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all together a creative approach to organisational change
... Another that will enable us to become a life-sustaining species' (Cooper 2010, p.6) and their '10 Essential Competencies, qualities and attributes (CQAs) for successful collaboration' (Cooper 2010, pp.25-37) provides a clear remit to the cultural sector to look to more creative practices to lead the way into the knowledge economy, and it is a challenge that cultural organisations are already rising to. Barbican-Guildhall's focus on 'creative collaborative learning' (Renshaw 2011), the RSC's commitment to 'the principle of ensemble as an organisational practice' (Hewison et al. 2010) and MIMA's re-imaging of the museum as 'a guide in how to live more creatively, humanely; a resource that people can use regularly -like a church, the gym, a social club -to replenish and enrich their daily lives' (MIMA 2015) all point towards a cultural sector looking to its own creative resilience as a network of artistic organisations to discover innovative ways of surviving and developing. ...
... Notwithstanding, the subject of Arts participation provokes strong debate(Arnstein 1969; ). Other institutions within the cultural sector are influenced by this 'widening' of participation to conceive of their own practices in radical new ways(Simon 2010;Hewison et al. 2010;MIMA 2015), while some artists reject much of what is considered 'mainstream' about artist-directed participation, in favour of more heutagogic principles(Pritchard n.d.).3.9 Summary of Literature ReviewIn this chapter, I have outlined a detailed consideration of the relevant literature which has informed the development of my research. ...
An investigation into the value of developing an artistic programme which integrates the aesthetic, the praxial and the social dimensions of an art form, specifically music, and the implications of such development on the training of emerging music practitioners.
This report details the design, implementation and evaluation of a programme of action research undertaken by the author over a four-year period for the qualification of Professional Doctorate (DProf). It is an exploration of the kind of practical knowledge (praxis) which emerges through research into the practices and situation of a large cultural organisation, as witnessed through the perspective of the author’s professional role as Head of Higher Education and Research at Sage Gateshead, a large music organisation in the NE of the UK. An initial professional curiosity about the organisation’s artistic programme and organisational culture gives rise to a philosophical consideration of the broader value of music to people and society, and how it might be articulated more strongly.
The rise of the internet, and the digital distribution of music, has fundamentally changed how the music industry works, and what it means to be a musician in contemporary western society. The way that individual musicians, and music organisations, sustain themselves in the challenging economic situation brought about by these changes, requires them to think and act more creatively and entrepreneurially than ever before. As a relatively new organisation, Sage Gateshead is at the ‘sharp end’ of some of these dramatic changes. The nature of the action research undertaken is about developing a critical understanding of the organisation’s practices and artistic programme, and how the training of musicians within the organisation has been affected and influenced by its particular situation. The development of Sage Gateshead as an organisation – and as a building which hosts that organisation – has brought together two dimensions of music that have historically been considered as discrete fields in western culture, namely music performance and music Learning & Participation (L&P). The bringing together of these two dimensions of music into a single artistic programme where each dimension has equal weight – both philosophically and financially - represents a dialogic ‘creative tension’ (Wegerif 2012) which has resulted in an increase in value to both of its constituent parts, and emphasised an over-arching third dimension of music – namely, music’s social impact – as a unifying feature. I propose that this emergent ‘re-integrative’ model of ‘music in three dimensions’ represents a shift in emphasis of the value of music to people and society.
As well as articulating this ‘re-integrative’ perspective on music, I emphasise the notion of dialogue as a mediating force to help resolve the apparent contradictions and dichotomies of established fields of musical practice. My contribution to knowledge of such practices also concerns the matter of how to train musicians to practice professionally within this framework, emphasising the development of ‘praxis’ (Freire 1970; Elliott 1995; Elliott 2009; Bowman 2009a; Nelson 2013; Elliott & Silverman 2013) as a professional attitude vital to participation in that ongoing dialogue.
