Research-based Theater as a Facilitator of Organizational Learning

Pâssilä, Anne; Oikarinen, Tuija

doi:10.1007/978-94-007-7220-5_12

Cited by 8 publications

(8 citation statements)

References 43 publications

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“…This enabled us to identify and reflect on our own place in the matrix and to generate ideas further with colleagues in similar situations. With the help of own lenses we reflected; worldviews, histories, professional and personal backgrounds; in the core of transformation lies the understanding of different perspectivespolyphony in the practice based innovation sense (Pässilä and Vince, forthcoming 2015;Pässilä and Oikarinen, 2014;Adams & Owens, 2015). For example, we created 'allowing lenses', 'intimate and emotional' lenses, 'sparkly and light' lenses and 'identity shaker' lenses.…”

Section: Photo 1 Discussion Through Professional Lensmentioning

confidence: 99%

“…Questioning the taken-for-granted is central to practical reflexivity (Cotter, Pässilä and Vince, 2015) and central to the Learning Jam in inviting a more polyphonic orientation to learning through work. We use the polyphonic to denote forms of collective voicing recognised in practice based research (Pässilä and Vince, 2015;Oikarinen, 2014;Adams & Owens, 2015) and do not draw further on Bakhtin's (1981) conceptualisation. This research has been undertaken as part of the ArtsEqual Project, funded by the Academy of Finland's Strategic Research Council from its Equality in Society Programme (Project no.…”

Section: Introductionmentioning

confidence: 99%

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Learning Jam

Pâssilä

Owens

Pulkki

2016

Higher Education, Skills and Work-Based Learning

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The purpose of this paper is to conceptualise 'Learning Jam' as a way of organising space, time and people through arts based pedagogies in work based learning. This form of encounter originated in Finland to challenge functional silo mentality by prioritising polyphony. Through the use of a 'kaleidoscopic pedagogy', Arts-Based Initiatives (ABIs) are used to collectively and subjectively reconsider practice. The research design is grounded in one of a series of Learning Jams co-created by practitioners from the field of arts and artsbased consultancy and academics from the field of arts, arts education, innovation and management, learning and development. The focus was on exploring the value of each participants work based learning practice through the lens of an Arts Value Matrix. Rancière´s critical theory was used to frame the exploration. The research questions asked; what are the ingredients of this creative, transformative learning space and in what ways can the polyphonic understandings that emerge in it impact on Work-Based Learning? Findings of this study centre around alternative ways of being in a learning setting where we do not defer to the conventional figures of authority, but collectively explore ways of organising, where the main idea is to lean on something-which-is-not-yet. A key research implication is that teaching in this context demands reflexive and dialogical capabilities for those who hold the role of organizing and facilitating spaces for learning and transformation. The main limitation is in stopping short of fully articulating detailed aspects of these capabilities. The originality and value of the practice of Learning Jam is that managers and artists explore the potential of operating as partners to develop new ways of working to realise organisational change and innovation.

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Section: Photo 1 Discussion Through Professional Lensmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Learning Jam

Pâssilä

Owens

Pulkki

2016

Higher Education, Skills and Work-Based Learning

Self Cite

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“…And a second aspect, 2) Art as a Sign: as a process, as a way of putting oneself into the world, especially in relation to work, that is, art as meaning making or re-signifying the relationship with work. Art has been retrieved and valued in recent studies in OE (BARRY, 2008;PÄSSILÄ;OIKARINEN, 2014;VERA;CROSSAN, 2004), and the depth of Stanislavski and the Actor Formation method is still a rich source for future studies in OL.…”

Section: The Lights Switch Offmentioning

confidence: 99%

“…Finally, they point out aspects such as agreement, awareness and collaboration so that improvisation can bring good results. Pässilä and Oikarinen (2014) offer the idea of using theater techniques to create a polyphonic environment in which meanings and changes take place in a continuous collective learning experience. We also cite the relevant work by Daved Barry (2008), who makes a conceptual review of art, suggesting that the use of art concepts may represent a rupture in management.…”

Section: Introductionmentioning

confidence: 99%

Merde! Teachings from Russian art to Organizational Learning

Robinson

Cassandre

2019

Organ. Soc.

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Considering the human being in his entirety is to understand him as a spiritual being, who does not separate the existential from the instrumental, who finds and shapes the meanings of what he experiences in the action or while acting, can be a path to more adequate responses to the present society (LINCOLN; GUBA, 2006). In this article, we relate concepts and practices in Russian art with Organizational Learning (OL). From Vygotsky’s ideas on Double Stimulation and the method of Ascending from the Abstract to the Concrete, used in learning theories like the Cultural-Historical Activity Theory (CHAT), we sought to establish a connection between the potential of art to stimulate and develop man’s learning as a spiritual being and OL. Art offers the possibility of awakening a spiritual force that can move man and “awaken” him to his role of agency, transforming his life and his reality. This relationship is established by bringing Vygotsky and Stanislavski together, and we use the method of the Russian playwriter to propose a draft method that considers art as medicine and a cure for organizations to understand the human being in his entirety and also for them to be constituted as spaces for development.

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“…FORA, ), and public service developers are utilising new kinds of methods such as user stories and various arts‐based methods (e.g. Pässilä and Oikarinen, ). These new methods require novel skills from the service developers and are used to recognise and utilise the user's view (e.g.…”

Section: Introductionmentioning

confidence: 99%

Understanding Users’ Collective Voice in Public Service Innovation

Hennala

Melkas

2016

Know. Process Mgmt.

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Purpose-The study focuses on user-driven service innovation in the public sector. The objective is to discover how individual service users' ideas may be transformed into a collective voice and to parse the collective voice into discrete elements. Approach-A novel framework of analysis is presented, and five elements of the collective voice are identified. Findings and implications-Identification of the elements enables more future-oriented and effective management of the collective voice and its organised use. The elements provide developers with information about the users' needs and views and constitute a structure for the collective voice, enabling developers to better understand and address voice in practical activities. Originality and value-The research results increase scientific and practical understanding of collective voice in user-based service innovation and advance user-driven innovation methods. Users' ideas are the raw material, but collecting and reviewing them is not sufficient; it is vital to deepen the process further, structure the individual ideas and compile the collective voice.

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Research-based Theater as a Facilitator of Organizational Learning

Cited by 8 publications

References 43 publications

Learning Jam

Learning Jam

Merde! Teachings from Russian art to Organizational Learning

Understanding Users’ Collective Voice in Public Service Innovation

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