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Arts & Communication Ethnographic study of creative dynamics in music

practice. Participants underwent a process of self-discovery transformations, which can be grouped into three key
and reflection, which was central to their experiences. themes: overcoming emotional blocks, redefining musical
Ethnography revealed how the collaborative environment identity, and the role of group dynamics in creative
and group dynamics unlocked new levels of expression development. These themes, grounded in both participant
and confidence, highlighting the importance of emotions narratives and theoretical perspectives, offer a nuanced
in the development of musical creativity. understanding of how emotions and social interactions
shape the creative process.
3. Results and discussion
3.1.1. Overcoming emotional blocks
3.1. Expectations and transformations: The
influence of emotions on personal and musical Participants entered the laboratory with various emotional
experiences in the musical creation laboratory challenges, such as fear, insecurity, or creative inhibitions,
Le déclenchement des émotions est nécessairement which initially acted as barriers to their engagement in
une donnée Culturelle tramée au coeur du lien the activities. However, the laboratory’s supportive and
social et nourrit par toute l’histoire du sujet. Elle emotionally safe environment allowed them to transcend
signale aux yeux des autres une manière personalle these blocks and explore their artistic potential.
de voir le monde et d’être affecté par lui. For instance, Singer 1 entered the laboratory expecting
2 7(p.96])
The musical creation laboratory offered participants a highly technical and intimidating environment. She
a rich experience in personal and artistic development, expressed her fear of performing in front of others, stating,
highlighting significant transformations in their musical “I could never sing in front of many people because I was
perceptions and practices. In this context, the central always very scared.” This fear initially paralyzed her, but the
role of emotions is emphasized, following David Le welcoming atmosphere enabled her to release her inhibitions
Breton’s perspective on the anthropology of emotions. and explore her voice in ways she had not imagined. “I
Interpretations of the participants’ experiences will be let loose more and sang music I didn’t even know I could
grounded in this perspective, exploring how emotions sing,” she recalled, highlighting how the environment
shape their musical perceptions and practices. Le Breton facilitated a shift from fear to creative freedom. Similarly, the
argues that while sensory perceptions and emotions may guitarist arrived at the laboratory feeling creatively blocked,
seem like reflections of an individual’s deepest intimacy, describing how he felt “very stuck musically” due to the
they are, in fact, strongly influenced by social and cultural limitations imposed by musical theory. The theoretical focus
factors. Furthermore, he notes that feelings and emotions had led him to “freeze up” and overthink, stifling his ability
are not universal states but vary according to the social and to improvise freely. Over time, however, the laboratory
cultural context of each group or individual. 7 provided him with a space to reconnect with his creative
Before the first activity, the researchers were introduced, instincts: “Yes, I started to get closer and closer to myself, I
and group members briefly shared their musical backgrounds. started composing again.” The laboratory thus helped him
When initially asked about their perceptions of creativity, overcome this emotional block, closely tied to his perceived
those who identified as creative explained their views in need for technical perfection, allowing him to rediscover a
terms of their ability to express themselves artistically in more spontaneous and authentic form of musical expression.
various forms, reflecting Howard Gardner’s perspective Saxophonist 1 also reflected on her initial nervousness,
on creativity as a skill that manifests in diverse ways and particularly when asked to improvise with no prior
contexts. On the other hand, some participants who did not reference. She described the challenge of keeping up with
4
perceive themselves as creative attributed this to factors such other musicians in an improvised setting as both daunting
as personal blocks, insecurities, and limitations imposed by and enriching, ultimately leading to greater freedom of
sheet music. These testimonies highlighted the complexity of expression. As she gradually grew more comfortable, she
creativity, showing that it is not only an innate trait but also a remarked that the laboratory had unlocked new levels of
trait shaped by life experiences and specific contexts. confidence and risk-taking in her performances.
The participants’ experiences in the musical creation The pianist entered the laboratory with doubt and
laboratory reveal significant personal and artistic insecurity about his improvisational skills, considering
himself “a bit limited in solo performance.” This emotional
2 The triggering of emotions is inherently a cultural fact, block, rooted in self-doubt, could have hindered his ability to
woven into the fabric of the social bond nurtured throughout fully engage in the creative process. Initially skeptical about
the subject’s history. It signals to others a personal way of the laboratory, he doubted that a focus on improvisation
seeing and being affected by the world [our translation]. would work for him. This illustrates how emotional barriers,

Volume 3 Issue 2 (2025) 4 doi: 10.36922/ac.4782