I suggest that this perspective on music is potentially quite unstable, as not only is it ‘emergent’, but it is viewed – or perhaps only glimpsed - from the situated context of a single music organisation - and by definition therefore only partial at best - and at a particular juncture of our cultural history where the music industry is in a state of flux. Changes in cultural policy, organisational culture or purpose, shifts in programme or artistic emphasis, might impede its development as a perspective.
The project has been undertaken within the principles of action research, as an investigation into the particular situation of the author’s professional role and responsibility within Sage Gateshead, and more broadly as a musician working across the fields of performance and participation, as illustrated within Donald Schön’s conception of reflective practice:
“The practitioner allows himself to experience surprise, puzzlement, or confusion in a situation which he finds uncertain or unique. He reflects on the phenomena before him, and on the prior understandings which have been implicit in his behaviour. He carries out an experiment which serves to generate both a new understanding of the phenomena and the change in the situation. When someone reflects in action, he becomes a researcher in the practice context. He is not dependent on the categories of established theory and technique, but constructs a new theory of the unique case.” (Schön 1984)
... Leaders are at the heart of a network, not at the top of a pyramid. 3 An effective leader is a connector, a convener, a communicator and a listener. 4 This understanding of leadership is a constant thread weaving its way through the entire book, like the words and patterns embedded throughout a stick of rock. ...
... gs. 40 ) adaptīvās līderības pieeja, kas pārvērtē līderības konceptu, iekļauj globālās pārmaiņas un aplūko specifiskus mūsdienu līderības vērtību aspektus (adaptive approach). Šī ir jauna, mūsdienās topoša līderības pieeja, kuras ietvaros līderība tiek skatīta kontekstā ar tādām sabiedrībā būtiskām tēmām kā ētika, morāle, ilgtspēja, sociālā atbildība, multikulturālisms u.c. ...
... gs. 40 9) adaptīvās līderības pieeja, kas pārvērtē līderības konceptu, iekļauj globālās pārmaiņas un aplūko specifiskus mūsdienu līderības vērtību aspektus (adaptive approach). Šī ir jauna, mūsdienās topoša līderības pieeja, kuras ietvaros līderība tiek skatīta kontekstā ar tādām sabiedrībā būtiskām tēmām kā ētika, morāle, ilgtspēja, sociālā atbildība, multikulturālisms u.c. ...
Promocijas darba kopsavilkums zinātniskā doktora grāda iegūšanai mūzikā, vizuālajās mākslās un arhitektūrā kultūras teorijas apakšnozarē.
Summary of doctoral thesis for obtaining a doctoral degree in music, visual arts and architecture, in the sub-branch of the theory of culture.
... gs. 40 9) adaptīvās līderības pieeja, kas pārvērtē līderības konceptu, iekļauj globālās pārmaiņas un aplūko specifiskus mūsdienu līderības vērtību aspektus (adaptive approach). Šī ir jauna, mūsdienās topoša līderības pieeja, kuras ietvaros līderība tiek skatīta kontekstā ar tādām sabiedrībā būtiskām tēmām kā ētika, morāle, ilgtspēja, sociālā atbildība, multikulturālisms u.c. ...
... Nevertheless, discourses of professionalisation persist, paired inevitably with cultural leadership ideals. Such ideals are promoted as a solution to concerns of sustainability, resilience and advocacy (Hewison, Holden, & Jones, 2010;Nisbett & Walmsley, 2016). This has increased a dominant perception that NPTOs and their 'leaders' have civic responsibilities, with sector development and advocacy obligations 'beyond' their organisations (Doeser & Vona, 2016;FitzGibbon, 2019a). ...
