This paper explores Harold in Italy, a symphony by Hector Berlioz. It offers a way of conceiving of organizational leadership beyond the controls of a hero figure and proposes alternative ways of being that facilitate group interactions. Subtlety of gesture, non-action, a willingness to respond to the promptings of others by being able to perceive what is occurring in the moment, are qualities that are discussed.
Ralph Bathurst and Trudie Cain
Fiona Kennedy and Ralph Bathurst
This chapter describes a general approach and a specific activity for introducing managers to the leadership work of framing. This can be difficult terrain because the practice of framing encounters managers’ very different beliefs about the nature of reality and the social world. This chapter offers a way of maintaining openness and interest in learning while engaging with material that runs the risk of creating defensiveness and shutting learning down! The general approach and framing activity are illustrated by drawing on the experience of a manager in a leadership programme.
Arja Ropo, Donatella De Paoli and Ralph Bathurst
This chapter addresses creative leadership in a creative domain, the arts and art organizations. In fact, one might even expect that leading creative work would call for creative ways of leading. The authors use an aesthetic approach to leadership to discuss the theme. By aesthetic they refer to sense-based perceptions, embodied ways of relating to each other, intuition, and emotions. They provide empirical examples of leadership aspects that are especially important in artistic contexts. The illustrations are from the performing arts, especially from the fields of music and theatre. Reflexive awareness, dwelling in senses, interrogating senses, and being tuned to the rhythm of the artistic process were found to be important. Listening, gazing, and embodied gestures are examples of aesthetic leadership practices.