Universitat Internacional de Catalunya
Leadership, Culture and New Technologies
Other languages of instruction: English
If the student is enrolled for the English track then classes for that subject will be taught in the same language.
Teaching staff
To arrange a meeting please contact me at ebelvis@uic.es
New Technologies and Museums and Heritage:
Conxa Rodà
Email crodad@uoc.edu
Twitter: @innova2
Blog: https://blog.museunacional.cat/en/author/conxa-roda/
Introduction
LEADERSHIP
Introduction
Leadership has become an important theme in the arts, culture and creativity sectors in recent years. Successful leadership in arts and cultural organizations involves the same societal factors and requires many of the same qualities and skills as those operating in both for-profit and not-for-profit organizations belonging to other sectors. However, cultural leaders face some unique challenges: balancing the expectations of diverse visitors, funders, artistic collaborators and critics; ‘proving’ impact and communicating value; nurturing/birthing new ideas and forms of expression that are as necessary as they may be uncomfortable; catalysing social change and so on.
This course will help students identify and develop the skills to lead, whether in an arts organization, or as a creative producer and/or cultural advocate. We will reflect on the societal elements and personal qualities related to “good leaders” as well as on the theory and practice of leadership in the changing contexts of arts and culture in our societies.
The course will use a combination of lectures, seminars and art-based pedagogical strategies. The first part will frame the issue of leadership in the cultural sector from both sociological and institutional standpoints. Its second part will address specific challenges and leadership dimensions in the performing arts and museum sectors, emphasizing their technological implications and digital strategies.
Content
The course is divided into nine modules under 3 themes:
I. Leadership in individuals acting in the cultural sector
II. Leadership in cultural organizations and communities
III. Leadership in territories and cultural administrations
NEW TECHNOLOGIES
Today, digital extends to all the museum's activity environments and is content-oriented to the public: website, online collection, mobile, social networks, interactive museography, marketing. The key question is how digital can help us fulfill our mission and better serve the needs of our audience. How can we create added value through digital? In order to better serve our audiences, better connect knowledge with the public, work more efficiently, analyze and segment users, digital plays a strategic role that must be well planned.
Pre-course requirements
LEADERSHIP
An interest in leadership, and a desire to understand how leadership can be operationalized in the context of arts and cultural organizations.
Some sociological and management backgrounds can help. However, the course is designed for students from all backgrounds.
NEW TECHNOLOGIES
Basic knowledge of the performing arts is desirable, especially in relation to production and marketing. However, the module is designed for students from all backgrounds.
Objectives
LEADERSHIP
This course intends to achieve three primary objectives that transcend the domain of leadership:
I. Doing things together with people. A greater understanding of what basic motives drive people’s behaviour, and how we can influence those motives.
II. Effective and meaningful interpersonal relationships. A greater appreciation of how to foster effective and meaningful interpersonal relationships in the workplace. This requires understanding uses of power and influence and learning how to address conflict. We will also focus on how to develop talent and foster effective teamwork and how to promote organisational cultures aligned with the organisation’s mission.
III. Global organisational environment. A greater understanding of how to develop and lead people in a global, multicultural organisational environment.
In addition, the course aims to achieve the following specific objectives necessary for students to become future leaders:
- To understand and be able to apply a theoretical framework to create the phenomenon of leadership, capturing sources of leadership and leadership models and styles.
- To complement leadership theory with practical orientation and applications.
- To understand the distinct contexts of business, public, and non-profit organisations in which leadership can be operationalised.
- To gain exposure to practical case studies from different sectors (especially private and non-profit sectors) and cultures.
- To understand the role of leaders in shaping organisational cultures.
- To design an overarching leadership philosophy and practical leadership strategies customised for each student’s unique career goals.
- To develop teamwork skills and learn how to work effectively with others.
NEW TECHNOLOGIES AND MUSEUMS AND HERITAGE
- To introduce students to the basic concepts and terminology relating to technology in heritage and museums.
- To enable students to identify appropriate technologies to support their objectives.
- Overview of the use of ICT in cultural heritage and museums.
- To enable students to understand how to apply digital strategy to the cultural heritage and museum sectors.
- To introduce students to the complexity of the design and creation of digital resources.
