Leadership, Culture and New Technologies-2024 | Universitat Internacional de Catalunya

Universitat Internacional de Catalunya

Leadership, Culture and New Technologies

Credits: 3

Code: 11553

Course: 1

Term: Third term

Type: OB

Module:

Matter:

Main language of instruction: Spanish

Other languages of instruction: English

If the student is enrolled for the English track then classes for that subject will be taught in the same language.

Teaching staff

Head instructor:
Dr. CASTELLS ROS, Ramon - rcastells@uic.es

Office hours:

To arrange a meeting please contact the teachers
Rafael Valenzuela rvalenzuela@uic.es
Esther Belvis ebelvis@uic.es

Introduction

LEADERSHIP

Introduction

Leadership has become an important theme in the arts, culture and creativity sectors in recent years. Successful leadership in arts and cultural organizations involves the same societal factors and requires many of the same qualities and skills as those operating in both for-profit and not-for-profit organizations belonging to other sectors. However, cultural leaders face some unique challenges: balancing the expectations of diverse visitors, funders, artistic collaborators and critics; ‘proving’ impact and communicating value; nurturing/birthing new ideas and forms of expression that are as necessary as they may be uncomfortable; catalysing social change and so on.

This course will help students identify and develop the skills to lead, whether in an arts organization, or as a creative producer and/or cultural advocate. We will reflect on the societal elements and personal qualities related to “good leaders” as well as on the theory and practice of leadership in the changing contexts of arts and culture in our societies.

The course will use a combination of lectures, seminars and art-based pedagogical strategies. The first part will frame the issue of leadership in the cultural sector from both sociological and institutional standpoints. Its second part will address specific challenges and leadership dimensions in the performing arts and museum sectors, emphasizing their technological implications and digital strategies.

Content

The course is divided into nine modules under 3 themes:

I. Leadership in individuals acting in the cultural sector.

II. Leadership in cultural organizations and communities.

III. Leadership in territories and cultural administrations.

NEW TECHNOLOGIES

Today, digital extends to all the museum's activity environments and is content-oriented to the public: website, online collection, mobile, social networks, interactive museography, marketing. The key question is how digital can help us fulfill our mission and better serve the needs of our audience. How can we create added value through digital? In order to better serve our audiences, better connect knowledge with the public, work more efficiently, analyze and segment users, digital plays a strategic role that must be well planned.

Pre-course requirements

LEADERSHIP

An interest in leadership, and a desire to understand how leadership can be operationalized in the context of arts and cultural organizations.

Some sociological and management backgrounds can help. However, the course is designed for students from all backgrounds.

NEW TECHNOLOGIES

Basic knowledge of the performing arts is desirable, especially in relation to production and marketing. However, the module is designed for students from all backgrounds.

Objectives

LEADERSHIP

This course intends to achieve three primary objectives that transcend the domain of leadership:

I. Doing things together with people. A greater understanding of what basic motives drive people’s behaviour, and how we can influence those motives.

II. Effective and meaningful interpersonal relationships. A greater appreciation of how to foster effective and meaningful interpersonal relationships in the workplace. This requires understanding uses of power and influence and learning how to address conflict. We will also focus on how to develop talent and foster effective teamwork and how to promote organisational cultures aligned with the organisation’s mission.

III. Global organisational environment. A greater understanding of how to develop and lead people in a global, multicultural organisational environment.

In addition, the course aims to achieve the following specific objectives necessary for students to become future leaders:

To understand and be able to apply a theoretical framework to create the phenomenon of leadership, capturing sources of leadership and leadership models and styles.
To complement leadership theory with practical orientation and applications.
To understand the distinct contexts of business, public, and non-profit organisations in which leadership can be operationalised.
To gain exposure to practical case studies from different sectors (especially private and non-profit sectors) and cultures.
To understand the role of leaders in shaping organisational cultures.
To design an overarching leadership philosophy and practical leadership strategies customised for each student’s unique career goals.
To develop teamwork skills and learn how to work effectively with others.

