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Managing art organizations – creative people Annukka Jyrämä

Managing art organizations – creative people

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Managing art organizations – creative people. Annukka Jyrämä. Assignment. Go together with your group out and take a couple of pictures of what you think is creative Send them to me [email protected] Come back to the class 9.30 City Creativity Team assignment. - PowerPoint PPT Presentation

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Page 1: Managing art organizations  – creative people

Managing art organizations –creative people Annukka Jyrämä

Page 2: Managing art organizations  – creative people

Assignment Go together with your group out

and take a couple of pictures of what you think is creative

Send them to me [email protected]

Come back to the class 9.30◦City◦Creativity◦Team assignment

Page 3: Managing art organizations  – creative people

Leading clever people Goffee, Rob; Jones, Gareth

Page 4: Managing art organizations  – creative people

Introduction and aim of the articleThis article aims at studying leadership and

management of people who usually don’t accept to be managed

A big number of companies ’competitive advantage relies on the ability to create an economy driven by ideas and know-how.◦ Most of the top executives are aware of this and

try to attract the human resource adapted to their needs

◦ Those interesting profiles are rare, become more demanding and generally refuse to be led.

Page 5: Managing art organizations  – creative people

MethodologyUse a sociological approachData from case study, structured

interviewThe author spoke with more than

100 leaders and their « clever people » from companies such as KPMG, Roche and Crédit Suisse.

Page 6: Managing art organizations  – creative people

Results: the clever peopleInterdependence of need between the

« clever people » and the organizationParadox about the clever people:

◦Clever people feel they belong to an external professional community

◦ therefore have a feeling of indifference towards the organization’s hierarchy and bureaucracy

◦However, they like to be aware of the organization’s key development projects

◦Clever people desire to have instant access to anyone in the organization’s hierarchy

Page 7: Managing art organizations  – creative people

Results: the organizationThe organization has to handle the « organization

rain » which are the « rules and politics associated with any big budget activities »◦ Distribute the budget fairly; Protect clever people from

organization’s rain when they need it;◦ Minimizing the rain by simplifying norms and rules

The organization has to diversify the risk – « put the eggs in different boxes » (Portfolio thinking) by setting boundaries and interdependence between clever people.◦ Set its own credibility by possessing a complementary

or supplementary ability the clever people miss. E.g. Bill Gates was good at programming.

Page 8: Managing art organizations  – creative people

ConclusionClever people may be the most difficult

human resource to manage since they know their value, they possess a bigger bargaining power than any other employees.◦ They want to be recognized and feel protected by

the organization.◦ They demand a favorable environment to work in.

It seems that the effort required by companies is worth it because competencies are shared and successful companies managed to found a balance in the management of their clever people.

Page 9: Managing art organizations  – creative people

Discuss How would you like to be

managed/lead as a creative person/student?

◦Leadership vs. management◦Control vs. freedom / enabling◦Limits vs. no limits◦Motivation vs. corrective actions◦People vs. structures

Page 10: Managing art organizations  – creative people

Jyrämä & Äyväri, Helsinki School of Economics, 2005

Fostering Learning - The Role of Mediators

Annukka Jyrämä and Anne Äyväri

Helsinki School of Economics

Page 11: Managing art organizations  – creative people

Jyrämä & Äyväri, Helsinki School of Economics, 2005

The key research questions

What is the role and means of mediators to foster learning?

How does the understanding on learning affect the activities of a mediator?

Page 12: Managing art organizations  – creative people

Jyrämä & Äyväri, Helsinki School of Economics, 2005

Mediator

in between - markets, fields, communities

influencing activities – a catalyst

bringing together◦ ideas, knowledge processes...

Page 13: Managing art organizations  – creative people

Jyrämä & Äyväri, Helsinki School of Economics, 2005

Learning ”as acquiring identities”

Learning involves becoming an “insider” (Brown and Duquid, 2001).

Knowledge creation is a journey from being to becoming (Nonaka et al., 2000: 8).