NEW TECHNOLOGIES AND PERFORMING ARTS
- To understand the current trends in performing arts technology.
- To identify the challenges that cultural managers might encounter related to production, audience reach or dissemination.
- To analyze how technology innovation in performing arts relate to leadership factors
- To manage and understand the needs and challenges in different small, medium and large cultural organisations.
- To be capable of aligning creative and marketing strategies according to the production target.
Competences/Learning outcomes of the degree programme
Basic competencies
CB6: To have and understand knowledge which provides and grounding or opportunity to be original in terms of the development and/or application of ideas, often in a research-based context.
CB7: To know how to apply the knowledge acquired and the ability to resolve problems in new or little know environments within broader or multidisciplinary contexts related to area of study.
General competencies
CG1: To analyse and interpret social and cultural environments in order to identify needs, opportunities, weaknesses and strengths.
CG2: To manage, coordinate and take part in interdisciplinary work teams.
CG7: To know how to apply and adapt to new technologies in processes of cultural management, production and dissemination.
Cross-disciplinary competencies
CT1: To design, direct, produce and evaluate projects, programmes, strategies, policies or cultural actions which involve a wide variety of different professional profiles, agents and institutions.
Specific competencies
CE9: To coordinate interdisciplinary work teams and use new technologies when managing, producing and disseminating cultural products and services.
In addition:
- To develop a visionary perspective of leadership that not only focuses on achieving results but also on creating a positive impact on people and society.
- To understand the critical skills to motivate and influence people to reach common goals through developing individuals and teams and adequately defining the culture and structure of the organization.
- To be able to identify and use the primary strategies of leadership applicable in cultural organizations in the public, nonprofit, and private sectors across various national cultures.
Learning outcomes of the subject
- Knowledge of leadership sources, orientations and implications in the cultural sector.
- Ability to understand and manage performing arts tech-based environments.
- Ability to produce and disseminate creative and communication strategies according to the organization needs.
- Capacity to identify possible difficulties in the management of cultural organizations and establish effective alternative procedures.
- Ability to apply proper instruments and processes to reach new audiences.
Syllabus
Leadership
|
Module |
Content reference |
Date |
Suggested readings |
In Class |
Assignment |
|
Theme 1- Leadership in individuals acting in the cultural sector |
|||||
|
Class 1- Introduction to leadership
|
What’s leadership? What’s a leader? What are the skills, attributes and behaviors required for leadership? I.e., types of leadership, theoretical and practical approaches. Charisma. |
Friday, April 1, 18:30h |
Avolio et al. (2009). Leadership: Current theories, research, and future directions. Adair-Toteff, C. (2005). Max Weber’s Charisma. |
a) Lecture b) Films (The Inventor: Out for Blood in Silicon Valley- Hannah Arendt What Is Authority? Between Past and Future) c) Debate |
-- |
|
Class 2- Personal leadership in the arts and cultural domains |
Which are the specifics of leadership in the cultural field/market? How is leadership defined, explained and achieved in these sectors? I.e., gender, inclusion and exclusion factors, etc. |
Monday April 4, 16:30h
|
Price, Jonathan (2017). The construction of cultural Leadership. Kolsteeg, J., & Zierold, M. (2019). Mapping the meanings of Cultural Leadership
|
a) Lecture b) Great leadership starts with self-leadership | Lars Sudmann | TEDxUCLouvain c) Group work/ Discussion and writing exercise
|
Assignment 1- Work 1- Addressing experience of leader in the cultural domain and his/her profile (based on work group) |
|
Class 3- Leadership as managerial driver of the creative process |
How does leadership in arts management contribute to art production and consecration? How does it orientate creative processes? I.e., leading valuation practices. |
Wednesday April 6, 18:30h |
Nisbett, Melissa & Walmsley, Ben (2016) The Romanticization of Charismatic Leadership in the Arts. |
a)Lecture b) Debate c) Group Presentation (Class 2)- Delivering Paper 1 + presentation |
--- |
|
Class 4- Agency and communication in personal leadership Guest lecturer: Dr. Rafael Valenzuela García |
Which are the characteristic psychosocial traits of leaders and art leaders? Which role does communication play? I.e., status, classification, habitus, capitals, etc. |
Friday, April 8, 16:30h
|
Goffee, R., & Jones, G. (2005). Managing authenticity. Goleman, D. (2013). The focused leader.
