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Arts & Communication Ethnographic study of creative dynamics in music

where participants feel supported in their emotional Funding
and creative exploration. The laboratory’s environment,
which allowed participants to explore freely without fear None.
of judgment, was essential for enabling deep engagement Conflict of interest
and fostering creative breakthroughs. Music educators
can adopt similar approaches by cultivating spaces that The authors declare they have no competing interests.
prioritize emotional openness and encourage students to
connect with their feelings as part of the creative process. Author contributions
The study also underscores the significance of collective Conceptualization: Luciene Mourige Barbosa
musical exchanges in enhancing creativity. By facilitating Writing – original draft: All authors
environments where students can share their musical Writing – review & editing: Luciene Mourige Barbosa
cultures, experiences, and emotions, educators can create
rich opportunities to foster collaborative learning. This Ethics approval and consent to participate
collective aspect not only enhances musical creativity but The consent form used in this work has been previously
also deepens understanding of the cultural dimensions approved by the Ethics Committee of the University of
of music-making. Educators should, therefore, consider Rio Grande (No. 70890823.5.0000.5324). All volunteer
incorporating more collaborative and creative exercises musicians mentioned in this article had signed the consent
into their curricula, as these promote not just technical forms before participating in this study.
proficiency but holistic personal growth. The principles
that make the musical creation laboratory successful Consent for publication
can be applied to other creative settings, both within Participants had given their written permission to publish
and beyond music education. The focus on freedom, their data (e.g., transcripts from recordings).
collective engagement, and the integration of personal and
cultural narratives can inform creative workshops across Availability of data
disciplines. For example, the laboratory’s model could be
adapted for visual arts, dance, theater, or interdisciplinary Data are available from the corresponding author upon
creative spaces, where cultural diversity is embraced as a reasonable request.
rich source of creative inspiration. Further disclosure
The study offers valuable insights for future ethnographic
research on creativity. The narratives collected from Luciene Mourige Barbosa is an independent researcher
and Luciano da Costa Nazario is a professional researcher.
participants reveal the richness of qualitative, participant-
centered approaches in understanding creativity as a References
dynamic, culturally embedded process. Ethnographic
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the laboratory on participants’ personal and artistic Publishers; 1997.
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offering a more nuanced understanding of the creative 6. Seeger A. Why Suyá Sing: A Musical Anthropology of an American
process. People. Cambridge: Cambridge University Press; 1987.

Acknowledgments 7. Le Breton D. Les passions Ordinaires: Anthropologie des
Émotions [Ordinary Passions: An Anthropology of Emotions].
None. Paris: Armand Colin; 2001.

Volume 3 Issue 2 (2025) 8 doi: 10.36922/ac.4782