NEW TECHNOLOGIES AND MUSEUMS AND HERITAGE

To introduce students to the basic concepts and terminology relating to technology in heritage and museums.
To enable students to identify appropriate technologies to support their objectives.
Overview of the use of ICT in cultural heritage and museums.
To enable students to understand how to apply digital strategy to the cultural heritage and museum sectors.
To introduce students to the complexity of the design and creation of digital resources.

NEW TECHNOLOGIES AND PERFORMING ARTS

To understand the current trends in performing arts technology.
To identify the challenges that cultural managers might encounter related to production, audience reach or dissemination.
To analyze how technology innovation in performing arts relate to leadership factors
To manage and understand the needs and challenges in different small, medium and large cultural organisations.
To be capable of aligning creative and marketing strategies according to the production target.

Competences/Learning outcomes of the degree programme

Basic competencies

To have and understand knowledge which provides and grounding or opportunity to be original in terms of the development and/or application of ideas, often in a research-based context.
To know how to apply the knowledge acquired and the ability to resolve problems in new or little know environments within broader or multidisciplinary contexts related to area of study.

General competencies

To analyse and interpret social and cultural environments in order to identify needs, opportunities, weaknesses and strengths.
To manage, coordinate and take part in interdisciplinary work teams.
To know how to apply and adapt to new technologies in processes of cultural management, production and dissemination.

Cross-disciplinary competencies

To design, direct, produce and evaluate projects, programmes, strategies, policies or cultural actions which involve a wide variety of different professional profiles, agents and institutions.

Specific competencies

To coordinate interdisciplinary work teams and use new technologies when managing, producing and disseminating cultural products and services.

In addition:

To develop a visionary perspective of leadership that not only focuses on achieving results but also on creating a positive impact on people and society.
To understand the critical skills to motivate and influence people to reach common goals through developing individuals and teams and adequately defining the culture and structure of the organization.
To be able to identify and use the primary strategies of leadership applicable in cultural organizations in the public, nonprofit, and private sectors across various national cultures.

CB6 - To have and understand knowledge that provides a basis or opportunity for the student to develop and/or apply original ideas, often in the context of research.
CB7 - Students should be able to apply their knowledge and ability to solve problems in new or little-known environments, within broader (or multidisciplinary) contexts related to their area of study.
CE9 - To coordinate interdisciplinary work teams and use new technologies to manage, produce and disseminate cultural products and services.
CG1 - To analyse and interpret social and cultural environments to identify needs, opportunities, weaknesses and strengths.
CG2 - To lead, coordinate and form part of interdisciplinary work teams.
CG4 - To know how to communicate, encourage and mediate between the various agents involved in a cultural project, programme or service.
CT1 - To design, direct, produce and assess cultural projects, programmes, strategies, policies or actions that involve a number of different numerous professional profiles, agents and institutions.

Learning outcomes of the subject

Knowledge of leadership sources, orientations and implications in the cultural sector.
Ability to understand and manage performing arts tech-based environments.
Ability to produce and disseminate creative and communication strategies according to the organization needs.
Capacity to identify possible difficulties in the management of cultural organizations and establish effective alternative procedures.
Ability to apply proper instruments and processes to reach new audiences.

Syllabus

Module

Content reference

Date

Suggested readings

In Class

Assignment

Theme 1- Psychosocial leadership theories and applications

Session 1- Introduction to leadership

Authority and Leadership

Transformations and Transactions

Bases of Social Power

Tuesday, April 2nd 18:30h

Avolio et al. (2009). Leadership: Current theories, research, and future directions.

Adair-Toteff, C. (2005). Max Weber’s Charisma.

a) Lecture

b) Films (The Inventor: Out for Blood in Silicon Valley- Hannah Arendt What Is Authority? Between Past and Future)

c) Debate

Introduction of non-graded group assignment; Choice of work group

Session 2-

Building blocks understanding leadership: why do people do what they do autonomously?