|
a) Lecture b) Case study
|
--- |
|
Theme 2- Leadership in cultural organizations |
|||||
|
Class 5- Building organizations leadership and innovation |
How do cultural organizations build collective leadership? Which are the organisational and cultural field factors driving this leadership? I.e., internal dynamics (interactionism), macro factors (branding, legitimacy, coercion, public view, taste and symbolic power), role of AI, media and social media. |
Wednesday April 20, 18:30h |
Ian Sutherland & Jonathan Gosling (2010). Cultural Leadership Sue Hoyle et al (2018). Changing cultures: Transforming leadership in the arts, museums and libraries. Harvey, C., Press, J., & Maclean, M. (2011). William Morris, cultural leadership, and the dynamics of taste. |
a)Lecture b) Debate c) Group work on a lead cultural organization |
Assignment 2- Group work- Short interview with artist/ manager |
|
Class 6- Lead cultural organizations and management |
What are the characteristics of leading art projects? I.e., uniqueness, resilience, adaptability, strategy, problem solving |
Friday April 22, 16:30h |
Glow, Hilary (2012). Cultural leadership and audience engagement. Cray, D, L. Inglis and S. Freeman. 2007. "Managing the arts: leadership and decision making under dual rationalities |
a) Lecture b) Case study: Fura dels Baus c) Presentation Assignment 2 |
|
|
Theme 3- Leadership in territories and cultural administrations |
|||||
|
Class 7- Leading cultural management administrations Guest lecturer: Dr. Jordi Pascual |
How do local administrations achieve and drive cultural leadership? I.e., governance, international environment, leadership models |
Monday April 25, 16:30h
|
Mariano Martín Zamorano & Arturo Rodríguez Morató (2015) The cultural paradiplomacy of Barcelona since the 1980s. |
a)Lecture b) Documentary The Creative City: past present and future | Charles Landry | TEDxPadova (2015) c) Debate |
|
|
Class 8- Lead cultural organizations and sustainability |
How do arts and cultural communities, organizations and places maintain their leadership? I.e., mixing financial strategies. |
Wednesday April 27, 18:30h |
Rimmer, Mark (2020). The art of survival. |
a)Lecture b) Debate |
Paper assignment (LCP and VUCA7) |
|
Class 9- Leading cultural entities in a global environment |
How are leading strategies framed and applied in international cultural policies? I.e., soft Power, cultural diplomacy and global participatory culture |
Monday May 2, 16:30h |
Singh, J. P. (2010). Global cultural policies and power. |
a)Lecture b) Closing debate |
Paper delivery |
Bibliography
Avolio, Bruce J.; Walumbwa, Fred O.; Weber, Todd J. (2009). “Leadership: Current theories, research, and future directions”. Annual review of psychology, 60, p. 421-449. (Phycological theories on leadership and its cognitive/behavioral basis.Transactional leadership analysis).
Cray, D, L. Inglis and S. Freeman. 2007. "Managing the arts: leadership and decision making under dual rationalities. Journal of Arts Management, Law, and Society, Vol. 36, no. 4, p. 295-313
Glow, Hilary (2012). Cultural leadership and audience engagement: a case study of the Theatre Royal Stratford East, in Arts leadership: international case studies, Tilde University Press, Melbourne, Vic., pp.131‐143.
Goffee, R., & Jones, G. (2005). “Managing authenticity”. Harvard business review, 83(12), 85-94. (Topography of leadership authenticity addressing agential and corporate dimensions).
Goleman, D. (2013). “The focused leader”. Harvard business review, 91(12), 50-60. (Expected characteristics of leaders (empathy, multifocal, etc.)
Harvey, C., Press, J., & Maclean, M. (2011). William Morris, cultural leadership, and the dynamics of taste. Business History Review, 85(2), 245-271.
