MA Creative & Cultural Entrepreneurship: Leadership Pathway

Theories of Capital critically examines key theories of social, economic, cultural and symbolic capital.  The module details these conceptual capital frameworks and compliments this theoretical foundation with application in the creative and cultural industries with a focus on government policy and the unique economic characteristics of the creative industries.  For example consumer consumption of status goods will be assessed using theories of symbolic and social capital. Emphasis will be given on the role of intellectual capital in policy. Students will learn the analytical rigour to critically assess creative and cultural industry policy and market structures.  Students will be able to translate theory into practice, and practice into theory.

This module will introduce students to a range of business modelling tools, and provide insight in to the characteristics of successful entrepreneurs and enterprises. The module has evolved from NESTA’s Creative Pioneer Programme and will use the Modelling Techniques that were designed and have evolved from The Academy and Insight Out which provide approaches to commercialising creativity.

It will critically review the key characteristics of successful enterprises, entrepreneurs and leaders, within the cultural and more commercially focused creative industries. It will look at the range of business models that exist and review how best to build a financially sustainable organisation.

Students will be introduced to a range of techniques:

1. Relationship Modelling – this will assist students to understand the range of business models in the creative industries, and to create the most appropriate route to market; it will consider the relationship that the originator of the creative idea has to the production, distribution and the audience/customer/client; it uncovers the student’s relationship to “reward”.

2. Evidence Modelling – this model uses Marshall McLuhan’s Tetrad Model to review the likely impact of the idea; it helps makes the enterprise tangible and to ensure that the entrepreneur remains in control of the effects of their ideas. Using the modelling technique helps students to articulate their values and the benefits of their ideas.

3. Blueprint Modelling – an approach to creating an operating plan which will move their idea to market, articulating all of the activities and responsibilities required.
Consequence Modelling – using all of the knowledge from the modelling techniques, this will uncover the financial consequences of the decisions made. It will introduce them to basic financial modelling concepts, and ensure they are comfortable with the financial language of creative entrepreneurs.

The discourses of contemporary 'Leadership' and 'Enterprise Theory' are, much like the wider discourse of Management Theory itself, in a state of critical transformation. The authority, validity, and appropriateness of that type of scientifically influenced or 'positivist' thinking that informed so much of the early 'Taylorist' and 'Fordist' influenced work of the so-called 'first age' (Snowden, 2005) of Management Theory has been thrown into disrepute, as have many of the premises of that more contextually aware and 'constructively' influenced work that informed the so-called 'second age'.

Undermined by both the universalising and de-contextualising tendencies of that type of thinking that defined the 'first age', and the still latent problems of the 'implementation' or 'internalisation' (Nonaka, 1995) of the insights of that thinking that defined the 'second age,' we are now in a position in which – in what is increasing being recognised as the 'third age' of Management Theory – all of the principal discourses of Management Theory from Knowledge Management, to Organisational Theory, Enterprise Theory, Innovation, and Leadership, are having to come to terms with the difficult question of how they can still deal with their various objects of analysis, whether that be the essential nature, qualities, or conditions of successful Leadership, Enterprise, or Innovation, in a relatively organized, structured, and predictable way, and yet a way that does not undermine, foreclose, or delimit the essential 'complexity', unpredictability, and 'emergent' qualities of these phenomena and the contexts in which they arise. This is a problem that has seen a pronounced emphasis in recent years on the analysis of the role that the individual 'creative', 'entrepreneurial', or 'self-actualising' subject plays in the 'narrative' construction of their own relationships to those contexts in which they exist, innovate, lead, or learn (Tsoukas, 2005).

This module will introduce students to all of the main theories that have contributed to the evolution of this discourse from the early scientifically orientated, 'positivist', and 'essentialist' theories of Frederick Winslow Taylor in The Principles of Scientific Management (1911), to Joseph Schumpeter’s work on Innovation as “creative destruction” (1934), to Gordon Allport (1921) and Kurt Lewin’s (1935) early work on 'Trait Theory' and 'Situational' theories of personality as they have been applied to Leadership, to Ralph Stacey (2001, 2003, 2010), and Henry Chesborough’s (2003, 2006, 2010) recent work on 'Organisational Complexity' and 'Open Innovation', to more recent 'Transactional', 'Transformational', and 'Organic' Theories of Leadership, to Ikujiro Nonaka’s (1995) and Hubert Dreyfus’ (1997) 'ontologically' orientated theories of Innovation, and Roger Martin (2009) and Armand Hatchuel’s (2010) recent work on the value of various 'design thinking' lead creative research methodologies to the articulation of how we can most ‘productively’ act, think, innovate, and lead, within the ever increasing 'complexity' of current business environments.

