Policygrouping

Pia Areblad

Director TILLTProject manager TILLT Europe

Creative ClashBrussels

December 9, 2010

pia@tillt.se

Artistic interventions

”When people, products, or practices from the

world of the arts enter organisations”

– Long term collaboration between an

organisation and an artist

– Employees and artist together in a

collectively owned project

– Focus on the process

• final art piece/product not a requirement

“The interesting thing about an artist’s way of work is the ability to think differently and to create something

new and unexpected out of something perceived as static and impossible to change.”

Jan-Peter Idström, Chief of Clinical Studies, AstraZeneca

Aims

• Develop individuals and organisations

in sustainable and innovative ways;

• Bring art and culture to new arenas; and

• Develop artistic methods by being

present in new arenas.

Policygrouping TILLT Europe

• To build new sources of sustainable

growth with art as catalyst

– Impact and effect of artistic

interventions

– Conditions that favour all parts

in artistic interventions

Policygrouping TILLT Europe

Core partners

• TILLT (SE) – intermediary organisation

• c2+i (ES) – intermediary organisation

• Social Science Research Center Berlin

WZB (DE)

• KEA European Affairs (BE) from 2010

Create unexpected meetings –create CLASHES that

PROVOKE

Provide the meeting with structure and support –

stimulate the interaction and

cross-fertilization

Intermediary organisation/bridge

Create unexpected meetings –create CLASHES that

PROVOKE

Provide the meeting with structure and support –

stimulate the interaction and

cross-fertilization

Intermediary organisation/bridge

The bridge makes sure the

The bridge makes sure the

The bridge makes sure the

The bridge makes sure the

clash generates som

ething

clash generates som

ething

clash generates som

ething

clash generates som

ething

positive

for all stakeholders

positive

for all stakeholders

positive

for all stakeholders

positive

for all stakeholders

Work programme 2009

• Comparative analysis

• Research Framework strategy

• Policy Discussion

• Dissemination

• Networking

Work programme 2010

Preparatory round table

Culture

10-15 participants

Co-leaders: TILLT&KEA

Brussels

Preparatory round table

Cross Sectoral:

employers/social partnersEU-evel officials

10-15 participants

Co-leaders: TILLT&KEA

Brussels

Working Group Hearing withinthe Section for Employment,

Social Affairs and Citizenship(SOC)

EESC – European Economic and Social Committee

Round table Sweden

Regional/Cross Sectoral

20-25 participants

Co-leaders: TILLT&KEA

Round table Spain

Regional/Cross Sectoral

20-25 participants

Co-leaders: c2+i&KEA

Policy Recommendations

EU-conferenceBrussels 9 December

Research to Find Value(s) in Artistic

Interventions in Organizations

Professor Ariane Berthoin AntalSocial Science Research Center Berlin (WZB)

Creative ClashBrussels

December 9, 2010

ABAntal@wzb.eu

Our Research Orientation

• How can artistic interventions contribute to sustainable organizations, that contribute to sustainable societies, economies and environments?

• We take a multi-stakeholder perspective (e.g., employees, management, artists, intermediaries, and policy makers).

• Adding value for whom?

And

• Assessed according to whose values?

Artistic Interventions Come in Many

Shapes and Sizes

• “When people, products, or practices from

the world of the arts enter organizations”

– For a few hours, days, months, or even years

– Art forms: all

– In all kinds of organizations

– For many different reasons.

Research so far (1): Multiple objectives

•Stakeholders have diverse reasons for wanting artistic interventions in organizations

• Managers want: 1. people development (skills),

2. organization development (eg to increase competitiveness),

3. development of ideas for new products or services;

4. “let’s see what happens”

• Artists want: 1. new context in/with which to create art,

2. additional source of income,

3. opportunity to help people make organizations better places to work/influence society

• Employees want: 1. ?

2. ? Very little research on their objectives yet….

