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The Vancouver Academy of Management Jass Symposium : Jazz As a Metaphor for Organizing In the 21st Century
Abstract
An abstract is not available.
... However the unclosed gaps in such literature can visibly be observed (Magni et al., 2009). Firstly, researches on the domain of improvisation rely heavily on the studies about jazz, theatre, sports, or even public speaking as a metaphor (for example, Hatch, 1997;Hatch, 1998;Kamoche and Cunha, 2003;Sawyer, 1992). This perspective has the tendency to drive improvisation into a shadow as just a metaphor. ...
Purpose
The purpose of this study is to examine the structural relationships among explorative learning strategy, improvisational creativity, compositional creativity, and innovation in Information and Communication Technology-Small and Medium-sized Enterprises (ICT-SMEs).
Design/methodology/approach
213 valid questionnaires from SMEs’ top management positions were evaluated to investigate the proposed model of the research empirically. As a methodological approach, partial least square (PLS) path modeling approach, a variance-based structural equation modeling (VB-SEM) was employed.
Findings
The statistical results imply that explorative learning has a positive impact on improvisational creativity and innovation while improvisational creativity has a positive influence on compositional creativity and innovation as well. Compositional creativity and innovation are also positively associated. Surprisingly, improvisational creativity mediates the relationship between explorative learning and innovation. Furthermore, PLS-Multi Group Analysis (PLS-MGA) reveals that heterogeneity exists in the collected data and number of employees is a moderating variable. The results of the research indicate that companies with number of employees between 51 and 100 are more creative and innovative in comparison with other groups. On the other hand, the positive relationship between explorative learning and compositional creativity was not supported in this research.
Originality/value
This study is one of the few researches in the realm of examining the structural relationship among explorative learning strategy, improvisational creativity, compositional creativity, and innovation in ICT-SMEs, regarding the number of employees as a moderating variable.
... 549). The most popular point of comparison in organisational improvisation studies is jazz music (Hatch, 1998;Holbrook, 2003;Pina E Cunha, Clegg, Rego, & Neves, 2014;Weick, 1998;Zarankin & Wang, 2013) but there has been almost no recognition that rhetoric, a discipline so close to management (and, obviously, marketing) in its motivations and perspectives, has such a strong tradition of improvisation. The study of what has been called real-time marketing (McKenna, 1995(McKenna, , 1997Oliver, Rust, & Varki, 1998), for example, is ripe for a reconceptualisation around rhetorical kairos. ...
The emergence of logistics and supply chain management as a fully mature business discipline may depend on the development of foundational supply chain management perspectives embracing a focus on responsiveness. Hundreds of papers in our field conceptualize responsiveness and related concepts in disconnected ways ignoring this potentially valuable foundation for investigating supply chain strategic and logistical adjustments. Although these extant studies highlight many important issues related to responsiveness, their conceptualizations and nomological networks vary considerably. This diffuse focus seriously hinders efforts to create an overarching theoretical perspective in a dynamic field without one. The result is a masking of promising research directions that could help define the discipline. Drawing from the organizational economics, logistics, and supply chain management literatures, we begin the argument that responsiveness—realized through logistics and supply chain management—has strong potential as our defined foundational perspective. All roads to superior performance depend upon supply chain responsiveness to the environment, supply chain members, stakeholders, and the consumer. Our proposed Responsiveness View of supply chain management supports the exploration of how supply chains compete successfully amidst disruption and change, helping to define a young, theoretically distinct, research domain.
This chapter starts with illustrative and clarifying examples of the bricolage concept corresponding to two different sectors. The objective is to deduce the global definition of bricolage, and subsequently, its application to the area of entrepreneurship and the connection with social entrepreneurship. Bricolage is identified as the combination of effectuation and improvisation. Applied to the social entrepreneurship arena, higher levels of proximity and empathy derive a higher willingness to offer solutions to local problems through the use of resources of proximity. Together with social bricolage, the typologies of social constructionists and social engineers should also be highlighted. The chapter is organized as follows: first, the dynamics of bricolage will be explained through the explanation of two examples, then a broader definition of bricolage will be given; then its connection with social entrepreneurship will be addressed and, lastly, a current practical case of social bricolage will be presented.