Humphrey, R. H. (2012). How do leaders use emotional labor?. Journal of Organizational Behavior, 33(5), 740-744. (Leader emotional labor as a specific set of behaviors that can help leaders establish better leader–member exchange relationships)
Ian Sutherland & Jonathan Gosling (2010) Cultural Leadership: Mobilizing Culture from Affordances to Dwelling, The Journal of Arts Management, Law, and Society, 40:1, 6-26, DOI: 10.1080/10632921003603984
Kolsteeg, J., & Zierold, M. (2019). Mapping the meanings of Cultural Leadership: The use of the term in the field of arts management. Arts Management Quarterly, 6-10.
Maccoby, M. (2015). “Why people are drawn to narcissists like Donald Trump”. Harvard Business Review, 26. https://hbr.org/2015/08/why-people-are-drawn-to-narcissists-like-donald-trump (Description of productive narcissists approach to power and weakest points in power management)
Nisbett, Melissa & Walmsley, Ben (2016) The Romanticization of Charismatic Leadership in the Arts, The Journal of Arts Management, Law, and Society, 46:1, 2-12, DOI: 10.1080/10632921.2015.1131218
Rimmer, Mark (2020). The art of survival: community-based arts organisations in times of austerity, Community Development Journal, Volume 55, Issue 2, April 2020, Pages 295–312, https://doi.org/10.1093/cdj/bsy036
Price, Johnatan (2017)- The construction of cultural leadership. J Price. ENCATC Journal of Cultural Management & Policy 7 (1), 5-16, 2017. 2.
Singh, J. P. (2010). Global cultural policies and power. In International cultural policies and power (pp. 1-15). Palgrave Macmillan, London.https://asset-pdf.scinapse.io/prod/438973921/438973921.pdf#page=17
Sue Hoyle et al (2018). Changing cultures: Transforming leadership in the arts, museums and libraries. Arts Council England.
Zamorano, Mariano Martín & Arturo Rodríguez Morató (2015) The cultural paradiplomacy of Barcelona since the 1980s: understanding transformations in local cultural paradiplomacy, International Journal of Cultural Policy, 21:5, 554-576, DOI: 10.1080/10286632.2014.943752
UIC_Master on Cultural Management_NEW TECHNOLOGIES AND PERFORMING ARTS
Chapter 1 Introduction to performing arts, technology and communication
1. Current trends: from traditional performing arts to emerging interdisciplinary practices
1.1 Incorporating new technologies into performing arts
Chapter 2 Performing Arts Technology and communication through case studies
2.1 Digitalisation and performing arts pre-production processes: strategy, budget, management and the digital development.
2.2 Digitalisation and performing arts dissemination processes: expanding the theatrical experience.
2.3 Digitalisation and performing arts educational-commercial 360 strategic processes: targeting and broadening the audience through innovative products.
Chapter 3 Addressing trends and challenges
3.1 Main challenges for cultural managers: digitalisation, from theory to practice.
UIC_Master on Cultural Management_ Digital Module_Museums
Conxa Rodà, 23th May -1st. June 2022
Digital today pervades every corner of the museum activity and public-oriented content: website, online collection, mobile, social media, 3D, interactive museography, immersive displays, marketing. The key question is how Digital can help us fulfill our mission and better serve our audiences’ needs. How best can we create added value through digital?
To be able to better serve the audiences, to better connect knowledge with the public, to work more efficiently, digital plays a strategic role that needs to be well planned.
Digital module CALENDAR_ 23th May -1st June 2022
|
MONDAY 23 May 2.30hs |
WEDNESDAY 25 May 2hs. |
MONDAY 30 May 2.15 hs. |
WEDNESDAY 1stJune 2.15 hs. |
|
4 pm– 6.30h.
1. DIGITAL TRANSFORMATION / DIGITAL STRATEGY
|
6.30 pm– 8.30h.
2. CONTENT STRATEGY
|
4.15 pm– 6.30h.
3. Digital Mediation/1 MUSEUM WEBSITES SOCIAL MEDIA |
4.15 pm– 6.30h.
4. Digital Mediation/2 MOBILE, VR & other TECH /RECAP, Q&A, assignment delivery |
We’ll see examples of different technologies and from museums around the world all along the module. This module will cover the following main aspects:
1. Museums and Digital Strategy
The strategy means an integral and unified approach that links the museum’s mission with audiences’ needs and expectations enhanced by digital.
