Do interpreting artists follow the way of self-actualization?

Abstract

The purpose of this article was to explore how self-concept functions in connection to motivation and well-being in artists. Specifically, we looked for such people who follow the path of selfactualization. In this article, we introduce unique nomothetic data supporting-as we argue-the existence of Rogerian self-concept in a group of interpretive artists (dancers, musicians, and singers). In a larger study focused on motivation and well-being in artists (n = 132), using k-means cluster analysis, we found a small subgroup of artists (11%) characterized by high well-being, motivation, and strength of volition accompanied by low self-concept clarity, whereas in a much larger group, and according to published results, self-concept clarity corresponds with well-being and adaptive functioning. As we argue, there are two ways of optimal psychological functioning in artists: one based on clear self-concept and another on conceptually unclear but phenomenologically obvious self-concept-Rogerian-and both connected with high well-being, motivation, and strength of volition. According to Rogers' phenomenological theory, self-concept is by definition flexible, which implies that low self-concept clarity is a result of the process of experience. Interpretive artists from a given group could identify themselves with their self-actualizing artistic activity and experience their selves in terms of an ongoing process; thus, they did not formulate a stable and coherent self-concept. Our reasoning is based on questionnaire data. Thus, further research should combine qualitative and quantitative data on artists' psychological functioning.