Identity as a key component of learning (Wenger, 1998)

Identity reflects how a learner sees the world and how the world sees the learner.

Page 14: Managing art organizations  – creative people

Jyrämä & Äyväri, Helsinki School of Economics, 2005

Contexts for learning

Ba is a shared place in which knowledge is shared, created and utilized. (Nonaka et al. 2000)

Communities of practice is a freely-created community that engages in an activity together and then gradually forms a tight community that learns together through joint practice. (Wenger, 1998)

Page 15: Managing art organizations  – creative people

Jyrämä & Äyväri, Helsinki School of Economics, 2005

Ba

Originating Ba Dialoguing Ba

Systematizing BaExercizing Ba

Face-to-face

On-the-site

Peer-to-peer

Colla-bora-tion

(Nonaka, I., Konno, N. and Toyama, R. 2001)

Page 16: Managing art organizations  – creative people

Jyrämä & Äyväri, Helsinki School of Economics, 2005

Community of practice

a tight community that learns together through joint practice

legitimate peripheral participation◦ become a legitimate member -> access to

mutual engagement, to negotiation, the repertoire in use

influence by practice vs. reification

Page 17: Managing art organizations  – creative people

Jyrämä & Äyväri, Helsinki School of Economics, 2005

Research design

qualitative approach

a single case – TARU◦interviews of artists (20) and

mediators (8)◦web pages, information letters, etc.

Page 18: Managing art organizations  – creative people

Jyrämä & Äyväri, Helsinki School of Economics, 2005

What is TARU – the studied case

part of EU EQUAL programconsists of four national (Finnish)

partnersaims to help marginal artists,

immigrants and disabled, to enter the art field

by:◦ giving guidance in producing and

marketing the art◦ changing the attitudes of authorities,

potential employers etc.◦ seminars, TV programs, exhibitions (own

gallery), publishing etc.

Page 19: Managing art organizations  – creative people

Jyrämä & Äyväri, Helsinki School of Economics, 2005

TARU: ”Arts and diversity”

Partners:◦ Lasipalatsi Media Centre Ltd. (responsible for the

co-ordination and financial management of the project),

◦ YLE Finnish Broadcasting Company (broadcasts TARU -tv-shows as a part of a morning program),

◦ Finnish Theatre Information Centre (responsible for training and education in this project), and

◦ Försti-Filmi Ltd., a privately-owned production company (responsible for TARU -tv-programs)

About 170 artists

Page 20: Managing art organizations  – creative people

Jyrämä & Äyväri, Helsinki School of Economics, 2005

TARU-activities

training (seminars, i.e. lectures given by authorities and experts in the Finnish art field)

a regular tv-show (10 minutes each, 31 shows by the time of the data collection)

a list of those artists who have joined the project in TARU web pages (about 170 persons), links to home pages of artists (most of them created by the project) in TARU web pages, www.taru.info/

six exhibitions have been shown in the art gallery of Lasipalatsi Media Centre

two books have been published by the TARU-artists.

Page 21: Managing art organizations  – creative people

Jyrämä & Äyväri, Helsinki School of Economics, 2005

Artists’ expectations

Artists expected contacts, networking, and pragmatic help to build one’s own career◦Interaction among peers to share

experiences, values and beliefs.◦Networking: potential partners,

individuals and institutions capable of helping them to develop their careers

◦Practical help: how to organize a concert, how to contact publishers, gallery owners or agents.

Page 22: Managing art organizations  – creative people

Jyrämä & Äyväri, Helsinki School of Economics, 2005

Artists’ views on the roles of mediators The project was expected to create

chances for networking, and therefore the mediators were expected to know the actors in the professional art field -> network brokers.

Individual guidance, advice and tips was expected -> personal tutors or coaches.

Marketing-related help was expected -> sales managers or agents; designers of internet pages and press releases.

Some believed that TARU itself should have employed the artists as assistant project managers or organizers of joint productions.