Digital is not the goal, is a way to help us accomplish our goals. Digital Transformation is to apply digital technologies to a new way of creating / producing / communicating content and services. The Digital Transformation is a process, a journey that affects the WHOLE museum.
Recommended readings:
- Stack, John (2013). “Tate Digital Strategy 2013–15: Digital as a Dimension of Everything” www.tate.org.uk/research/publications/tate-papers/tate-digital-strategy-2013-15-digital-dimension-everything
- Tallon, Loic (2017). Digital Is More Than a Department, It Is a Collective Responsibility https://www.metmuseum.org/blogs/now-at-the-met/2017/digital-future-at-the-met
2. Content strategy
Does museums’ content meet users' needs? Content strategy today is crucial to achieve the best results in connecting collections to audiences, to optimize resources and to improve internal processes. We have transitioned from a digital presence concentrated on the website to a diversity of channels, platforms and devices. The more museums diversify their content, the more a content strategy is needed.Recommended readings:
- Halvorson, Kristina (2015) Content strategy for the web everything. www.slideshare.net/khalvorson/content-strategy-for-everything
- Marsh, Hillary (2021). Content Strategy Roadmap 2021 https://contentcompany.biz/content-strategy-roadmap-2021/ - Rodà, Conxa (2016). Do we have a content strategy in museums? Do we need one?https://blog.museunacional.cat/en/do-we-have-a-content-strategy-in-the-museums-do-we-need-one/
3. Websites / Social media
Which are the web trends today?
Social media are a strategy element of museum communication today.
But… are museums doing it rightly enough?
I invite you to bring examples of museum websites you love or museums ‘ performance on social media you cherish to comment in class.
Recommended readings:
- Weblium (2019). “Best Museum Websites: Top 10 Examples”. https://weblium.com/blog/10-best-museum-website-examples - MuseumNext (2019). “How Museums Can Use Social Media? https://www.museumnext.com/article/museums-can-use-social-media/ Koszary, Adam (2021). “Confessions of a (former) social media manager”.https://medium.com/@adamkoszary/confessions-of-a-former-social-media-manager-cd7b42964782
4. Mobilizing and Virtualizing Museums
Mobile has become a key factor for the museum experience and interpretation. We’ll see best practices of apps, multimedia audioguides, augmented reality, virtual reality, immersive technology, artificial intelligence in museums and heritage sites.
Recommended readings:
- Coates, Charlotte (2019). “ How Museums are using Virtual Reality?”. https://www.museumnext.com/2019/01/how-museums-are-using-virtual-reality/ - Grevtsova, Irina (2019). “7 cultural experiences that are trending”. https://medium.com/@irina.grevtsova.bcn/7-cultural-experiences-that-are-trending-a9db8b87f0d1Formats we’ll use for this module:
- Sessions in classroom
- Activities in classroom
- Readings: the recommended ones here. A list of a wider bibliography will be provided at the end of the module.
- Use of 2.0 specific tools for the module:
- § twitter #digitalUIC @UICbarcelona
- § instagram @uicbarcelona
- § Survey
- § Compulsory assignment
Survey: I’ll appreciate if you answer a short and quick survey (anonymous) before the start of the module the 23th of May. The link to the survey will be provided the week before starting this module. https://es.surveymonkey.com/r/GKNDYQS
Compulsory assignment: deadline last day of class 1st. June
Formats of delivery, one of these three: Written / Audio / Video
Please, select one of the two following options of assignment:
Option 1 Find one example of a good practice of engagement / connexion with the public by a museum digitally during the confinement or after (on the web, social media, online collection, games, etc.). Which initiative do you think is valuable, interesting, engaging? Analyze just one good practice, not several. Delivery: last day of class, 1st. June Length: written, 1 page maximum. Audio / Video, 2 or 3 minutes maximum. It is about commenting, analyzing and assessing rather than describing the good practice. The description must occupy only the first paragraph. Your comment should assess the originality of the proposal, its power of attraction for users, the presentation (is it clear, well designed), and any other qualitative elements that you see remarkable. How do you think the proposal could be improved? And please don't forget to include the link to the good practice! Below there are a few links where you can find examples or, still better, you can contribute one that you have seen on your own:
- The Ultimate Guide to Virtual Museum Resources, E-Learning, and Online Collections
https://mcn.edu/a-guide-to-virtual-museum-resources/
- How to reach your public remotely ICOM_Recommendations COVID-19) https://icom.museum/en/covid-19/resources/how-to-reach-your-public-remotely/ - The Art Newspaper (2021). “Going viral, the right way: what it's like running the world’s best museum social media accounts during a pandemic” https://www.theartnewspaper.com/interview/what-its-like-running-the-world-s-best-museum-social-media-accounts-during-a-pandemic Isabel Singer (2021). “Top 10 Virtual Museum Experiences of 2020”.