Social Psychology and Leadership

Behavioural Regulations

Human and Psychological Needs

Value priorities

Thursday, April 4th 18:30h

Self-Determination Theory (Ryan & Deci, 2000): https://positivepsychology.com/self-determination-theory/

a) Lecture

b) Self-assessments: Portrait Value Questionary, Regulations, Needs

c) Group work

Launch:

Un-graded Group assignment (formative feedback)

Profile of a leader in the cultural sector (based on work group)

Session 3- Building blocks understanding leadership: what do leaders do to lead?

The “Individual” Leader

Talent

KSAOs (Knowledge, Skill, Ability, Others)

Competence

Cultural Capital, Habitus, and Field

Tuesday, April 9th 18:30h

Bourdieu, P. (1979). Les trois états du capital culturel. Actes de la recherche en sciences sociales, vol. 30, n° 30, p. 3–6. En ligne : <http://www.persee.fr/we ... 5322_1979_num_30_1_2654>.

a)Lecture

b) Debate

c) Group work Discussion and writing exercise

Session 4 - Scientific study of leadership I	Trait theory and Personality The Style or Behaviour Behavioural Leadership Interactions between Individuals, Tasks, and Leaders	Thursday, April 11th 18:30h	Daft, R.L. (2008) The Leadership Experience. 4th Edition, Thomson Corporation, Stamford. Yukl, G. A., & Gardner, W. L. (2020). Leadership in Organizations. Pearson Education, Inc.	a) Lecture b) Leadership Styles Video c) Personality self-assessment	---
Session 5- Scientific study of leadership II	Servant and Authentic Leadership “Emotional Intelligence” Readiness of the Follower or Collaborator	Tuesday, April 16th 18:30h	Goleman, D. (2013). The focused leader. Goffee, R., & Jones, G. (2005). Managing authenticity. Gagné, M. (2018), From Strategy to Action: Transforming Organizational Goals into Organizational Behavior, International Journal of Management Reviews 20(S1):S83-S104	a)Lecture b) Debate c) Group work on a leadership cultural organization
Theme 2- Leadership in cultural organizations and administrations
Session 6- Leadership in cultural organizations I	What are the specifics of leadership in the cultural field/market? How does leadership in arts management contribute to art production and consecration? How does it orientate creative processes?	Thursday, April 18th 18:30h	Price, Jonathan (2017). The construction of cultural Leadership. Kolsteeg, J., & Zierold, M. (2019). Mapping the meanings of Cultural Leadership Nisbett, Melissa & Walmsley, Ben (2016) The Romanticization of Charismatic Leadership in the Arts	a) Lecture b) Case study: Fura dels Baus c) Presentations and debate	Presentations: Profile of a leader in the cultural sector (based on work group)
Session 7- Leadership in cultural organizations II	How do cultural organizations build collective leadership? What are the organisational and cultural factors driving leadership in this field? How to lead art projects?How do local administrations achieve and drive cultural leadership?	Tuesday, April 23rd 18:30h	Ian Sutherland & Jonathan Gosling (2010). Cultural Leadership Mariano Martín Zamorano & Arturo Rodríguez Morató (2015) The cultural paradiplomacy of Barcelona since the 1980s. Glow, Hilary (2012). Cultural leadership and audience engagement. Cray, D, L. Inglis and S. Freeman. 2007. "Managing the arts: leadership and decision making under dual rationalities	a)Lecture b) Documentary The Creative City: past present and future \| Charles Landry \| TEDxPadova (2015) c) Presentations and debate	Presentations: Profile of a leader in the cultural sector (based on work group)
Session 8- Leadership in cultural organizations and sustainability	How do arts and cultural communities, organizations and places maintain their leadership?	Thurday, April 25th 18:30h	Rimmer, Mark (2020). The art of survival.	a)Lecture b) Debate	Paper assignment (LCP and VUCA7)

