Leaders play an important role in creating suitable conditions for and leading change, and leadership is most effective when it is needed most, such as during disruptive change. We used the disruption caused by the pandemic as a case to study how school leaders responded, starting from the framework by Leithwood, Harris, and Hopkins (2008. “Seven Strong Claims About Successful School Leadership.” School Leadership & Management 28 (1): 27–42. https://doi-org.hu.idm.oclc.org/10.1080/13632430701800060). 89 school leaders in higher education completed an open-ended questionnaire. Additionally, nine of these leaders were interviewed to explore their practices in depth. The leadership practices and paths of influence defined by Leithwood and colleagues (2008. “Seven Strong Claims About Successful School Leadership.” School Leadership & Management 28 (1): 27–42. https://doi-org.hu.idm.oclc.org/10.1080/13632430701800060) largely worked to understand leadership in times of disruption. We identified a new path of influence (relational) and refined the framework based on our insights. School leaders focused on setting directions and developing people and mainly influenced the change process through the relational and emotional path. These findings are an important next step in understanding and supporting leadership in times of disruption. This will become more and more important in a world of growing complexity and uncertainty.
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In this dissertation, the author describes the development of a practice called Relational Coaching for Management Consultants. This practice has been developed as a resource for management consultants who seek to ‘take a look in the mirror’ with regard to their facilitating role in complex organizational change processes. The author’s ultimate aim is to contribute to decreasing the infamous number of 70% of organizational change initiatives that fail to deliver the expected results.
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Within large service organizations there are currently two trends visible. These trends seem to be diametrically opposed. On the one hand organizations face increasing price pressure and thus a pressure to cut costs. One of the consequences of this trend is that organizations are increasingly encouraging customers to make more use of digital communication channels. At the same time, companies find it important to know their customers in order to respond adequately to their needs. To do this, organizations must have a certain degree of personal involvement to their customers and they must have regular personal contact. It is assumed that both trends – digitisation and personalisation – will have a strong impact on customer experience and (perhaps) on the relational models customers use. If it is true that relational models - so the way in which people perceive and assess a relationship - play a role in the perception of the customer, it is also interesting to know if it is possible to influence these relational models. During the last fifty years much research has been done into the possibilities to influence customers by using subliminal priming techniques. In these techniques thoughts and feelings are unconsciously activated by showing people certain words or images (eg Bargh, Chen & Burrows, 1996; Dijksterhuis, 2005). In recent years a number of experiments were performed in which customers were unconsciously primed at some type of relationship (eg Aggarwal, 2004; McGraw & Tetlock, 2005; Tuk, Verlegh, Smidts & Wigboldus, 2009). These experiments showed that it is possible to activate a certain type of relationship. The experiments however the researchers used scenario’s based on an interpersonal relationship, and often to a fictitious relationship. The question is whether priming techniques also work for an already existing and more complex relationship between an organization and its customers. From 2010-2013 we conducted research for six large service providers in banking, insurance, utilities and social welfare to discover what the customer experience of these organisations, what role relational models played in customer experience and whether it was possible to influence these relational models. The research project has provided answers to the following questions: - Which relational models are used by customers and what is the influence of these models on customer experience? - What is the influence of digitisation in customer communication on relational models and customer experience? - What is the influence of personalisation in customer communication on relational models and customer experience? And finally, - Is it possible to influence relational models (and customer experience) by using specific words and images that are associated with relational models (relational framing)?
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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