This exploratory study identifies that more can be understood about how accountability operates within an increasingly complex non‐profit environment by applying stakeholder theory to managers and their decision‐making in non‐profit theatre organisations (NPTOs). On the surface, this may appear to be ground already covered. Previous research has explored the challenges of achieving more holistic accountability in the face of dominant stakeholders. Approaches have been proposed to increase efficiency, effectiveness and transparency. Less is known about how individual managers respond to competing accountabilities in decision‐making and what factors influence their attention to stakeholder interests. NPTOs operate in both the non‐profit and cultural industries sectors and, as such, are an interesting site to investigate accountability complexity in managerial decision‐making. However, NPTOs (and arts organisations generally) feature little in non‐profit and social accountability research. Particular features of NPTOs amplify the challenges of a multi‐stakeholder environment in discharging accountability. These include artistic mission beyond production/distribution; blended business models; policy‐driven leadership rhetoric; the prevalence of interorganisational collaboration; and a significantly freelance workforce. This study argues that NPTOs are the vanguard of changes in contemporary non‐profit management and their study offers new insights to problems associated with practising accountability within such multi‐stakeholder complexity. By drawing on creative non‐profit organisations, for example NPTOs, this study introduces new knowledge to existing non‐profit and social accountability literatures. Based on transdisciplinary research into perceived inter‐relationships between NPTO managers and stakeholder groups, this study proposes NPTO managers are engaged in a balancing or ‘plate‐spinning’ act of accountability, influenced by dominant stakeholders, and an interdependent triple logic in their operations. They negotiate ambiguous competing expectations by deploying self‐interest and ambiguity, with high potential for managerial paralysis and trade‐off. Recommendations arising include de‐emphasis of efficiency/effectiveness and increased attention to complex multi‐stakeholder accountability beyond current approaches. In addition, it suggests further research into NPTOs and arts organisations could yield additional knowledge in the study of non‐profit accountability.
... 98) pointing to "the lack of business awareness amongst practitioners" in the cultural sector. For Hewison, Holden, and Jones [26] (p. 117), "effective leadership" is particularly critical in cultural and creative industries, being understood as "the ability to marry rhetorical power with practical innovations so as to create a sustainable, resilient, well-networked organization, capable of growing its own capacity to act, and providing high-quality results for its customers, staff, and funders". ...
There has been an increasing relevance of the cultural sector in the economic and social development of different countries. However, this sector continues without much input from multi-criteria decision-making (MDCM) techniques and sustainability analysis, which are widely used in other sectors. This paper proposes an MCDM model to assess the sustainability of a musical institution’s program. To define the parameters of the proposed model, qualitative interviews with relevant representatives of Catalan cultural institutions and highly recognized professionals in the sector were performed. The content of the 2015–2016 season of the ‘Palau de la Música Catalana’, a relevant Catalan musical institution located in Barcelona, was used as a case study to empirically test the method. The method allows the calculation of a season value index (SVI), which serves to make more sustainable decisions on musical season programs according to the established criteria. The sensitivity analysis carried out for different scenarios shows the robustness of the method. The research suggests that more complex decision settings, such as MCDM methods that are widely used in other sectors, can be easily applied to the sustainable management of any type of cultural institution. To the best of the authors’ knowledge, this method was never applied to a cultural institution and with real data.
... Cooperation and co-decision-making between the artistic and executive director is also evident in other British theatres. In a recent study of the labour division at the Royal Shakespeare Company, Heywood et al. 8 (2014) describe a reshaping operation at the theatre after a crisis from (Hewison et al. 2010. Central to this operation was the demolishing of hierarchical structures, including the division between the artistic and administrative staff. ...
... Denis, Langley and Sergi (2012) also note that the constellation of pooling leadership at the top does not imply that leadership is more widely shared within the organization, beyond the shared top position. However, as we shall see, our data imply that the emerging type of dual leadership will shift the locus towards including others in the organization more than a traditional dual leadership model would, and make it more of a hybrid constellation of leadership, as discussed by Gronn (2009) and by Hewison, Holden and Jones (2010), who use the term ensemble leadership. ...
This article explores emergent ways of organizing dual leadership in theatres in Finland. These new variations of dual leadership challenge the traditional sharp division between artistic and financial leadership, even though the formal division may still be present. The leader duos have chosen each other as partners and wish to lead together, sharing the artistic leadership of the organization. Through interviews with leader duos and employees of theatres using these types of dual leadership, this study highlights the emergent structures and challenges related to them. Boundaries between the leaders and the rest of the organization still exist, and can be either beneficial or problematic. These new ways of organizing leadership are also steps towards collaborative leadership and bridging of the boundaries that still exist within many organizations, in the arts and in other fields as well.
