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- Soila-Wadman, Marja, 1950-, et al.
(author)
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Aesthetic Relations in Place of the Lone Hero in Arts Leadership: Examples from Film Making and Orchestral Performance
- 2009
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In: International Journal of Arts Management. - Montreal, Canada : Universite de Montreal, Ecole des hautes Études Commerciales and AIMAC. - 1480-8986. ; 12:1, s. 31-43
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Journal article (peer-reviewed)abstract
- The authors argue for a relational perspective on leadership in arts organizations. They call into question the image of leader as lone individualistic hero in control of events, particularly in terms of how arts processes are understood. Given that both film projects and symphony orchestras feature many hard-working, committed people, the authors propose that the entire team, including the leader , be viewed as "hero". They propose that the perspective in which the sole leader is put on a pedestal be replaced by a relational perspective in which leadership is shared within an organization. In this perspective, leaders and those with whom they interact are equally responsible for the actions and relations they construe jointly. Viewing leadership as a shared phenomenon also highlights the importance of aesthetics in all kinds of leadership processes.
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- Soila-Wadman, Marja, 1950
(author)
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“Circus, Music, Theatre in the Kingdom of Crystal … Entrepreneuring as a societal, ethico – aesthetic practice?”
- 2011
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In: Nordic Academy of Management conference 2011, School of Business, Stockholm University..
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Conference paper (peer-reviewed)abstract
- Words such as creativity, innovation and entrepreneurship are repeated in these days like a mantra, and the phenomena are viewed as a means to solve varying sorts of problems in our world. This can apply both to business competitiveness and development of the society in general. The aim of this paper is to explore what we can learn from the arts in order to understand the named phenomena? The empirical material comes from an event in the Kingdom of Crystal in Småland where the artist Åsa Johannisson orchestrated something what could be named as a multi art work; several artists from different art forms worked together in order to create and perform art in a specific social context. Besides the artists, representatives from both business and municipalities were involved in the realization of the project. Research from some universities was combined with the project, too. This kind of organizing shows an openness to try to find new ways of organizing an artistic event. Consequently, the question arising from the past experiences is to ask what kind of ideas can be thrown to future. How to go further? What kind of experiences this entrepreneurial enterprise has given in order to inspire for future art events. How to initiate a new entrepreneurial project? As Weiskopf and Steyaert (2009) put it, entrepreneurship then can be viewed as ethico – aesthetic practice. It is about connective creativity (Styhre & Sundgren, 2005). There is the desire to find new ways of organizing an event, probably not like “a creative destruction”, but to open up for opportunities that can be unfolded through the everyday practices when people from different spheres are acting, given a commitment. The method for this story is a kind of collage (Kostera, 2005). The text will be woven from different kind of sources. Focus is in open and semi - structured interviews with the artist Åsa Johannisson. Secondary material like web pages, research reports and film will be used.
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- Soila-Wadman, Marja, 1950
(author)
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Creativity, organizing and leadership. Lessons from film making
- 2012
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In: 28 th Egos Colloquium July 5-7, 2012, Aalto University & Hanken School of Economics, Helsinki, Finland.
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Conference paper (peer-reviewed)abstract
- Is it possible to manage creativity? One way to understand creativity issues is to seek inspiration in art and cultural production where bringing something new into being is crucial. In this text I examine how to design a space for creativity to emerge in the everyday professional activity in film making where understanding aesthetic organizing practices is of basic value. An ethnographic study with participating observation during the shooting phase of a film project and additional interviews with persons working in different positions in film production have been conducted. I found that in order to secure the space for creativity to emerge in the turbulent situations on set, careful plans were made, great emphasis was placed on communication and negotiation between all the team members and improvisation was needed both in front of the camera and behind the camera. The director’s manager role was paradoxical, that of a commander and a relational, sensitive artist, interpreting playful situations. Rather than seeing leadership as an individual phenomenon, organizing and leadership should be viewed as mutually constructing each other in human interactions, as a relational process. To create openness to situations where creativity can emerge, in the director role courage not always to intervene is also needed, that is to be open to the aesthetics of capitulation.
