CREATIVITY


What is creative?
There is always some element of newness in something that is called „creative“. Something that has not known before, and therefore seems like something new, a creation. This newness can be on different levels of movement, and is certainly not limited to new tricks. There can be new ways of putting old things together, new surroundings in which an already known thing fits surprisingly well, or it can be a new flow,  new mood expressed in movement, new ways of transition etc. If you see something creative, there is a surprise moment for you.

The idea counts!
You can make 1000 standing pres in different locations and each jump might be "new" in the sense that it has never been done before. Nevertheless you would not call it something new or creative. So we can see that „first time“ does not automatically mean "new". What counts is the idea behind the movement. Is the idea new? That´s the question!

Constructing creativity
Just like in the precision jump example, you can make 100 unique lines, but there might just be one idea behind all of them. Randomly shuffling the order of the elements of movement that you have in your repertoire and then building them on the same exact fundament just with a different shape is not an innovation. It is construction. We all know this sort of creativity, when our move scanner goes over the spot to find potential places where it can fit in one move out of its tricklibrary. The rule is, the bigger your tricklibrary, the more potential combinations you can have access to. Someone with a vast tricklibrary can easily appear as very creative, even though he just has many combination possibilities.

Accidental creativity
Another form of creating, that must be mentioned here is the creation by accident. Often by trying totally random, seemingly stupid stuff, you find a diamond, an idea, that you havn´t had before. This is a good method of leaving your traintracks of movement, your stiff movement habits, your rigid imaginations about how movement must be, how lines must look, what flow is, etc. Just break that with an every now and then dropping of all your assumed knowledge and try random stuff. Just all that comes to your mind.

Imitations of creativity
Both, the constructing and the accidental creativity are totally legitimate parts of training, and probably for the biggest part the only practised approaches, i would call neither one real creativity, but rather imitations of creativity. Of course these approaches can lead to some fine runs (or whatever movement), but they do not bring repeatable results. But a few luck shots are no proof. It is creativity without having understood the principle of creativity. Like randomly digging in the soil without plan. Like randomly putting notes on a note paper, and sometimes you hit a harmony by accident. If the real principle behind creativity is understood, fresh ideas come to you as consistently and repeatable, as you can do precision jumps.

Columbus created America
Anything in the movement world that you could possibly do is potentially there already, just invisible. This sounds somehow terribly cliché, but if you think about it, it´s true. All possibilities for a body with four limbs with the given principles in time and space are definitely already there. You "just" need to see them (this "just" turns out be a challenge though :D ). So creativity really is not creating, but discouvering/seeing. Though, by expressing the idea in real movement, it will look like you created something, but in reality you revealed something, which was hidden to all eyes before, including your own, just a second ago. Creativity aka discouvery of a new idea must also surprise the one who discovours it.

                                          "Well thanks for that. That means that i´m blind.“

...which leads to the next question:

How can i see these ideas? Real creativity.
Wether you call it creating or discouvering… doesn´t really make a difference, does it? Yes it does! It is shifting your understanding of your own role in the creative process from an active to a passive one. Instead of cramming through old books of your well-known little movement library, you have to leave that old dusty library! If you are relying on your old ways of movement, your eyes can only see those old ways. You cannot grasp new ideas by going back to your old books to ask for help. It will only see old stuff in differents combinations.
So, what truly is needed is an open mind. A searching mind is not an open mind. A searching mind is predetermining the shapes of ideas, which it doesn´t know yet. But new ideas might not fit into old shapes. So, they can only flow in, if your mind has a crack, an open spot. So, come to training as an empty paper. So empty, that you will not try to create anything, or do not even train if you don´t have the inner spark for it. And if you feel a subtle impulse of trying to forcefully create, drop that impulse. That´s as far as your „i“ is needed in this. This needs to be practised just as precision jumps need to be practised.
This certainly is counting for all other areas of life, too. Pk is again illustrating a principle here, which can be translated beyond pk, if understood. If you don´t translate it, your pk knowledge will stay limited to the pk-island only (also check article „translation“).


Final words
So after reading this article, if instead of willfully trying to „create“, you will now willfully try to „discouver“ things, then you are still doing the same as before, you just exchanged the words. This is why language really is a piece of uslessness, if the one reading the words is reading it with a mind that is digging in old stuff to understand new stuff. Here we have it again. You cannot understand any new idea by relating to your old dusty library.

Thanks Sensei pk!!