Skip to main content Accessibility help
×
Hostname: page-component-848d4c4894-p2v8j Total loading time: 0.001 Render date: 2024-05-19T04:50:43.575Z Has data issue: false hasContentIssue false

1 - Why arts matter in management

Published online by Cambridge University Press:  05 July 2011

Giovanni Schiuma
Affiliation:
Università della Basilicata, Italy
Get access

Summary

Introduction

Without a doubt, the arts represent one of the most important knowledge domains for the expression of human feelings and values. They are the product of human civilisations and an essential instrument in shaping culture and society. Indeed, people's lives and communities are entrenched in the arts: they play a fundamental role in shaping and conveying human emotions and a community's values and culture (Guss, 1989). Through the arts people can express and communicate what matters most to them. Mankind's history is tied to the arts. The use of the arts has accompanied the evolution of organisations. Kings and queens, emperors, dictators, politicians and leaders have used the power of the arts to manipulate organisational reality at macro and micro levels, and to affect people's experiences and behaviours.

In acknowledging the importance of the arts in human life, it is worth reflecting on the role and relevance of the use of the arts in management. The arts as a cornerstone of human life provides a vehicle that can inspire and improve today's management discipline and practice (Adler, 2006; Darsø, 2004; Taylor and Ladkin, 2009). From an instrumental and a utilitarian point of view, the arts can support and drive the development of organisational value-creation capacity and in turn improve business performance. The arts represent a knowledge ‘mine’ – rich in ideas, techniques, artistic know-how, products and processes – that can be used to define and adopt innovative managerial models and techniques that are more suited to governing organisational value-creation in the twenty-first century business landscape (Austin and Devin, 2003; Nissley, 2010).

Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2011

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×