The growing relevance of improvisation for successful organizing calls for a better understanding of how individuals develop improvisation skills. While research has investigated the role of training and simulations, little is known about how individuals develop improvisation skills when formal training is not an option, and how individual-level factors shape development trajectories. We explore these issues in a longitudinal qualitative analysis of live-action role-playing. Our findings surface a three-stage process of improvisation development shaped by the presence of task and social structures, which act as both constraints and resources. Moreover, our findings illuminate how collaborative and competitive orientations shape whether improvisers perceive these structures as a resource that they need to nurture and renew (i.e., collaborative), or to seize and exploit (i.e., competitive). We also show that individual orientations are not always enduring but can change over time, engendering four types of improvisation development trajectories. Our work provides a longitudinal account of how individual orientations shape the process of improvisation development. In so doing, we also explain why individuals who are skilled improvisers do not necessarily improvise effectively as a collective, and we reconcile different conceptualizations of improvisation.
Hybrid organizations are topical in contemporary society, and literature in this area is growing. One neglected dimension is, however, empirically based theorizations of management and governance in hybrid organizations. Moreover, the literature tends to be based on observations of “new” forms of hybrid organizations, often referred to as social enterprises. We argue that if we want to learn about what managing hybrid organizations means, it is important to compare different types of hybrids and also to compare hybrids with as long history with those established relatively recently. Based on earlier literature, hybrid organizations are discussed as placed in contexts of institutional pluralism, at the cross-roads between institutional orders and institutional logics. Special focus is placed on exploration and comparison of what is defined here as constitutional hybrid organizations, thus hybrid organizations founded with the explicit purpose of fulfilling their mission by integrating either different institutional orders such as the market, the public sector and civil society or structural traits from the logics of different ideal-typical organizations such as the business corporation, the public agency and the association. We argue that multivocality is a concept that can explain why some hybrid organizations manage to remain hybrids over time while others face de-hybridization. A common analytical frame for the volume is developed, where six dimensions of hybridity are defined (institutional order, logics of organizational forms, ownership structures, purpose, main stakeholders and main sources of funding). The aim of this chapter is to introduce why it is timely to theorize on management and governance in hybrid organizations, to develop the theoretical frame for the book, and to introduce the explorative multidisciplinary approach behind the book and the selection of cases. The chapter ends with a brief discussion of the chapters to come.
Purpose
This paper aims to present historical examples of collaborations between brand strategists and artists; provide an extensive, structured overview of existing published research on such collaborations and their effects; present seven papers comprising this special issue; and discuss ideas for further research into brand–art collaboration.
Design/methodology/approach
This is an editorial based mainly on an extensive and broad literature review.
Findings
First, this editorial underpins the relevance of brand–art collaboration in the past and present by reference to real examples. Second, it structures the diverse literature into four key aspects of the topic: inspiration, insights, identity and image. Third, it provides a glimpse of the seven papers selected for this special issue. Fourth and finally, it identifies a total of 16 avenues for further research, on four levels (artist, brand owner, consumer and cooperation process).
Originality/value
This editorial and the entire special issue together represent the first anthology on the topic of the interface between brand management and arts. The collection and classification of the existing literature, the formulation of ideas for future research and the content of the seven papers are collectively excellent starting springboards for new and fresh brand research projects.
This paper builds on the analysis of factors observed at jazz jam sessions facilitating team creativity and improvisation as a model for managing organizational innovation. The model was established through detailed observations, surveys, historical research, and interviews. Even though the jazz metaphor has been used as a model for organizational improvisation the discussions rarely extend beyond the improvisational process of idea generation (Frishammar et al. in Creativity Innov Manag 2:179, 2016) towards a comprehensive model for team creativity and effective organizational management (Santos et al. in Creativity Innov Manag 24(4):645–658, 2015). The seven factor Jam Session Model for Group Creativity and Innovative Technology is built from a comprehensive analysis of the jam session process and exemplified with case studies of leading innovative companies such offering a theoretical and practical model for managing and facilitating group creativity and innovative technology.
A few attempts were made to investigate how sense making is triggered through Web 2.0 utilisation and how it enables the accomplishment of key organisational outcomes. The objective of this research is to examine the structural relationship between Web 2.0 utilisation, knowledge quality (KQ) aspects, improvisational creativity, compositional creativity, and small and medium-sized enterprises (SMEs) innovativeness in an emerging market – Malaysia. Built upon sense-making theory, this study proposes that sense making is a progression of four formative constructs. Empirical analyses are based on a sample from SMEs’ top management (N = 358, response rate = 21%) using partial least squares approach. The findings indicate that Web 2.0 utilisation influences business entities’ sense-making activities in the way they realise the intrinsic value of knowledge and take action to apply the organisational knowledge. These sense-making activities are conducive to improvisational and compositional creativity of SMEs as well. Contributions, managerial implications, and limitations are discussed.
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