https://itsallhowyourememberit.wordpress.com/2020/12/30/top-10-virtual-museum-experiences-of-2020/
Option 2 Write a theroretical reflection about what Audiences’ Digital Engagement means in museums. What are the features, requirements you think are absolutely necessary to really connect with the audience, to deliver an engaging experience. Length: written, 1 page maximum. Audio / Video, 2 or 3 minutes maximum. Delivery: last day of class, 1st. June
Conxa Rodà
Email crodad@uoc.edu
Twitter: @innova2
Blog: https://blog.museunacional.cat/en/author/conxa-roda/
Linkedin: http://es.linkedin.com/in/conxaroda
- Current trends: from traditional performing arts to emerging interdisciplinary practices
- The incorporation of new technologies in performing arts
- Digitalization and performing arts pre-production processes: strategy, budget, management and the digital development.
- Digitalization and performing arts dissemination processes: expanding the theatrical experience.
- Digitalization and performing arts educative-commercial 360°strategic processes: targeting and broadening audience through innovative products.
- Main challenges for cultural managers: digitalization from theory to practice.
Teaching and learning activities
In person
LEADERSHIP
The course is based on a mixture of case method, classroom exercises, reflective leadership assignments, and lectures. At the end of each case there will be a wrap-up with the main learning points. Course requirements include a team assignment and three papers.
NEW TECHNOLOGIES
The learning activities that will help to understand the theoretical concepts through practice are: Master class, content analysis, discussion of case studies, correction of cases and an oral presentation of a group project. A group activity such as a visit to a cultural institution might be included in the module.
Evaluation systems and criteria
In person
Leadership
Assesment
|
Assignment |
Number |
Weighting |
Total |
|
Assignments (most can be done in-class but should be submitted) |
2 |
17,5% |
35% |
|
Debate/class participation |
9 |
5% |
45% |
|
Paper-The Change I want to Be and Do |
1 |
20% |
20% |
The individual paper:
This paper aims to provide you with the opportunity to reflect about yourself as a leader. It also seeks to examine how your way of leading may affect your effectiveness as a leader and your relationships with the people you will be coaching or working with at the same level.
Your reflection will take into consideration the results of the LCP and VUCA7. The first test will show you if you are leading from a creative or reactive approach. The second test will show you how well prepared you are to lead in a VUCA world.
The reflection shows what you have learned about yourself as a leader and leading strategies in the context of the class theoretical components. It should also provide elements of what key insights you want to incorporate in the way you lead a cultural organization or project. Furthermore, what are going to be some practical steps that you are going to take to develop yourself as a leader further.
The length should not be more than three pages double space and Roman 11 font. The professor will evaluate how practical the reflective process and action steps are.
The paper is going to be submitted by May 2
The group paper:
The group paper will be done by the groups that are already working on the TFM. The goal of this paper is to reflect the learnings they have made as a result of applying the principles taught during the classes in their reality as a team.
The paper should be a journal that reflects how they have grown as a team thanks to the application of the different tools and strategies taught in class. The paper should answer the following questions:
1. Were we a team or a group? Why?
2. What were the most obvious dysfunctions in our team? What have we done to overcome them?
3. What kind of team were we: individual stars, basic group, teenage team, learning team, high performance team?
4. Which of the characteristics of a high performance team were missing? What have we done to overcome them?
5. What actions steps are we going to take to become a high performance team?
The length should not be more than three pages double space and Roman 11 type of letter.
The professor will evaluate how practical the reflective process and action steps are.
The paper is going to be submitted by May 6
Performing Arts & Technology
The assessment criteria and procedures include:
- Attendance and participation in the sessions: 5% of the final grade.