Page 23: Managing art organizations  – creative people

Jyrämä & Äyväri, Helsinki School of Economics, 2005

Mediators’ views on their own roles

Organizing indirect means (tv-shows, seminars, web pages) which would enhance the artists’ opportunities to integrate in the Finnish art field.

Documenting the best practices at home and abroad.

Recruiting the best experts to give lessons.

Would like to give personal help, but impossible.

Page 24: Managing art organizations  – creative people

Jyrämä & Äyväri, Helsinki School of Economics, 2005

TARU activities so far

Originating ba (face-to-face)

•group work in the first seminar

•coffee breaks in the seminars

Dialoguing ba (peer-to-peer)

•face-to-face discussions between the most active artists and mediators in the offices of partnering organizations

Exercising ba (on-site)

•joint production in the Night of the Arts –happening

•drawing up applications for funds

•using advice received in face-to-face discussions when organizing one’s own concert or exhibition

Systematizing ba (collaboration)

•web pages

•lectures and other information given in seminars

•information letters, e-mail sent by the TARU organizers

Page 25: Managing art organizations  – creative people

Jyrämä & Äyväri, Helsinki School of Economics, 2005

TARU activities - planned

Originating ba (face-to-face)

•a producer for personal interaction with the artists

•TARU Club or Café to be opened

Dialoguing ba (peer-to-peer)

small groups (be the type of art) led by the tutor

TARU Club or Café to be opened

Systematizing ba (collaboration)

•best practices and models on web pages, also from other EQUAL projects in Finland and abroad

•reports on seminars and all the other activities on web pages

Exercising ba (on-site)•using the information given about the TARU artists on the web pages, finding partners in joint art productions

•applying the models and other best practices shown on the web pages and television shows

•exhibitions or performances organized and books published be the TARU project

Page 26: Managing art organizations  – creative people

Jyrämä & Äyväri, Helsinki School of Economics, 2005

TARU activities

the organizers were not part of the community of practice aimed at

”lessons about - not within”use of participation: no use of

their own contacts to cerate interaction

reification ways were used: influenceing through various media

Page 27: Managing art organizations  – creative people

Jyrämä & Äyväri, Helsinki School of Economics, 2005

Mediators’ role in artists’ identity construction

In the discussions with the mediators the question of construction of an artist identity was not raised – only indirect means to strenghten TARU artists’ market position were discussed.

The mediators expected artists to learn mostly by adopting explicit knowledge transferred from the experts. -> They did not think learning ”as becoming”.

The mediators did not regard their role as supporters in participants’ identity conctruction.

Page 28: Managing art organizations  – creative people

Jyrämä & Äyväri, Helsinki School of Economics, 2005

Identity: TARU activities - planned

Personal discussions with the newly employed producer

The Club or CaféThe tutor-led groupsExhibitions in the Lasipalatsi Gallery,

books to be publishedProject’s support for creating versatile

exercising ba needs to be strenghtened.

Page 29: Managing art organizations  – creative people

Jyrämä & Äyväri, Helsinki School of Economics, 2005

Conclusionsusing a framework forces to think

in a different waywhat kind of knowledge can be

transferred and what needs to be learnt through experience;◦tacit – explicit◦practices – information

Page 30: Managing art organizations  – creative people

Jyrämä & Äyväri, Helsinki School of Economics, 2005

Conclusionstwo theoretical concepts for

context of learning:◦discovering different aspects; space/

nature of knowledge◦human actions; participation, access

to a community

Page 31: Managing art organizations  – creative people

Articles on the topicJyrämä, Annukka and Äyväri, Anne(2007) :

Fostering learning - The role of mediators. Knowledge Management Research & Practice, 5 (2): 117-125.

Jyrämä, A. and Äyväri, A.(2005) : Can the Knowledge-Creation process be managed? A Case Study of an Artist Training Project. International Journal of Arts Management, Vol. 7 (2), 4-14.

Page 32: Managing art organizations  – creative people

Case: Finnish National GalleryBased on the article;

How would you manage or lead the people working in this organization

What are the main issues to remember

http://www.fng.fi/aboutfinnishnationalgallery/missionvaluesandvision