Research so far (2): Indirectness

• Artistic interventions may contribute to (management)

objectives of increasing innovation and competitiveness,

e.g. by

– Improving communication in teams, between parts of

the organization, or between organization and

external stakeholders;

– Developing creative potential (individually,

collectively);

– Offering new leadership models;

– Disturbing routines and challenging limiting

assumptions about what is possible.

• BUT: indirectly

• IF people experience value themselves

socio-economic and natural

environment

interactions between

people

organizational strategy, performance & culture

individuals

at work

socio-economic and natural

environment

interactions between

people

organizational strategy, performance & culture

individuals

at work

• self-esteem

• discover/develop skills

• fun to learn

• meaning of own work

• energy

Research so far (3): Engaging

• In every intervention there are differences and overlaps between the objectives and the effects that the diverse stakeholders value

—what makes artistic interventions different is that they depend on people really engaging!

• People are more likely to want to engage in an artistic intervention– (a) if they feel there is value & meaning

for them in it

– (b) if they feel safe.

Research so far (4): Artists

• Artists in interventions: Enter a “foreign world” to ….– Listen, learn

– Challenge, disturb

– Energize

– Model

– Create art

• Artists are often criticized in their “art world”for working in this “foreign world”

Research so far (5): Intermediaries

• Emergence of intermediary organizations in many countries

• Playing multiple roles, e.g.,

–Helping organizations formulate need and find artist

–Generating funds

–Training artists for interventions

–Coaching artists during interventions

–Supporting the process

–Reflecting and reporting on experience

Research so far (6): Paradoxes

• Managers who have experienced artistic interventions are best positioned to provide “hard evidence” for policy- and decision-makers, but they say this is not the right approach.

• Arts are associated with beauty/harmony butlearning is often triggered by dissonance.

• Objectives important for management and for learning, but artistic interventions are unpredictable and valuable effects often “side-effects.”

Research Challenges– 1. Not enough understanding about how artistic interventions “work” in

organizations:– Difficult to “isolate” effects attributable to artistic interventions because they are

embedded in other processes (new and ongoing) in organizations;

– Processes too complex for mono-causal relations between “input (art) - to-outcome (competitiveness)” variables;

• So: we need to identify the constellation of elements that are significant for “successful” artistic interventions.

• 2. No reliable indicators so far:

– Stakeholders seek different things in an intervention, they value different outcomes—and they value outcomes differently

• So: we need to develop indicators with stakeholders.

• 3. Tendency to want “good” results of artistic interventions and leave problems in the shadows

• So: we need to have the courage to address unwelcomeaspects too.

Future Research to Meet

Different Needs• For practitioners:

• To generate knowledge of use to participants (employees, artists) and other stakeholders (management, intermediaries) in organizations experimenting with artistic interventions

• To provide evidence for policy makers and decision makers from other organizations about potential value(s) in artistic interventions

• For academic community:

• To deepen understanding of learning, innovation and aesthetics in organizations

Mix of Methods

• Action research must be at the heart of the mix of

methods

• It is flanked by case studies and survey research.

“Coda” back to …Research so far (7):

Decision-making

• Reasons decision-makers have chosen an

artistic intervention:

– Dissatisfaction

– Curiosity

– Conversations

– Courage

Selected Sources

• Argyris, C. (1990), Overcoming organizational defenses: Facilitating organizational learning. Boston: Allyn and Bacon. • Argyris, C. (1995), “Action science and organizational learning”, in: Journal of Managerial Psychology, 10/ 6: 20-26.• Berthoin Antal, A. (2008). "“Artful Conversations” at the WZB ", from http://www.wzb.eu/gwd/kneu/veranstaltungen.en.htm.

• Berthoin Antal, A. (2009). Transforming Organizations with the Arts. Research Report: A Research Framework for Evaluating the Effects of Artis tic Interventions in Organizations. TILLT Europe, Göteborg, Sweden.

