towards thriving 21st orgs

8/7/2019 Towards Thriving 21st Orgs

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Towards thriving 21st century organisations

Henley Centre - Andrew Curry/David Gunn

2005


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Arts Council England

The aim

To understand the characteristics of a thriving organisationby looking at

The drivers of organisational change

Models of successful thriving organisations

Implications for the arts sector

The method

Henley Centre knowledge base

A selection of expert interviews

A review of relevant organisational literature

Revisiting core trends identified for Towards 2010


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Organisations in society: a model


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Developing the model

Characterising the ways in which institutions interact withconsumers

Fundamental distinctions of engagement, or just examplesof different channels?

Classifying different organisational/consumer interactions Testing robustness for the arts


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Summary of important drivers of change

Audience Resources TalentAgeing and agelessness Feminisation of the

workplace

Management of

talent

The experience economy Itinerant workers in the

21st century

Corporatisation of

the arts

The search for authenticity The restrictions of

funding

Renegotiation of the

workplace

Desire for self-improvement Business and

innovation

The artist as catalyst

Modal consumers Networks and digital

organisation

Rise of the city

regionDIY media and

personalisation

Always on society

Rise of rights


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A series of variables (1)

Emotional

Geography

Work

Form

Duration

Transaction Belonging

Fixed Mobile

Existing New

Specific Diverse

Permanent Temporary


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Audience

Outlet

Pedagogic

Access

Passive

Single

Implicit

Constant

Participatory

Multiple

Explicit

Confined

A series of variables (2)


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The model

Community

engagement

Fixed

assets

Knowledge

assets

Individualengagement


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Testing the model in a technology space

Community

engagement

Fixed

assets

Knowledge

assets



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Testing the model over time - Virgin: the not-so-secret

historyCommunity

engagement

Fixed

assets

Knowledge

assets



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Characteristics of arts organisations byquadrant Community

engagement

Fixed

assets

Knowledge

assets


Beware!1 The classification is not

pejorative thrivingorganisations are found

In all quadrants

2 The distinctions betweenthe quadrants are relative

rather than absolute.


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Thriving organisations by quadrant

Community

engagement

Fixed

assets

Knowledge

assets


Own buildings

Repertoire/excellenceResident company or collection

Innovation interpretation anddevelopment of mainstream

- Presentation and audiences

Own buildingsHome for touring orvisiting collections

A point of viewBrand is location

Innovation - communities of

interest around work

Ad hoc organisationsTemporary or intermittent

Coalitions of enthusiasts

Life not a lifestyleBrand is event, network, or

charismatic creative

Testing the creative edgeSubsidised by other work

No geographical location of

limited accessMainstreaming alternative

Innovation making theconnections artist/audience

Core managementSome commercial impresarios


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Testing the model against arts organisations

Community

engagement

Fixed

assets

Knowledge

assets



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Thriving within an arts ecology: connections

Fixed

assets


Gallery

Outreach

project

Local/

regionalvenues

Specialistmusic

network

Newperformers

Established

festival

Established

venue

Touring

company

Ad hoccreatives

Workshop

performance

Local run

National run

Commercial

transfer

Community

engagement

Knowledge

assets


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Organisations in society: key drivers


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The tripartite structure of the creativeenterprise

Audience

Talent

Resources

Adapted from Martin Dales model of sustainable film production models


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Snapshot of consumers in the 21st century

More affluent

More

educatedQuality of

life

More

feminisedOlder

More

fragmented

households

Lesshappy

Fewerchildren 1 in 4 womenborn in 1972 will

not have children

40% of the

population

over 50 by

2010

Disposable incomeshave doubled since

1971

Only 1 in 3 households

contain a nuclearfamily

35% of 24 year

olds are graduates

40% of

workforce are

women

Over half of adults are

unhappy with theirstandard of living

38% would take a

pay cut for less

stress


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Audience

Ageing and agelessness

The experience economy

The search for authenticity

The cult of self-improvement

Modal consumers

DIY media / personalisation

The always on society

The rise of rights


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Ageing and agelessness

Ageing population

Impact on future resourcesand on changing social

expectations and values

Impact of the over-50s onspending

Beware of assumptionsabout stereotypes

New demographic groups

38

43

46

25

30

35

40

45

50

2000

2025

2050

Median age

in years

Projected UKpopulation

Source: US Bureau of the Census, International Data Base, 2002


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The experience economy

Purchasing material goods,or purchasingexperiences?

The pleasure ofconsumption what does it

depend on? Retail or leisure? or both?

What do consumersexpect?

Bite-size art, or elaborateexperiences?


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The search for authenticity

The unusual is becomingmore and morecommonplace

The concept of the

authentic What is authenticity?

Defined origin

Handmade

Traditional

unique

Mass-produced and easilyreplicable products and

services are under pressure

to engage with consumers


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The cult of self improvement

Replacing the bluffersguide mentality

Life coaches

Evening classes

Learning holidays

Bibliotherapy

Growing interest in books

and book clubs


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Modal consumers

The modal consumer

Negotiating multiple roles,helped by technology

Four key types of activity:

Recovery (eg hobby, sport)

Sanctuary (eg time with thefamily)

Territory (eg gardening)

Exploration (eg web surfing,

creative writing)

Varying leisure experiences

Self Citizen

Worker

FriendConsumer

Family


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DIY media and personalisation

Increasingly selectiveconsumers

Self-scheduling of content

Self-editing and creation ofown content

Greater expectations that whatconsumers access / purchase ispersonalised to their needs andinterests

In commercial environments,personalisation of contentappears to be higher value butreaches smaller proportion ofthe market

