Artistic intervention, where the world of the arts is brought into organizations, has increasingly become a research field in itself with strong links to both creativity and innovation. Opportunities for the arts to interact with public and private organizations occur worldwide, but during the last decade artistic interventions have received growing attention in both practice and research. This book is the first comprehensive attempt to map the development of the field and provides an international overview of the area of artistic interventions and their impact on organizations from different perspectives, ranging from strategic management to organizational development, innovation and organizational learning. Featuring chapters from prominent and emerging scholars, including Nancy J. Adler, Barbara Czarniawska, Lotte Darsø and Alexander Styhre, it places artistic interventions within an international context. The book also offers readers the opportunity to learn from experiences in a varied range of organisations, including newspapers, manufacturing, government, schools, and covers many art-forms, such as music, contemporary dance, painting, photography, and theatre. Using extensive empirical examples, this book is vital reading for researchers and scholars of creativity and cultural industries, as well as innovation, creative entrepreneurship, organizational studies and management.

Artistic intervention, where the world of the arts is brought into organizations, has increasingly become a research field in itself with strong links to both creativity and innovation. Opportunities for the arts to interact with public and private organizations occur worldwide, but during the last decade artistic interventions have received growing attention in both practice and research. This book is the first comprehensive attempt to map the development of the field and provides an international overview of the area of artistic interventions and their impact on organizations from different perspectives, ranging from strategic management to organizational development, innovation and organizational learning. Featuring chapters from prominent and emerging scholars, including Nancy J. Adler, Barbara Czarniawska, Lotte Darsø and Alexander Styhre, it places artistic interventions within an international context. The book also offers readers the opportunity to learn from experiences in a varied range of organisations, including newspapers, manufacturing, government, schools, and covers many art-forms, such as music, contemporary dance, painting, photography, and theatre. Using extensive empirical examples, this book is vital reading for researchers and scholars of creativity and cultural industries, as well as innovation, creative entrepreneurship, organizational studies and management.

In this article, I reflect on my research experiences in a longitudinal case study using qualitative methods in a 1-year-long artistic intervention project. The aim of the study was to create understanding of what was happening in an artist led project in a trade union, which wanted to learn about creativity through artistic methods. The research methodology was inspired by reflexive ethnography; I conducted a field study by observing what people did and by engaging in conversations in weekly workshops led by an artist in 2013. Based on my ontological and epistemological considerations, my research approach was based on relational constructionism, process thinking, and esthetics. Accordingly, the ongoing interpretations in the research process are influenced by my interactions with the participants and the context in which the study is situated. In this project, the implementation of artistic open work methods brought in tensions and conflicts. Consequently, the initial design of observing workshops without participating actively got me involved in action research. Writing a detailed account is essential in ethnography. When the field study ended, I had a lot of empirical material. Structuring the material was helped by considering my pre-understanding from the beginning of the study. However, in line with reflexive ethnography, I was open to changing my assumptions. Using the aesthetic perspective in organizations allowed me to understand the role of emotions, paradoxes, frustrations, and resistance in occasionally strained intervention situations. Besides theoretical studies in artistic interventions, studies on conflicts and learning in change processes in organizations became actual.

Abstract: This report documents how organizations and artists are learning to learn together in new ways. It draws on experiences in France, Spain, Sweden, Switzerland and the UK. Traditionally interactions between the world of the arts and other worlds, especially business, have been arm's length relationships, taking the form of philanthropy and corporate social responsibility. Over the past few decades more instrumental relationships have emerged in the form of sponsoring and corporate identity activities. In addition, there has recently been a growth of short-term artistic interventions embedded in corporate training or organisational change programmes, often organised by consultants. Only recently has a qualitatively new possibility been conceived: medium-term projects lasting several months, in which people from the world of the arts and the world of organisations seek to learn from each other and create new knowledge together. This report describes and compares six such artistic inter

Over the past two decades, there has been a major increase in research into the effects of the arts on health and well-being, alongside developments in practice and policy activities in different countries across the WHO European Region and further afield. This report synthesizes the global evidence on the role of the arts in improving health and well-being, with a specific focus on the WHO European Region. Results from over 3000 studies identified a major role for the arts in the prevention of ill health, promotion of health, and management and treatment of illness across the lifespan. The reviewed evidence included study designs such as uncontrolled pilot studies, case studies, small-scale cross-sectional surveys, nationally representative longitudinal cohort studies, community-wide ethnographies and randomized controlled trials from diverse disciplines. The beneficial impact of the arts could be furthered through acknowledging and acting on the growing evidence base; promoting arts engagement at the individual, local and national levels; and supporting cross-sectoral collaboration.

This thematic volume explores the relationship between the arts and learning in various educational contexts and across cultures, but with a focus on higher education and organizational learning. Arts-based interventions are at the heart of this volume, which addresses how they are conceived, designed, carried out, and assessed in different higher educational and cultural contexts. Readers will discover diverse perspectives of the contributing authors from across the world and from a variety of settings: formal education, informal learning for adults and organisational learning. A necessary introductory conceptualisation sets the stage for the discussion of the different cases, with chapters presented according to the art forms the address: performing arts, dance, music, language arts, visual arts, multi-arts and a conclusive chapter on future perspectives for arts-based educational approaches. Arts-based Methods and Organisational Learning: Higher Education Around the World will inspire and inform both scholars and practitioners who are dealing with the arts in education and organisations.