- Analysis of case study + oral presentation: 20% of the final grade.
New Technologies and Museums and Heritage
Compulsory assignment: deadline last day of class
Find one example of good practice of engagement / connexion with the public by museums digitally during the confinement by Coronavirus (on the web, social media, online collection, games, etc.). Which initiative do you think is valuable, interesting?
Delivery: last day of class
Length: 1 page maximum. It is about commenting, analyzing and assessing rather than describing the good practice. The description must occupy only the first paragraph. Your comment should assess the originality of the proposal, its attractiveness / power of attraction for users, the presentation (is it clear, well designed), and any other qualitative elements that you see remarkable. How do you think the proposal could be improved?
And please don't forget to include the link to the good practice!
Bibliography and resources
LEADERSHIP
Mandatory readings:
Avolio, Bruce J.; Walumbwa, Fred O.; Weber, Todd J. (2009). “Leadership: Current theories, research, and future directions”. Annual review of psychology, 60, p. 421-449.
Cray, D, L. Inglis and S. Freeman. 2007. "Managing the arts: leadership and decision making under dual rationalities. Journal of Arts Management, Law, and Society, Vol. 36, no. 4, p. 295-313
Glow, Hilary (2012). Cultural leadership and audience engagement: a case study of the Theatre Royal Stratford East, in Arts leadership: international case studies, Tilde University Press, Melbourne, Vic., pp.131‐143.
Goleman, D. (2013). “The focused leader”. Harvard business review, 91(12), 50-60.
Kolsteeg, J., & Zierold, M. (2019). Mapping the meanings of Cultural Leadership: The use of the term in the field of arts management. Arts Management Quarterly, 6-10.
Nisbett, Melissa & Walmsley, Ben (2016) The Romanticization of Charismatic Leadership in the Arts, The Journal of Arts Management, Law, and Society, 46:1, 2-12, DOI: 10.1080/10632921.2015.1131218
Optional readings:
Avolio, Bruce, Walumbwa, Fred and Weber, Todd: Leadership: Current Theories, Research, and Future Directions
Boyatzis, Richard, McKee, Annie and Goleman, Daniel: Reawakening Your Passion for Work
Collins, Jim and Porras, Jerry: Building Your Company’s Vision
Collins, Jim: Level 5 Leadership: The Triumph of Humility and Fierce Resolve
Davis, Murray: That’s Interesting!
Goffee, Rob and Jones, Gareth: Managing Authenticity: The Paradox of Great Leadership
Goffee, Rob and Jones, Gareth: Leading Clever People
Goleman, Daniel: The Focused Leader
Goleman, Daniel: What Makes a Leader
Humphrey, Ron: How Do Leaders Use Emotional Labor
Humphrey, Ron, Ashforth, Blake and Diefendorff, James: The Bright Side of Emotional Labor
Maccoby, Michael: Narcissistic Leaders: The Incredible Pros, the Inevitable Cons
Maccoby, Michael: Why People Are Drawn to Narcissists Like Donald Trump
Owens, Bradley and Hekman, David: Modeling How to Grow: An Inductive Examination of Humble Leader Behaviors, Contingencies, And Outcomes
Schwartz, Tony and McCarthy, Catherine: Manage Your Energy, Not Your Time
Senge, Peter: Leading Learning Organizations
Silard, Anthony: The Bait‐and‐Switch of the Internet: The Influence of Connectivity on Contactedness and Connectedness
Wright, Sarah: Coping with Loneliness at Work
Wright, Sarah and Silard, Anthony: The Price of Wearing the Crown: The Antecedents and Outcomes of Leader Loneliness
Competencies and coaching
How to Develop Leadership Competencies. Pablo Cardona and Pilar García. Ed. EUNSA, 2005.
Effective Coaching. Marshall J. Cook. Ed. McGraw-Hill, 1999.
Building Robust Competencies. Paul C. Green. Ed. Jossey-Bass, 1999.
The 7 Habits of Highly Effective People. Stephen R. Covey. Ed. Simon & Shuster, 1989.
Communication
Difficult Conversations: How to Discuss What Matters Most. Douglas Stone et al. (Harvard Negotiation Project). Penguin Books, 2010.