This Element provides the first in-depth study of the present-day all-boy company, Edward's Boys, who are based at King Edward VI School ('Shakespeare's School') in Stratford-upon-Avon. Since 2005, the company has produced a wide array of early modern plays, providing the most substantial repertory of early modern drama available for examination by scholars. The Element provides a comprehensive account of the company's practices, drawing on extensive rehearsal and performance observation, evidence from the company's archive, and interviews with actors and key company personnel. The Element takes account of the company's particular educational and strongly interpersonal environment, suggesting that these factors have a distinctive shaping force on their performance practice. In the hands of Edward's Boys, the Element argues, early modern drama becomes the source of company creation, ensemble practice, and virtuosic physical play, inviting us to reimagine what it means – and takes – to perform these plays today.
The only book on contemporary issues which covers the arts and entertainment sectors, from social networking and Twitter, to reality TV and digital rights management.
This article contends that Gregory Doran's production of Macbeth (2001) was, when translated to television, transformed into a metaplay. Although various previous analyses of Shakespeare's Macbeth have explored its metatheatricality, this artistic concept has not been tackled with respect to this production in particular. In this work I am examining Doran's laying bare of the film's theatrical apparatus as well as its refractions of the crises occurring at the Royal Shakespeare Company while the film and the stage production were in process. I will address the status of the main characters as players in a theatricalized microcosm, explore the film's backstage-onstage dynamics and discuss how the production's visual meanings illuminate the company's institutional crisis at the turn of the century.
Cultural heritage is a complex and interconnected ecosystem requiring innovative methods and techniques to facilitate its management and valorization. From these assumptions, our research proposes a new, integrated and networked approach based on a three-level case study belonging to the archaeological context. In detail,
the approach defines the lifecycle of an archaeological site, its processes and network analysis. It does this through the use of Business Process Management (BPM) and Social Network Analysis (SNA) techniques, taking the work of archaeologists at the Archeologia Ricerca e Valorizzazione s.r.l. (A.R.V.a) as a case study. The main objective of the approach is to provide valuable insights to optimize the flow of data, gather information and share knowledge created during the archaeological process, starting from lifecycle management and carrying on with the processes modelling and identification of roles and relationships among different stakeholders. The final aim is to improve the sustainable valorization of an archaeological site, facilitating value creation, strengthening the connections between culture and local development, and enabling
a participatory governance of archeological heritage.
This article reads the development of psychologically based actor training against larger changes in the organisation of work in North America and Europe in the twentieth century. Konstantin Stanislavky's System and later adaptations including the American Method are wrapped into a larger ideology of individual self-management and discipline – mental, physical, and emotional – that accompanies the emergent managerial class of the post-war era. An actor is an ideal manager, and therefore prefigures only a few decades later the ideal freelance worker in the post-Fordist era of creative, immaterial, flexible, and precarious labour. The article maps the contours of a citational network between actor training and business management, focusing on the production, maintenance, and instrumentalisation of emotion, empathy, and social relations by waged labour. This ‘alternative’ historical reading of actor training allows us to question and perhaps challenge discourses of ‘transferable skills’ and ‘employability’ in higher education drama and theatre departments. When do the positive qualities of a career in theatre or performance such as creativity and autonomy become the same qualities required by those who can survive the insecurities, uncertainties and overall precarity of the ‘new’ flexible labour market?