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- Soila-Wadman, Marja, 1950, et al.
(author)
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Design thinking and artistic interventions - tools for understanding and developing organizational creativity?
- 2014
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In: Design Research Journal. - 2000-3080. ; 2014:2, s. 32-42
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Journal article (peer-reviewed)abstract
- Organizations in both the private and public sectors need to find new, creative ways of handling challenges in the complex environments of global competition. Engaging creative professionals like designers and artists - with the aim of developing organizational creativity as a strategic tool - has attracted a lot of interest in different kinds of organizations. In our study, we followed a weekly intervention process led by an artist, within a trade union. The union wanted to bring change to its working processes, with the ultimate goal of increasing membership numbers. The study is based on qualitative methods inspired by ethnography. Creativity, design thinking and artistic intervention literature form the main theoretical framework. Between the members of the workgroup and the artist, we have noticed a lot of discontent and differences in ways of understanding business versus creative goals. We propose that knowledge of design processes, conceptualised in design thinking writings, can help to communicate what is going on during an artistic intervention process, thus narrowing the gap between different understandings. However, a certain amount of friction and conflict will be both necessary and desirable during a creative process.
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- Soila-Wadman, Marja, 1950, et al.
(author)
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Designing and managing the space for creativity. Artistic interventions for strategic development of an organization in resisting environment
- 2013
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In: 2nd Cambridge Academic Design Management Conference, 4-5 September, 2013, University of Cambridge, UK.
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Conference paper (peer-reviewed)abstract
- Creative interventions as a strategic tool in organizations have gained an increased interest with the hope to handle the complex, chaotic and interactional environments in the global competition. In this study we explore an organization which has involved an artist to facilitate a creative change in its working routines. The study is based on qualitative methods inspired by ethnography. Aesthetic perspective on organizations, design thinking and artistic intervention literature form the main theoretical frame. In the first phase of the two-year-long intervention project we have noticed a lot of problems depending on the differing business logics and the artistic logics, the artistic and designerly methods in practice have shown a lot of similarities.
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- Soila-Wadman, Marja, 1950-
(author)
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Entrepreneurship and film making: Translation of ideas in the initial phase of a film project needs attention
- 2009
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Conference paper (other academic/artistic)abstract
- In order to face risks in a film project the initiation phase of a project is noticed as an important one. It is often emphasized that there should be more time and economic possibilities to invest in the preliminary work before the start of the shooting process, where the artistic work culminates. This text draws attention to some aspects on what is happening in the initial phase of a film project, which is crucial when the entrepreneurial network is in becoming and created. I am particularly interested in the translation of ideas. This will be done with the consciousness of what the Swedish director and producer Christina Olofson told me. She emphasized that she gets a lot of energy for her film as a creative, artistic project when trying to find financing for it and talking about it with different people in the initial phase of the project.
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- Soila-Wadman, Marja, 1950
(author)
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Film makers have long experience of handling art and commerce. What about a circus artist’s practices?
- 2013
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In: 22nd Nordic Academy of Management Conference, 21-23 August, 2013, University of Iceland, Reykjavik.
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Conference paper (peer-reviewed)abstract
- The aim of the study is to find out how different fields in the cultural sector manage to organize their productions in scarce economic circumstances. The empirical material comes from film production and from a circus artist. Semi-structured interviews with some experienced Swedish film producers and directors have been conducted as well as interviews with a circus artist as a producer of a cultural event. In film making there is a long experience of handling art and commerce. Several stakeholders participate in financing of a project and the Swedish state plays an essential part. The model can be illustrated by the metaphor of a puzzle, which also was the model for the circus event. The products as well as organizing practices for the two fields differ, but in both cases the important issues are, on the one hand, creating an attractive network of stakeholders, enabling the production to come into being, on the other hand, the great pleasure in working with a creative project.
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