People Skills: How to Assert Yourself, Listen to Others, and Resolve Conflicts. Robert Bolton. Touchstone Books, 1986.
Nonviolent Communication: A Language of Life. Marshall Rosenberg. Puddledancer Press, 2015.
The Dance of Connection: How to Talk to Someone When You’re Mad, Hurt, Scared, Frustrated, Insulted, Betrayed, or Desperate. Harriet Lerner. William Morrow Paperbacks, 2002.
Since Strangling Isn’t an Option…..Dealing with Difficult People—Common Problems and Uncommon Solutions. Sandra Crowe. Perigee Books, 1999.
Leadership
The Nature of Leadership (2nd Edition). David V. Day and John Antonakis. Sage, 2012.
The Leadership Challenge. James M. Kouzes and Barry Z. Posner. Ed. Jossey-Bass, 1995.
Why Should Anyone Be Led By You? Rob Goffee xxxx…..
Handbook of Leadership: Theory and Practice. Nitin Hohria and Rakesh Khurana. Havard Business Press, 2010.
Primal Leadership. Daniel Goleman, Richard Boyatzis, and Annie McKee. Harvard Business Review Press. 10th Anniversary ed., 2013.
Stewardship. Peter Block. Ed. Berrett-Koehler, Publishers, 1996.
Leading organizations
Built to Last. James C Collins. HarperCollins Publishers Inc, 1994.
The Individualized Corporation. Sumantra Ghoshal and Christopher A. Bartlett. Ed. Harper Business, 1997.
Beyond Performance: How Great Organizations Build Ultimate Competitive Advantage. Scott Keller and Colin Price. John Wiley & Sons, Inc., 2011.
Motivation and influence
The Power of Full Engagement. Jim Loehr and Tony Schwartz. Free Press. 2003.
Work Motivation. Gary P. Latham. Sage, 2007.
Rewarding Excellence. Edward E. Lawler III. Ed. Jossey-Bass, 2000.
Working with Emotional Intelligence. Daniel Goleman. Ed. Bantam Books, 1998.
Textbooks on Organizational Behavior
Organizational Behavior (2nd European ed). Robert Kreitner, Angelo Kinicki, and Marc Buelens. Ed. McGraw-Hill, 2002.
A Primer on Organizational Behavior (4th ed). James L. Bowditch and Anthony F. Buono. Ed. John Wiley & Sons, 1997.
Classic Readings in Organizational Behavior (2nd ed). J. Steven Ott. Ed. Harcourt Brace College Publishers, 1996.
NEW TECHNOLOGIES AND PERFORMING ARTS
General bibliography
Benson, S. & Giannachi,G. (2011). Performing Mixed Reality. Massachussets: MIT Press.
Bilton, C. (2007) Management and creativity. From creative industries to creative management, Blackwell publishing: Oxford.
Blake, B. (2014). Theatre and the Digital. New York: Palgrave Macmillan.
Byrnes, W.J. (2009) Management and the arts, 4th edition, Elsevier: Oxford.
Dixon, S. (2007). Digital Performance: a History of New Media in Theatre, Dance, Performance Art and Installation, Massachusetts: MIT Press.
Fine, D. & et al. (2018) Digital Media, Projection Design and Technology for Theatre. London: Routledge.
Napoli, P.M. (2010). Audience Evolution: New Technologies and the Transformation of Media Audiences. Columbia University Press: New York.
Rosewall, E. (2013). Arts Management: Uniting Arts and Audiences in the 21st Century, Oxford: Oxford University Press.
Townley, B. & Beech,N.(2009) Managing Creativity: Exploring the Paradox. Cambridge University Press: Cambrigde.
Other materials such as texts and presentation might be delivered throughout the sessions according to the students' needs.
NEW TECHNOLOGIES AND MUSEUMS AND HERITAGE
Below there are a couple of links where you can find examples or you can contribute one that you have seen on your own:
The Ultimate Guide to Virtual Museum Resources, E-Learning, and Online Collections
https://mcn.edu/a-guide-to-virtual-museum-resources/
Museum Social Media Entertains During the COVID-19 Crisis
https://www.museumnext.com/article/museum-social-media-entertains-during-the-covid-19-crisis/