This book is about co-leadership: A leadership practice and structure often found in arts organizations that consist of two or three executives who bridge the art and business divide at the top. Many practitioners recognize this phenomenon but the research on this topic is limited and dispersed. This book assembles a coherent overview and presents new insights of the field. While co-leadership is well institutionalized in the West, it is also criticized for management’s constraint of artistic autonomy and for its pluralism that dilutes leadership clarity. However, co-leadership also personifies the strategic objectives of art, audiences, organization, and community, by addressing plural logics – navigating the demands of artistic vision and organizational stability. It is an integrating solution. The authors investigate its specifics in the arts, including global practice and its interdisciplinary nature. The theoretical frame of plural leadership supports their empirical explorations of the dynamics within the co-leadership relationship and with organizational stakeholders. Data includes the voices of co-leaders, artists, staff, and board members from arts organizations in Canada and Norway. Their abductive reflection generates a stimulating research experience. By viewing co-leadership in action, not as a study of static theories, the book will appeal not only to students and researchers but also resonate with practitioners in arts and cultural management and assist them to work with co-leadership and to manage its tensions. Chapters 1 and 4 of this book are freely available as downloadable Open Access PDFs at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

This book explores and critiques different aspects of arts leadership within contemporary contexts. While this is an exploration of ways arts leadership is understood, interpreted and practiced, it is also an acknowledgement of a changing cultural and economic paradigm. Understanding the broader environment for the arts is therefore part of the leadership imperative. This book examines aspects such as individual versus collective leadership, gender, creativity and the influences of stakeholders and culture. While the book provides a theoretical and critical understanding of arts leadership, it also gives examples of arts leadership in practice.

Arts and Cultural Management: Sense and Sensibilities in the State of the Field opens a conversation that is much needed for anyone identifying arts management or cultural management as primary areas of research, teaching, or practice. In the evolution of any field arises the need for scrutiny, reflection, and critique, as well as to display the advancements and diversity in approaches and thinking that contribute to a discipline’s forward progression. While no one volume could encompass all that a discipline is or should be, a representational snapshot serves as a valuable benchmark. This book is addressed to those who operate as researchers, scholars, and practitioners of arts and cultural management. Driven by concerns about quality of life, globalization, development of economies, education of youth, the increasing mobility of cultural groups, and many other significant issues of the twenty-first century, governments and individuals have increasingly turned to arts and culture as means of mitigating or resolving tough policy issues. For their growth, arts and culture sectors depend on people in positions of leadership and management who play a significant role in the creation, production, exhibition, dissemination, interpretation, and evaluation of arts and culture experiences for publics and policies. Less than a century old as a formal field of inquiry, however, arts and cultural management has been in flux since its inception. What is arts and cultural management? remains an open question. A comprehensive literature on the discipline, as an object of study, is still developing. This State of the Discipline offers a benchmark for those interested in the evolution and development of arts and cultural management as a branch of knowledge alongside more established disciplines of research and scholarship.

An edited collection of international case studies discussing approaches to arts leadership and management

Lao Tzu, Marx, the Buddha, Ibsen, Machiavelli — these are just a few of the world’s great thinkers who have weighed in on the subject of leadership over the centuries. Yet, the contemporary student of leadership often overlooks many of these names in favour of more recent theorists hailing from the social sciences. Understanding Leadership: An Arts and Humanities Perspective takes a different angle, employing the works of the great philosophers, authors and artists found in world civilization and presenting an arts and humanities perspective on the study of leadership. The authors build their conceptual framework using The Five Components of Leadership Model, which recognizes the leader, the followers, the goal, the environmental context, and the cultural values and norms that make up the leadership process. Supporting the text are a wealth of case studies which reflect on works such as Ayn Rand’s novella Anthem, Eugène Delacroix’s painting Liberty Leading the People, Charlie Chaplin’s film Modern Times, Athol Fugard’s play "Master Harold" . . . and the Boys, Lao Tzu’s poetic work Tao Te Ching, and Antonín Dvořák’s New World Symphony. The authors also introduce studies from various world cultures to particularly illustrate the role cultural values and norms play in leadership. This illuminating framework promotes the multidimensional thinking that is necessary for understanding and problem solving in a complex world. Understanding Leadership: An Arts and Humanities Perspective will be a valuable textbook for both undergraduate and postgraduate leadership students, while leadership professionals will also appreciate the book’s unique liberal arts and cultural approach.