58

44 42

22

57

37

5754

47

55

0

10

20

30

40

50

60

70

80

90

15-24 25-34 35-44 45-54 55+

Use favourites list - Interactive TV

Use bookmarks - Internet%

Source: Henley Centre / BMRB Digital ViewerWave 6 / Olympus Research


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The always on society

Mobile phones

Always on is thedefault; switching off is

now a choice

Similar expectationsaround access to

companies andexperiences

Impact on socialinteraction

% agree with statement:

I like to be contactable on

my mobile all the time

70

37

0

10

20

30

40

50

60

70

80

Age 15-19 Average adult

%

Source: Henley Centre, PCC 2002, W2


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The rise of rights

The growing disparitybetween the richest andpoorest in society

Dramatic divisions of

access and inequity acrossUK society

Increasingly strong publicawareness of the

infringement of rights and

means of reparation

Attracting consumers fromethnic minority

backgrounds and disabledpeople is a key aim

4.4

3.2

3.5

3.0

20

25

24

30

10 5 0 5 10 15 20 25 30

1979

1990

1996

2010

%

% share of total income byhousehold

Bottom 10%

Top 10%

Source: ONS, Households Below Average Income; Henley Centre


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Resources

Feminisation of the workplace

Itinerant workers in the 21st century

The restrictions of funding

Networks and digital organisation

Business and innovation


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Feminisation of the workplace

Gender and the UKworkforce

UK women returning to work

within a year of having a

child The pay gap

The growing importance ofwomen in the workplace

Substantial changes in workpractices

57

51 50

43

49 50

20

25

30

35

40

45

50

55

60

1982 1992 2002

Male Female

% of UK workforce

Source: EEDA Equality in focus; GEM Report UK 2002; Nomis; The GuardianViewpoint #10, The Economist


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Itinerant workers in the 21st century

Moving from rigid to fluidorganisational structures - newways of using resources

Hot-desking and sharing otherresources

Cost-driven innovations can

also facilitate creativity

Temporary collectives to fulfil

specific pieces of work, with

temporary use of resources

The rise of dynamic, short-termemployment on a project

basis in the creative industries


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The restrictions of funding

Funding remains a crucial issue

Current organisational structures for

funding can be damaging -

Restrictive both in structure and in the

way they operate

demanding specific outputs, rather than

empowering artists to follow a line ofcreative thought

encouraging organisational structuresand attitudes that do not foster creativity

Social inclusion can confuse collective

understanding of the key role of the

commissioned work

Innovation can often derive from highly

resource-constrained environments

Its almost a rule

that the better an

organisation is at

attracting

government

funding, the worse itperforms


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Business and innovation

The increasing role ofcorporate sponsorship

Initiatives which

combine artisticexperimentation with

corporate research

Mobile Bristol

But how applicable is

this to more

established art forms?There is much to be said forseeing artists as servants of

the innovation process

John Thackara

Source: www.mobilebristol.co.uk/flash.html


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Talent

The management of talent

The corporatisation of the arts

Renegotiation of the workplace


Rise of the city region


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The management of talent

The importance ofhorizontal, non-hierarchicalstructures and fluid

organisational processes

Organisational innovation

needs clear principles

The holarchic organisation- each fragment of the

organisation reflecting the

whole The role of the manager

You cant socially re-engineerthese systems

without understanding them

intimately. You need to knowwhat its like to struggle with

the pressures at the grass

roots.Prof Henry Mintzberg


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The corporatisation of the arts

Increasing professionalism ofthe arts

Changing expectations fromfunders

Wider social trends such as theimportance attached to formalqualifications

Emphasis on management skillsat the expense of professionalexpertise

A trend seen in both the public

sector and the private sector

A site of struggle which

creates permanentorganisational tensions

Managers

Professionals

Targets Budgets

+ +

_ _


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Renegotiation of the workplace

Change from fixed contractsto more negotiatedrelationships

Large rise in part-time and

temporary workers

Employees demand greaterflexibility and work/lifebalance

Office structures are moving

towards club environments

Space for meeting, thinking

etc

Leisure facilities, shops, dry-

cleaning, creche facilities-2461

1046

-1415

1381

2792

4173

776 629

1405

-3

-2

-1

0

1

2

3

4

5

Male Female Total

Full time Part time Self employed

000s

Change in employment status, 1971-2005

Source: ONS; Henley Centre, PCC 2001; DTI projections


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Traditional concepts of theartist

The importance of

individuals and artisticorganisations as creative

catalysts

Organisational, facilitativeand financial strands of the

creative process

The role of creative catalystin the growing integration ofarts initiatives with wider

social initiatives


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The rise of the city region

Increasingly mobile workforce

Gravitation towards cities seen as

tolerant and outward looking, andhaving good public spaces and

culture

The focus on the rehabilitation ofurban centres as marketable

popular cultural venues

Safe cultural choices and the

predominance of corporateownership can lead to the

homogenising of culturalexperiences

Cultural innovation often occurs intemporary, marginal areas

Source: Henley Centre; RichardFlorida, the Rise of the Creative Class; Chatterton & Hollands, UrbanNightscapes: Youth Pleasures, Pleasure Spaces and Corporate Power(2003); Archis 2003; Hakim Bey

Historic, residual andalternative forms of nightlife

are increasingly

marginalised over-regulated till they

disappear orbought out

under the weight of urbanrenewal and gentrified

leisure


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Key questions

What are the key qualities of arts organisations in our model?Which are shared by every quadrant? And which are peculiarto one quadrant?

Can organisations exist in different quadrants at the same time?What allows them to do this?

What are the key things to be learnt from organisationalpractice?

In what ways do arts organisations differ from otherorganisations?

How best can arts organisations ensure they are sensitive toconsumer or audience demands?

How best can arts organisations manage their resources toensure quality and innovation?

What methods of funding best support this?


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