In this entry communicating organizational change will be discussed. Organizational change is one of the most published topics within business and organizational studies and communication during organizational change received a lot of attention as well. In this entry episodic, top-down change approaches versus continuous, developmental approach of organizational change will be discussed, also the distinction between information and relational aspects of communication during change.
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Emotions are a key component of tourism experiences, as emotions make experiences more valued and more memorable. Peak-and-end-theory states that overall experience evaluations are best predicted by the emotions at the most intense and final moments of an experience. Peak-and-end-theory has mostly been studied for relatively simple experiences. Recent insights suggest that peak-and-end-theory does not necessarily hold for tourism experiences, which tend to be more heterogeneous and multi-episodic in nature. Through the novel approach of using electrophysiological measures in combination with experience reconstruction, the applicability of the peak-and-end-theory to the field of tourism is addressed by studying a musical theatre show in a theme park resort. Findings indicate that for a multi-episodic tourism experience, hypotheses from the peak-and-end-theory are rejected for the experience as a whole, but supported for individual episodes within the experience. Furthermore, it is shown that electrophysiology sheds a new light on the temporal dynamics of experience
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The aim of this paper is to understand how employees, in their role of follower of change, frame upcoming change by studying the prospective stories they tell (n=110). This study complements the dominant retrospective approach to the research of employees’ change sensemaking. We incorporate forward-looking awareness into organization theories and add to the scholarly interest in prospection (Gioia & Patvardhan, 2018). This could lead to a better understanding of followers’ adaptation- or rejection intentions in response to change initiatives (Konlechner et al., 2018). Theoretical background Employees experience continuous shifts in relationships and organizational roles (Van der Smissen et al., 2013). This ‘turbulence’ triggers intensive sensemaking (Weick, 1995) of what is going on and how to respond. In uncertain times, employees often form expectations towards the future based on their remembered experiences from the past, and organizational change literature has traditionally taken a retrospective approach to understand followers’ change sensemaking (Boje, 2008). However, traditional literature neither provides elaborate insight in followers’ attempts to build scenarios for their future, nor do they add to the understanding of followers’ hopes, dreams, concerns, or fears (which all have a future time orientation) in the context of upcoming change. Scholars suggested that the current radical changes employees face cannot be anticipated easily from a mere retrospective approach (MacKay & Chia, 2013). In reality, employees think as often about their future as they do about their past and tend to create complex, temporal ranges of future orientations (Klein, 2013). Hence, researchers have critiqued the omission of the possible impact of beliefs and expectations about the future (e.g., Kaplan & Orlikowski, 2013), and have developed complementary notions to develop temporal sensemaking to challenge us to “mentally reverse the arrow of time” (Lord et al., 2013, p. 4) by focusing on expected futures to understand the present. The acknowledgement of prospective sensemaking directing attitudes and behaviors today (Maitlis & Christianson, 2014), expectedly offers novel insights to those interesting in understanding employees’ change behaviors. Design/Methodology/Approach/Intervention. A narrative approach is used to capture 110 individuals’ idiosyncratic and cultural sensemaking efforts (Pentland, 1999). We created a digital research set-up in which participants were guided to write a narrative that resembles a biographical account about a fictive colleague. Participants were introduced to the task by a video message from the fictive focal actor “Jim” and a video announcement of upcoming change by a fictive CEO in a Zoom-call for the entire organization. By means of the Story Completion Method, participants were asked “how does the story end?” and invited to write subsequent chapters on how they expected this story to continue, and how the roles and responses of the different actors would unfold along the way. Research context is provided by the Dutch travel industry in which organizations are dealing with heavy consequences of the COVID19 pandemic. Results will be available by November 2021. Limitations Qualitative research is less generalizable given the sample size and scope. Besides, the method requires specific skills and a level of empathy with the scenario, this proved to be difficult for some of the participants. In our analysis we therefore have to account for a difference between prospective sensemaking efforts and mere extrapolations of past experiences. Research/Practical Implications This study reveals potentialities that are considered to be available in the future. For change leaders, it is helpful to understand these potentialities as they reveal explanations for differences in followers’ prospective change strategies, and diverse anticipative responses to change efforts. We extend the concept of prospective sensemaking, and explore its use in a follower-based, dynamic context of organizational change. Originality/Value Advancing the concept of follower-based prospective sensemaking is important as it could provide explorative notions that illustrate the formation and use of expectations. Especially interesting is the context Dutch travel industry context as employees at the time of data collection experienced a ‘cosmology episode’ triggering sudden loss of meaning and coherence. This is perceived to be a critical trigger for sensemaking in the absence of past empirical experience (as no one experienced a pandemic and resulting business challenges before, but rather relies on transcendent belief systems in the face of future uncertainty (Weick, 1993)).