This paper argues that our fascination with creativity is distracting and potentially destructive, resulting in a tendency to discard projects and people before they achieve their potential. ‘Uncreativity’ is used to recognise the importance of continuity over change, the contribution of intermediaries and administrators to creative processes and the possibility of reconfiguring and refining existing ideas rather than inventing new ones. The paper argues that the ‘discourse’ of creativity prioritises novelty over value. This leads to an unsustainable emphasis on new ideas and initiatives in organisations. For individuals, it encourages an overemphasis on individual talent and relentless self-belief. This partial understanding of creative processes results in unrealistic expectations and self-destructive and self-exploiting behaviours. Uncreativity is proposed as a necessary element in creative processes for both organisations and individuals. Cultural policy and cultural management need to acknowledge the important contribution of these uncreative elements as well as simply endorsing ‘creativity’.
https://sites.google.com/site/ucinetsoftware/
Decades of short-term management have inflated the importance of GEOs and reduced employees to fungible commodities. Middle managers, who see the connections between operations and strategy, can be instrumental in rebuilding a sense of community in businesses. Copyright © 2009 Harvard Business School Publishing Corporation. All rights reserved.
The importance and various ways to deal with changes in unfavorable circumstances are discussed. The change should be accepted as a reality, that keeps the mind calm and positive. One should clearly define the worst possible outcome that can happen in a worry situation, that helps to handle the situation. After identifying all the worst consequences, one should adjust one's behaviors and actions to the new situation and take steps to improve on the existing situation.
In this impassioned and persuasive book, Bill Ivey, the former chairman of the National Endowment for the Arts, assesses the current state of the arts in America and finds cause for alarm. Even as he celebrates our ever-emerging culture and the way it enriches our lives here at home while spreading the dream of democracy around the world, he points to a looming crisis. The expanding footprint of copyright, an unconstrained arts industry marketplace, and a government unwilling to engage culture as a serious arena for public policy have come together to undermine art, artistry, and cultural heritage-the expressive life of America. In eight succinct chapters, Ivey blends personal and professional memoir, policy analysis, and deeply held convictions to explore and define a coordinated vision for art, culture, and expression in American life.
The public is coming to play an ever-more important part in cultural policy and thinking. Where, in the past, cultural provision has been based on cultural professionals' own expertise, a new role for the cultural professional is emerging. Using their expertise to enable and explain, rather than deliver, cultural professionals can help us navigate and engage with the world around us in ways that can re-invigorate our society. Changing contexts As other essays in this collection show, we – the public – are placing changing demands on the professionals whose services we use. We exercise greater individuality in what we choose to eat and wear; we demand more personalised services from our public organisations and institutions; and we are much readier to complain when we do not get the service we expect. The same is true of our cultural choices. Our iPods are our personal orchestras, and at exhibitions we expect to be able to interact with displays and have the right to comment on them afterwards. After years of meeting economic targets and fulfilling social criteria – so-called instrumental demands – such developments seem to offer cultural professionals a new opportunity. Culture is, after all, something that is born of us and the way that we respond to each other – it is up to cultural professionals to draw that out.
SURE, Disney's deal last week to acquire Pixar is about big money — how Steven P. Jobs turned a fledgling outfit that he had bought for 7.4 billion. And, yes, it is about a big strategic shift at the Walt Disney Company, as Robert A. Iger, the chief executive, exorcises the ghost of his predecessor, Michael D. Eisner. But it is also about the potential for big changes in how the entertainment business operates — specifically, in how major studios organize talented people to do their best work. Since 1995, with the release of "Toy Story," Pixar's films have reinvented the art of animation, won 19 Academy Awards and grossed more than $3 billion at the box office. But the secret to the success of Pixar Animation Studios is its utterly distinctive approach to the workplace. The company doesn't just make films that perform better than standard fare. It also makes its films differently — and, in the process, defies many familiar, and dysfunctional, industry conventions. Pixar has become the envy of Hollywood because it never went Hollywood. More than a few business pundits have drawn parallels between the flat, decentralized "corporation of the future" and the ad-hoc collection of actors, producers and technicians that come together around a film and disband once it is finished. In the Hollywood model, the energy and investment revolves around the big idea — the script — and the fine print of the deal. Highly talented people agree to terms, do their jobs, and move on to the next project. The model allows for maximum flexibility, to be sure, but it inspires minimum loyalty and endless jockeying for advantage.
