This book explores the relationship between the management of creativity and creative approaches to management.
- Challenges the stereotypical opposition between ‘creatives’ and ‘suits’.
- Draws on the work of management theorists such as Mintzberg and Porter and creativity theorists such as Amabile and Boden.
- Draws on the practical experience of individuals working in the creative industries.
- Looks at the place of creative organisations and creative business management in a new creative economy, based on ideas, images and information.
Table of Contents:
Foreword viii
Acknowledgements xi
Introduction: Creativity and the Creative Industries xiii
1 Defining Creativity 1
A Tale of Two Corridors 1
What Is Creativity? 2
What Creativity Is Not 7
Case Study: A Vision in a Dream? 10
Mapping the Great Divide: From Education to the Workplace 12
The Mythology of Genius 14
Case Study: The Genius and the Water-carrier 18
False Profits: The Creative Industries 19
2 From Individuals to Processes: Creative Teams and Innovation 23
From Individuals to Teams 23
Innovation and Teams 24
Beyond Specialization: Creative Work in the Creative Industries 26
Playing Many Parts: Creative Roles in the Creative Industries 28
Case Study: Repositioning Creativity in Advertising 30
Growing the Creative Team: Familiarization or Specialization? 33
Managing the Creative Team 34
Creative Tension and the Need for Trust 39
Creative Teams Need Uncreative People 42
3 Creative Systems: Implications for Management and Policy in the Creative Industries 45
The Cultural Geography of the Creative Industries 46
The Strength of Weak Ties 47
Case Study: Theatre as a Creative System 50
Implications for Management 52
Managing Creative Systems by ‘Brokering’ Knowledge 56
Implications for Policy 59
Systems and Sustainability 62
4 Managing Creative Work through Release and Control: The Myth of the Self-motivated Creative Worker 66
The World Turned Upside Down 66
Case Study: Changing Management Styles at the BBC 67
Whistle While You Work: Changing Theories of Employee Motivation 70
Out of Control: The Myth of the Self-motivated Creative Worker 72
The Isolation of Creative Work 74
Bounded Creativity: Creativity through Control and Constraint 76
Case Study: Musician for Hire – Boundaries for Musical Composition 78
False Freedom: The New Management Style in Practice 80
Case Study: Management in the Movies – Wise Children and Men in Suits 81
Beginnings and Endings 85
The Rules of the Game 87
5 Seeing the Pattern: Strategy, Leadership and Adhocracy 91
The Strategy Wars: Orientation versus Animation 91
Strategy and Creativity 92
Strategy in an Open System 96
Case Study: Emergent Patterns in Film Marketing 97
Strategy as Continuity in Change 102
Case Study: Are You Paying Attention? Jazz, Improvisation and Creative Listening in Strategy Formation 106
Strategy and Posthocracy: Being Decisive 108
Strategy as Process 111
6 Business Development and Organizational Change 116
What Is Organizational Change? 116
The Change Cycle 118
Incremental Change 121
Case Study: Creativity and Change at Marks and Spencer 122
The Aesthetics of Organizational Change: Organizational Integrity 126
Aligning Individual and Collective Change 129
Evolutionary Change 132
Creativity and Change 135
7 From Creative Marketing to Creative Consumption 138
Symbolic Goods 138
Postmodern Marketing 139
Case Study: Arts Marketing – From Products to Experiences 142
From Segments to Sub-cultures: Bringing the Audience Back in 145
The New Value Chain 147
Case Study: In Search of Oldton 149
Towards the Social Product 151
Letting Go 153
The Aesthetics of Marketing 155
8 The Politics of Creativity 159
Promoting the Creative Economy 159
Case Study: Creative New Zealand – The Branding of Creativity 163
From ‘Cultural’ to ‘Creative’ Industries 164
Creative Industries and Cultural Policy: Assumptions and Models 166
The Politics of Management 171
Creativity Is Difficult 172
Bibliography 176
Index 186
About the Author :
Dr Chris Bilton is Lecturer in the Centre for Cultural Policy Studies and Director of the MA in Creative and Media Enterprises at the University of Warwick. Previously, he has worked as a performer, writer, community arts worker and arts development officer.
Review :
"This important book demonstrates exactly why a full understanding of creativity really matters – not only in the context of developing more vibrant and personally satisfying areas of economic activity, but even more importantly, in its ability to help us develop a better understanding of the value of creative individuals in the 21st century" from the foreword by Lord Puttnam
"This is an exceptional book in three respects. Firstly, it is a book about management that truly appreciates the creative process. Secondly, it is a book about creativity that understands and seeks to engage with practical business realities. And, finally, Management and Creativity actually proves its own thesis: that the best thinking occurs when the worlds of “creativity” and “business” intersect." Stephen Cummings, Victoria University of Wellington
"The book will appeal to a broad audience of creatives, policy-markers and students looking for an alterantice, sounder framework for understanding how to nurture creativity in the workplace." Management Today