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In leaving the more traditional territories of the concert performance for broader societal contexts, professional musicians increasingly devise music in closer collaboration with their audience rather than present it on a stage. Although the interest for such forms of devising co-creative musicking within the (elderly) health care sector is growing, the work can be considered relatively new. In terms of research, multiple studies have sought to understand the impact of such work on musicians and participants, however little is known about what underpins the musicians’ actions in these settings. With this study, I sought to address this gap by investigating professional musicians’ emerging practices when devising co-creative musicking with elderly people. Three broad concepts were used as a theoretical background to the study: Theory of Practice, co-creative musicking, and Praxialism. Firstly, I used Theory of Practice to help understand the nature of emerging practices in a wider context of change in the field of music and habitus of musicians and participants. Theory of Practice enabled me to consider a practice as “a routinized type of behaviour which consists of several elements, interconnected to one another: forms of bodily activities, forms of mental activities, ‘things’ and their use, a background knowledge in the form of understanding, know-how, states of emotion, and motivational knowledge” (Reckwitz, 2002, p. 249). Secondly, I drew the knowledge from co-creative musicking, which is a concept I gathered from two existing concepts: co-creation and musicking. Musicking (Small, 1998), which considers music as something we do (including any mode of engagement with music), provided a holistic and inclusive way of looking at participation in music-making. The co-creation paradigm encompasses a view on enterprise that consists of bringing together parties to jointly create an outcome that is meaningful to all (Prahalad & Ramaswamy, 2004; Ramaswamy & Ozcan, 2014). The concept served as a lens to specify the jointness of the musicking and challenge issues of power in the engagement of participants in the creative-productive process. Thirdly, Praxialism considers musicking as an activity that encompasses “musical doers, musical doing, something done and contexts in which the former take place” (Elliott, 1995). Praxialism sets out a vision on music that goes beyond the musical work and includes the meanings and values of those involved (Silverman, Davis & Elliott, 2014). The concept allowed me to examine the work and emerging relationships as a result of devising co-creative musicking from an ethical perspective. Given the subject’s relative newness and rather unexplored status, I examined existing work empirically through an ethnographic approach (Hammersley & Atkinson, 2007). Four cases were selected where data was gathered through episodic interviewing (Flick, 2009) and participant observation. Elements of a constructivist Grounded Theory (Charmaz, 2014) were used for performing an abductive analysis. The analysis included initial coding, focused coding, the use of sensitizing concepts (Blumer 1969 in Hammersley, 2013) and memoing. I wrote a thick description (Geertz, 1973) for each case portraying the work from my personal experience. The descriptions are included in the dissertation as one separate chapter and foreshadow the exposition of the analysis in a next chapter. In-depth study of the creative-productive processes of the cases showed the involvement of multiple co-creative elements, such as a dialogical interaction between musicians and audience. However, participants’ contributions were often adopted implicitly, through the musicians interpreting behaviour and situations. This created a particular power dynamic and challenges as to what extent the negotiation can be considered co-creative. The implicitness of ‘making use’ of another person’s behaviour with the other not (always) being aware of this also triggered an ethical perspective, especially because some of the cases involved participants that were vulnerable. The imbalance in power made me examine the relationship that emerges between musicians and participants. As a result of a closer contact in the co-creative negotiation, I witnessed a contact of a highly personal, sometimes intimate, nature. I recognized elements of two types of connections. One type could be called ‘humanistic’, as a friendship in which there is reciprocal care and interest for the other. The other could be seen as ‘functional’, which means that the relationship is used as a resource for providing input for the creative musicking process. From this angle, I have compared the relationship with that of a relationship of an artist with a muse. After having examined the co-creative and relational sides of the interaction in the four cases, I tuned in to the musicians’ contribution to these processes and relationships. I discovered that their devising in practice consisted of a continuous double balancing act on two axes: one axis considers the other and oneself as its two ends. Another axis concerns the preparedness and unpredictability at its ends. Situated at the intersection of the two axes are the musicians’ intentionality, which is fed by their intentions, values and ethics. The implicitness of the co-creation, the two-sided relationship, the potential vulnerability of participants, and the musicians’ freedom in navigating and negotiation, together, make the devising of co-creative musicking with elderly people an activity that involves ethical challenges that are centred around a tension between prioritizing doing good for the other, associated with a eudaimonic intention, and prioritizing values of the musical art form, resembling a musicianist intention. The results therefore call for a musicianship that involves acting reflectively from an ethical perspective. Doctoral study by Karolien Dons
