Management and Creativity

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.

"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

• Foreword viiiAcknowledgements xiIntroduction: Creativity and the Creative Industries xiii1 Defining Creativity 1A Tale of Two Corridors 1What Is Creativity? 2What Creativity Is Not 7Case Study: A Vision in a Dream? 10Mapping the Great Divide: From Education to the Workplace 12The Mythology of Genius 14Case Study: The Genius and the Water-carrier 18False Profits: The Creative Industries 192 From Individuals to Processes: Creative Teams and Innovation 23From Individuals to Teams 23Innovation and Teams 24Beyond Specialization: Creative Work in the Creative Industries 26Playing Many Parts: Creative Roles in the Creative Industries 28Case Study: Repositioning Creativity in Advertising 30Growing the Creative Team: Familiarization or Specialization? 33Managing the Creative Team 34Creative Tension and the Need for Trust 39Creative Teams Need Uncreative People 423 Creative Systems: Implications for Management and Policy in the Creative Industries 45The Cultural Geography of the Creative Industries 46The Strength of Weak Ties 47Case Study: Theatre as a Creative System 50Implications for Management 52Managing Creative Systems by ‘Brokering’ Knowledge 56Implications for Policy 59Systems and Sustainability 624 Managing Creative Work through Release and Control: The Myth of the Self-motivated Creative Worker 66The World Turned Upside Down 66Case Study: Changing Management Styles at the BBC 67Whistle While You Work: Changing Theories of Employee Motivation 70Out of Control: The Myth of the Self-motivated Creative Worker 72The Isolation of Creative Work 74Bounded Creativity: Creativity through Control and Constraint 76Case Study: Musician for Hire – Boundaries for Musical Composition 78False Freedom: The New Management Style in Practice 80Case Study: Management in the Movies – Wise Children and Men in Suits 81Beginnings and Endings 85The Rules of the Game 875 Seeing the Pattern: Strategy, Leadership and Adhocracy 91The Strategy Wars: Orientation versus Animation 91Strategy and Creativity 92Strategy in an Open System 96Case Study: Emergent Patterns in Film Marketing 97Strategy as Continuity in Change 102Case Study: Are You Paying Attention? Jazz, Improvisation and Creative Listening in Strategy Formation 106Strategy and Posthocracy: Being Decisive 108Strategy as Process 1116 Business Development and Organizational Change 116What Is Organizational Change? 116The Change Cycle 118Incremental Change 121Case Study: Creativity and Change at Marks and Spencer 122The Aesthetics of Organizational Change: Organizational Integrity 126Aligning Individual and Collective Change 129Evolutionary Change 132Creativity and Change 1357 From Creative Marketing to Creative Consumption 138Symbolic Goods 138Postmodern Marketing 139Case Study: Arts Marketing – From Products to Experiences 142From Segments to Sub-cultures: Bringing the Audience Back in 145The New Value Chain 147Case Study: In Search of Oldton 149Towards the Social Product 151Letting Go 153The Aesthetics of Marketing 1558 The Politics of Creativity 159Promoting the Creative Economy 159Case Study: Creative New Zealand – The Branding of Creativity 163From ‘Cultural’ to ‘Creative’ Industries 164Creative Industries and Cultural Policy: Assumptions and Models 166The Politics of Management 171Creativity Is Difficult 172Bibliography 176Index 186