"The Oxford Handbook of Arts and Cultural Management surveys contemporary research in arts and cultural management, fulfilling a crucial need for a curated, high quality, first-line resource for scholars by providing a collection of empirical and theoretical chapters from a global perspective. With a focus on rigorous and in-depth contributions by both leading and emerging scholars from international and interdisciplinary backgrounds, the Handbook presents established and cutting-edge research in arts and cultural management and suggests directions for future work"--

"Ending violent conflict requires societies to take leaps of political imagination. Artistic communities are often uniquely placed to help promote new thinking by enabling people to see things differently. In place of conflict’s binary divisions, artists are often charged with exploring the ambiguities and possibilities of the excluded middle. Yet, their role in peacebuilding remains little explored. This excellent and agenda-setting volume provides a ground-breaking look at a range of artistic practices, and the ways in which they have attempted to support peacebuilding – a must-read for all practitioners and policy-makers, and indeed other peacemakers looking for inspiration."Professor Christine Bell, FBA, Professor of Constitutional Law, Assistant Principal (Global Justice), and co-director of the Global Justice Academy, The University of Edinburgh, UK "Peacebuilding and the Arts offers an impressive and impressively comprehensive engagement with the role that visual art, music, literature, film and theatre play in building peaceful and just societies. Without idealizing the role of the arts, the authors explore their potential and limits in a wide range of cases, from Korea, Cambodia, Colombia and Northern Ireland to Uganda, Rwanda, South Africa and Israel-Palestine."Roland Bleiker, Professor of International Relations, University of Queensland, Australia, and author of Aesthetics and World Politics and Visual Global Politics "Peacebuilding and the Arts is the first publication to focus critically and comprehensively on the relations between the creative arts and peacebuilding, expanding the conventional boundaries of peacebuilding and conflict transformation to include the artist, actor, poet, novelist, dramatist, musician, dancer and film director. The sections on the visual arts, music, literature, film and theatre, include case studies from very different cultures, contexts and settings but a central theme is that the creative arts can play a unique and crucial role in the building of peaceful and just societies, with the power to transform relationships, heal wounds, and nurture compassion and empathy. Peacebuilding and the Arts is a vital and unique resource which will stimulate critical discussion and further research, but it will also help to refine and reframe our understanding of peacebuilding. While it will undoubtedly become mandatory reading for students of peacebuilding and the arts, its original approach and dynamic exploratory style should attract a much wider interdisciplinary audience."Professor Anna King, Professor of Religious Studies and Social Anthropology and Director of Research, Centre of Religion, Reconciliation and Peace (WCRRP), University of Winchester, UK This volume explores the relationship between peacebuilding and the arts. Through a series of original essays, authors consider some of the ways that different art forms (including film, theatre, music, literature, dance, and other forms of visual art) can contribute to the processes and practices of building peace. This book breaks new ground, by setting out fresh ways of analysing the relationship between peacebuilding and the arts. Divided into five sections on the Visual Arts, Music, Literature, Film and Theatre/Dance, over 20 authors offer conceptual overviews of each art form as well as new case studies from around the globe and critical reflections on how the arts can contribute to peacebuilding. As interest in the topic increases, no other book approaches this complex relationship in the way that Peacebuilding and the Arts does. By bringing together the insights of scholars and practitioners working at the intersection of the arts and peacebuilding, this book develops a series of unique, critical perspectives on the interaction of diverse art forms with a range of peacebuilding endeavours.