CHICAGO — President-elect Barack Obama is poised to move swiftly to reverse actions that President Bush took using executive authority, and his transition team is reviewing limits on stem cell research and the expansion of oil and gas drilling, among other issues, members of the team said Sunday. As Mr. Obama prepared to make his first post-election visit to the White House on Monday, his advisers were compiling a list of policies that could be reversed by the executive powers of the new president. The assessment is under way, aides said, but a full list of policies to be overturned will not be announced by Mr. Obama until he confers with new members of his cabinet. "There's a lot that the president can do using his executive authority without waiting for Congressional action, and I think we'll see the president do that," John D. Podesta, a top transition leader, said Sunday. "He feels like he has a real mandate for change. We need to get off the course that the Bush administration has set." Throughout his presidency, Mr. Bush has made liberal use of his executive authority, using it to put his stamp on a range of hot-button policy issues. In January 2001, on his first full day in office, Mr. Bush reinstated the so-called global gag rule, initiated during the Reagan administration and overturned by President Bill Clinton, which prohibited taxpayer dollars from being given to international family planning groups that perform abortions and provide abortion counseling. After Mr. Obama's victory last week, the Center for Reproductive Rights delivered a 23-page memorandum to his transition team, calling for "bold policy change," including a repeal of the gag rule. On Sunday, in a sign that the presidential campaign had definitively ended and that the fast-forming administration had become the focal point, the faces of Mr. Obama's new team appeared across the spectrum of Sunday talk shows, a changing of the guard more than two months before he officially assumes power.
Increased global competition, aided and abetted by technology, has meant that organizations in every sector are having to compete on the basis of speed, cost, quality, innovation, flexibility and customer-responsiveness. If organizations wish to be able to compete successfully in the global marketplace, they need to develop innovative products and services quickly and cost-effectively. The High Performance Organization provides invaluable information and practical tools for people engaged in leading organizational change efforts as an executive, line manager, HR practitioner or change agent. This practical text is grounded in organizational reality as well as having a sound theoretical setting. Illustrative case studies have been drawn from consultancy practice and a wide range of current research.
Typescript. Thesis (Ph. D.)--Wayne State University, 1982. Includes bibliographical references (leaves 390-409). Abstract: leaves 410-412. Appendices (leaves 296-389) contain material from the American Conservatory Theatre archives in San Francisco. Microfiche.
We use an innovative survey tool to collect management practice data from 732 medium-sized firms in the United States, France, Germany, and the United Kingdom. These measures of managerial practice are strongly associated with firm-level productivity, profitability, Tobin's Q, and survival rates. Management practices also display significant cross-country differences, with U.S. firms on average better managed than European firms, and significant within-country differences, with a long tail of extremely badly managed firms. We find that poor management practices are more prevalent when product market competition is weak and/or when family-owned firms pass management control down to the eldest sons (primogeniture). (c) 2007 by the President and Fellows of Harvard College and the Massachusetts Institute of Technology..
A glance at an organizational chart can show who's the boss and who reports to whom. But this formal chart won't reveal which people confer on technical matters or discuss office politics over lunch. Much of the real work in any company gets done through this informal organization with its complex networks of relationships that cross functions and divisions. According to consultants David Krackhardt and Jeffrey Hanson, managers can harness the true power in their companies by diagramming three types of networks: the advice network, which reveals the people to whom others turn to get work done; the trust network, which uncovers who shares delicate information; and the communication network, which shows who talks about work-related matters. Using employee questionnaires, managers can generate network maps that will get to the root of many organizational problems. When a task force in a computer company, for example, was not achieving its goals, the CEO turned to network maps to find out why. He discovered that the task force leader was central in the advice network but marginal in the trust network. Task force members did not believe he would look out for their interests, so the CEO used the trust map to find someone to share responsibility for the group. And when a bank manager saw in the network map that there was little communication between tellers and supervisors, he looked for ways to foster interaction among employees of all levels. As companies continue to flatten and rely on teams, managers must rely less on their authority and more on understanding these informal networks. Managers who can use maps to identify, leverage, and revamp informal networks will have the key to success.
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How Google and its rivals rewrote the rules of business and transformed our culture
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