The principal objective of this archaeological analysis of the history of the evolution and development contemporary Management Theory, and particularly as it has been applied to the discourses of contemporary 'Enterprise' and 'Leadership' Theory, is to enable students to develop a comprehensive understanding of not only the history of the discourse but also how the insights of these theories can be practically applied to the conceptualisation and analysis of their own projects—thus overcoming the much debated 'relevancy gap' in so much contemporary Management Theory and education.

Particular emphasis will also be placed on the 'cross-cultural' significance of this work in relation to both Gert Hoftstede (2001) and Richard E. Nisbett’s (2005) work on the differing 'dimensions' of cultural belief, value, and understanding.

The dissertations are intended to assess the full range of students’ abilities and to apply a range of learning outcomes which the programme enables students to develop. In particular it enables assessment of the ability to design, develop and write an advanced research project using primary and/or secondary materials appropriate to the topic and according to the necessary conventions of scholarly work. It requires independent motivation and self-directed learning, under supervision, and enables students to demonstrate competence for critical analysis and sustained persuasive argument.

The dissertations and projects are intended to assess the full range of students’ abilities and to apply a range of learning outcomes which the programme enables students to develop. In particular, it enables assessment of the ability to design, develop and write an advanced research project using primary and/or secondary materials appropriate to the topic and according to the necessary conventions of scholarly work. It requires independent motivation and self-directed learning, under supervision, and enables students to demonstrate competence for critical analysis and sustained persuasive argument.

On this module students will review and critically appraise:
1. The way design works in different sectors of business,
2. The many ways in which professional practice is organised across different sectors
3. The professional practice that is required by designers and managers of Innovation.
4. Applying this knowledge to building a critical approach and understanding of design in business to a personal plan.
5. Communicating both knowledge and understanding of the business of design through a formal presentation to peers and staff.

Students will look at how designers (and managers) within organisations, working in design consultancies and studios and in their own practice locate themselves and negotiate the political, social, economic, environmental and technological contexts that impinge on their practices. The module will introduce students to different examples of business structure and practice of design and innovation. Students will explore how design is involved in business, so that they may critically appraise and contrast different models of design-related business. The module will engage in new developments in technology are changing both the structure and culture of management within these organisations. Issues of audience development relating to access and diversity as well as funding sources have a political dimension that has to be addressed in parallel with an understanding of the techniques and tools used.

The culmination will involve both written reflection and a proposition for how this knowledge can inform their own future careers. The students will be required to make a report of their engagement with the materials and also create a presentation of their proposed professional practice plans that take this knowledge and synthesise it into their own plan. This will be presented to a forum of staff, students and invited guests.

On this module students will review and critically appraise:

1. The way creativity works in different sectors of business,
2. The many ways in which professional practice is organised across different sectors.
3. The professional practice that is required by creatives and managers of Innovation.
4. Applying this knowledge to building a critical approach and understanding of creativity in business to a personal plan.
5. Communicating both knowledge and understanding of business of creative industries through a formal presentation to peers and staff.

Students will look at how creatives (and managers) within organisations, working in arts organisations, creative enterprises and social innovation enterprises and in their own practice locate themselves and negotiate the political, social, economic, environmental and technological contexts that impinge on their practices. The module will introduce students to different examples of business structure and practice of creative and cultural organisations and innovation. Students will explore how creative thinking and practice is involved in business, so that they may critically appraise and contrast different models of creative related business. The module will engage in new developments in technology are changing both the structure and culture of management within these organisations. Issues of audience development relating to access and diversity as well as funding sources have a political dimension that have to be addressed in parallel with an understanding of the techniques and tools used.

The culmination will involve both written reflection and a proposition for how this knowledge can inform their own future careers. The students will be required to make a report of their engagement with the materials and also create a presentation of their proposed professional practice plans that take this knowledge and synthesise it into their own plan.  

This module will introduce students to models of management, entrepreneurship and professional practice appropriate to creative, social or cultural organisations. It will examine the relationship between arts management practice, design thinking entrepreneurial practices and the culture in which that practice is situated. The module is in two parts, the first through presentations and seminars will equip students to develop a critical approach to both general management policy and practice and to practice has been developed to meet the characteristics and requirements of the arts sector. Students will be introduced to key ideas in organisational management from Weber to Handy and Belbin and current writing on leadership. Students will also be introduced to different forms of legal structures for organisations and basic issues relating to employment.

The second part of the module is the placement, which will work where possible as or like a knowledge transfer partnership scheme. One of the key aims of knowledge transfer partnerships to help businesses ‘improve their competitiveness and productivity through the better use of knowledge, technology and skills that reside within the UK knowledge base’. So, we understand this placement as not only an important learning experience for the student but also as an important link between companies (across sectors) and academe (Goldsmiths and its offer particularly). The placement may be attached to various projects - research and consultancy – ICCE and or the Design Department is engaged with and also continuing to develop but equally may be a new initiative.