• Buswick, Ted, Creamer, Alastair, and Pinard, Mary (2004) “(Re)Educating for Leadership: How the Arts Can Improve Business.”London, UK: Arts & Bus iness. Accessed July 25 2010: http://www.aacorn.net/members_all/buswick_ted/ReEducating_for_Leadership.pdf

• Carr, A. (2001/2002) “ Art as a form of knowledge: The implications for critical management.“ Tamara: The Journal of CriticalPostmodern Organization Science. 2/1:8-30.

• Cannon, M. D., Edmondson, A C. (2005), “Failing to learn and learning to fail (Intelligently): How grea t organizations put failure to work to innovate and improve”, in: Long Range Planning, No. 38, pp. 299-319.

• Clark, T. & Mangham, I. (2004) Stripping to the Undercoat: A Review and Reflections on a Piece of Organization Theatre.“Organisation Studies 25/5: 841-851.

• Darso, L. (2004). Artful Creation. Learning-Tales of A rts-in-Business. Frederiksberg: Samfundslitteratur.

• Dierkes, M., Berthoin Antal, A., Child, J, Nonaka, I. (eds.) (2001). The Handbook of Organizational Learning and Knowledge. Oxford: Oxford University Press.

• Friedman, V., Rogers, T. (2009). “There’s nothing so theoretical as good action research.” Action Research. Vol.7, No.1:31-47.

• McNiff, S. (1998). Trust the Process. An Artist's Guide to Letting Go. Boston, Shambhala.

• Meusburger, P. (2009). “Milieus of Creativity: The Role of Places, Environments, and Spatial Contexts.” In P. Meusburger, J. Funke, E. Wunder (eds.). Milieus of Creativity. An Interdisciplinary Approach to Spatiality of Creativity. Knowledge and Space, Vol. 2. Springer Verlag, Berlin: 97-153.

• Reason, P., Bradbury, H. (eds.) (2008). The SAGE Handbook of Action Research. Participative Inquiry and Practice. 2nd ed. Los Angeles. Sage.

• Schiuma, G. (2009) "The Value of Arts-Based Initiatives. Mapping Arts-Based Initiatives." Arts&Business, London. Accessed July 25 2010 from http://www.artsandbusiness.org.uk/Media%20library/Files/Research/Mapping%20ABIs%20-%20Prof%20SchiumaFINAL.pdf

• Styhre, A., Eriksson, M. (2008). "Bring in the Arts and Get the Creativity for Free. A Study of the A rtis ts in Residence Project." Creativity and Innovation Management 17(1): 47-57.

• Taylor, S. S., Ladkin, D. (2009). "Understanding Arts-Based Methods in Managerial Development." Academy of Management Learning and Educa tion 8(1): 55-69.

• Vives, M. and Gomez de la Iglesia, R. (2009). Managing Arts and Bus iness Collaborations: A comparative analysis of four programmes in Europe. San Sebastián, TILLT Europe.

Precautions from both sides –

reflections from round tables

Lars LindströmHuman Resources Manager Scandinavia

PAROC

Creative Clash

Brussels

December 9, 2010

Risks to starting a co-operation with an artist?

- Climate in different organizations.

- No clear starting point or goals for the process.

-Too detailed steering from organization of the process itself

-Artist focus on him/her self

What reduces the risks?

-Structured way to communicate and prepare mgmt.

-Recruitment and training of Artist and awareness of

challenges.

-Purpose and goals for the process and space for the artist

to use his/her certain skills.

What makes you anyhow, start a co-operation with an Artist?

-Understanding of untraditional methods effect on org.

-Willingness to come forward, where we have been

hindered in development or couldn’t reach out with for

exampel values.

Employer perspective

What is the artists role?

-To be the mind opener, stimulating organization to

see in new perspectives.

-Being a catalysator bringing stimulation to

organization.

-Ability for change and increasing communication,

mind opener for new possibilities

What value is he/she

-Comes with new perspectives

-Profesional in stimulating and challenge people to

new perspectives.

-No consultant with a roadmap, the Artist has the

freedom how using different methods depending on the

working group. Artist must continue to be an artist.

Employer perspective