions in their own creative process.
In chapter 18, McNiff urges his readers to do some reflective work on their own childhood. He states most artist and scientist shared how influential their childhood was for their work - the imagination, their inquisitive, and the wonder originates in the early years. This chapter offers several prompts to help the reader obtain childhood memories. McNiff suggest that by returning to these old memories of childhood, the reader begins to open the door to imagination and playfulness we often loose in adulthood. He also suggests that beginning painters return to their childhood exploration, such as with broad strokes of color and movement. This allows them to be in the play part of their creative development rather than focused on perfecting the details. If Picasso and Matisse can return to their childhood, and use these types of childhood qualities, then we might want to also incorporate these techniques in our own creative development.
McNiff opens the last section of the book on a call to understand that everything in life takes a practice. He encourages his reader to review presenting life challenges, and within a repetition practice, become aware of how new techniques helps one see what works and what does not. But what he found that gives the most satisfying results, is a commitment to a disciplined practice. The necessary ingredient in any practice is time. Time to mature as a creative. Creativity is a process. It is through a willingness to use time, learning “repeatedly," what works and what does not to strengthen the creative muscles.
In Chapter 20, McNiff again encourages his reader to review their environment with fresh eyes. Asking how one environment can be boring to some yet stimulating to another. He suggests the reader consider one’s environment as though they were a stranger in a new land, seeing it for the first time. He presents other reflective exercises in this chapter to strengthen the imagination muscle. McNiff’s intention is to shift the reader’s perspective in how they might “have always done things,” to a view of how the perspective as a stranger changes one’s daily routines. For example, if one creative approach was to draw, he suggests to possibly water color or paint. The focus is to keep changing to the stranger perspective, that seeing something for the first time assists with gaining a better sense of new materials. His hypothesis is that one does the same things over and over to find the familiarity and to possibility avoid potential conflict. Conflict is the agent of change, and useful in development of the creative consciousness. McNiff suggestion for artists to distance themselves from their artwork, as that habit produces more of the same. The author shares other prompts to expand the reader’s ability to see in new ways their creative growth.
There are reoccurring themes in one’s artwork. Repetition creates a focus to find variations and strengthens the creative muscles toward innovation. In chapter 21 McNiff takes the reader through various reflection methods to experiment with their creative expression, no matter whether it’s painting, song writing, or writing music. He states Picasso was not worried about the repetition within his own works. Yet McNiff cautions, new artists are concerned about “the task of inventing something completely new.” He expands this as it is one of the largest obstacles for a beginning creative, that is the assumption that "creativity always involves the invention of something new.” Creativity comes through the play and exploration of materials, elements, environments, emotions, etc. Much like a river, allowing it to flow - expression is like a river, through which a creative stream flows imagination. Let every river of creation return to the sea of imagination ...to that instinctive source of expression - PLAY.
In these last three chapters, McNiff begins to summarize how he sees the creative process, beginning with a daily practice of connecting with the creative spirit. Setting aside a time of day devoted to examining the ordinariness of life. Being open and a willing participate to the direction the process takes one, exploring inconsistencies along the way. He states that his “excessive self-consciousness,” was a “major inhibitor” to his own creative journey. He discloses that it was through is own willingness to accept his experiences, the difficulties, the ups/downs of life, that he had to keep showing up for the learning, no matter how difficult the lesson. Giving up and surrendering were also part of the process, and learning to trust the process had information on where he needed to go. For a creative, there is the battle of the process or the product. He sees the product of a creative as their off-spring. Neither right or wrong. The product is but an expression of one’s actions. And no matter the medium, there will always be some form of critique, whether it is one’s self or another. He offers the reader a method in understanding the psychological insights criticism has to offer.
One method is not to pay any attention to any criticism as well as condemning those that offer judgments of one’s creations. This keeps one in the possible fearful position of hearing any message about one’s artwork as negative, rather than guiding. He suggests the best place to find critique is in an environment that is safe, respectful and nurturing. To remember that mistakes are part of the creative process, to be part of the practice of any creative process in the learning of what works and what does not, to remain flexible in the growth in review of attitudes, opinions, experiences, or ideas. Part of the process of criticism's role is to strengthen one’s own critical eye for the creative process to work together in things taking form by a call to attention. Criticism is to be used as direction, not judgment for who one is, or what they have created. But more to offer a freedom of direction with their expression.
He leaves the last chapter with a call to connection through expression. He engages the reader to find what creative expressions reveal about themselves. And some difficulty people find with expressing is the fear that others may know more about them through their creative abilities than they desire. There is a responsiveness to the creative process as “creations of the imagination carry imprints of their makers.” He shares that what we make carries along with it a part of our humanness. Yet he steers the reader to remember that it is not that one leaves their imprint on their artwork, but how their artwork left an impression up on them. McNiff ends his book with a call to stay in the flow on creation, and to trust the process.
I have a huge appreciation for Shaun McNiff’s work on the creative process. From his works of Trust the Process, Art Heals, and Imagination in Action, and as well as with many other authors' descriptions of the creative process, all of these authors have reinforced my own theory of what the creative process is …
•time
•access to materials and resources
•willingness to explore
•willingness to accept failure
•openness to the ambiguity
•non-linear
•final.
In this book, McNiff reinforces each of these points. TIME is the dominating factor for any creative process. We created paints that dry faster. We want to speed up the process to get on to the final product… Before 1816 if one wanted a picture of themselves, one had to make an appointment with a portrait artist. Now we have cell phones with camera’s inside them. Trust the Processgave more definitive answers with regards to time, with an emphasis on every thing takes a practice. Time is what most beginning creators have difficulty with as McNiff stated throughout his book the old beliefs one has about creating. It takes time to practice learning how art materials work, writing music notes, creating dance steps, or writing sentence structures for clarity. All require the discipline of a daily practice to experiment, a willingness to explore what works and what does not. And if one IS a seasoned artist, to review one’s environment as though they were a stranger, seeing it with fresh eyes. If something does not work, to experiment. To try new materials. To look for other resources in assist with creating. McNiff emphasized creating with what one already has at their disposal. He discussed how criticism, no matter whether provided by one’s self or others, is to be used to see what works and what does not. That’s it. It’s not to be misused as a person is a failure because they did not create a masterpiece.
In several chapters, he reminds one to be open to the ambiguity of the creative process, through a willingness to play and explore, letting it guide one’s discovery of what expression is to be delivered to the world. Trust the process: creativity has the intelligence to lead. Every experience has something to offer. And just because one thing shows up, does not mean we get to assume success will follow. While McNiff did not discuss directly in this book, the creative process has an end. Everything we create, at some point comes to a grand finale.
Why I love this book - I see the creative process as a template for understanding one’s life. Everything takes time. We might not always have access to all the materials and resources to create our lives as we think they should be. Learning how to use what we ALREADY have access to, and being open to exploring new ways of learning with whatever shows up. Every experience we have becomes a part of our learning about being a spiritual being having a human experience. We are a work in progress. And learning to trust this process, especially when old messages resurface reminding us of our failures. Learning how to accept what is, no matter what shows up. And just because I think my life should be a certain way, I’m learning that it is going they way it is. My task is to begin a daily practice with a focus cherishing what does show up, as at some point, there will be an end.