Bibliography

Avolio, Bruce J.; Walumbwa, Fred O.; Weber, Todd J. (2009). “Leadership: Current theories, research, and future directions”. Annual review of psychology, 60, p. 421-449. (Phycological theories on leadership and its cognitive/behavioral basis.Transactional leadership analysis).
Cray, D, L. Inglis and S. Freeman. 2007. "Managing the arts: leadership and decision making under dual rationalities. Journal of Arts Management, Law, and Society, Vol. 36, no. 4, p. 295-313
Glow, Hilary (2012). Cultural leadership and audience engagement: a case study of the Theatre Royal Stratford East, in Arts leadership: international case studies, Tilde University Press, Melbourne, Vic., pp.131‐143.
Goffee, R., & Jones, G. (2005). “Managing authenticity”. Harvard business review, 83(12), 85-94. (Topography of leadership authenticity addressing agential and corporate dimensions).
Goleman, D. (2013). “The focused leader”. Harvard business review, 91(12), 50-60. (Expected characteristics of leaders (empathy, multifocal, etc.)
Harvey, C., Press, J., & Maclean, M. (2011). William Morris, cultural leadership, and the dynamics of taste. Business History Review, 85(2), 245-271.
Humphrey, R. H. (2012). How do leaders use emotional labor?. Journal of Organizational Behavior, 33(5), 740-744. (Leader emotional labor as a specific set of behaviors that can help leaders establish better leader–member exchange relationships)
Ian Sutherland & Jonathan Gosling (2010) Cultural Leadership: Mobilizing Culture from Affordances to Dwelling, The Journal of Arts Management, Law, and Society, 40:1, 6-26, DOI: 10.1080/10632921003603984
Kolsteeg, J., & Zierold, M. (2019). Mapping the meanings of Cultural Leadership: The use of the term in the field of arts management. Arts Management Quarterly, 6-10.
Maccoby, M. (2015). “Why people are drawn to narcissists like Donald Trump”. Harvard Business Review, 26. https://hbr.org/2015/08/why-people-are-drawn-to-narcissists-like-donald-trump (Description of productive narcissists approach to power and weakest points in power management)
Nisbett, Melissa & Walmsley, Ben (2016) The Romanticization of Charismatic Leadership in the Arts, The Journal of Arts Management, Law, and Society, 46:1, 2-12, DOI: 10.1080/10632921.2015.1131218
Rimmer, Mark (2020). The art of survival: community-based arts organisations in times of austerity, Community Development Journal, Volume 55, Issue 2, April 2020, Pages 295–312, https://doi.org/10.1093/cdj/bsy036
Price, Johnatan (2017)- The construction of cultural leadership. J Price. ENCATC Journal of Cultural Management & Policy 7 (1), 5-16, 2017. 2.
Singh, J. P. (2010). Global cultural policies and power. In International cultural policies and power (pp. 1-15). Palgrave Macmillan, London.https://asset-pdf.scinapse.io/prod/438973921/438973921.pdf#page=17
Sue Hoyle et al (2018). Changing cultures: Transforming leadership in the arts, museums and libraries. Arts Council England.
Zamorano, Mariano Martín & Arturo Rodríguez Morató (2015) The cultural paradiplomacy of Barcelona since the 1980s: understanding transformations in local cultural paradiplomacy, International Journal of Cultural Policy, 21:5, 554-576, DOI: 10.1080/10286632.2014.943752

NEW TECHNOLOGIES AND PERFORMING ARTS

Chapter 1 Introduction to performing arts, technology and communication
      1. Current trends: from traditional performing arts to emerging interdisciplinary practices
      1.1 Incorporating new technologies into performing arts
Chapter 2 Performing Arts Technology and communication through case studies
      2.1 Digitalisation and performing arts pre-production processes: strategy, budget, management and the digital development.
      2.2 Digitalisation and performing arts dissemination processes: expanding the theatrical experience.
      2.3 Digitalisation and performing arts educational-commercial 360 strategic processes: targeting and broadening the audience through innovative products.
Chapter 3 Addressing trends and challenges
      3.1 Main challenges for cultural managers: digitalisation, from theory to practice.

NEW TECHNOLOGIES AND MUSEUMS AND HERITAGE

Digital module CALENDAR_May 2020

THURSDAY 14

TUESDAY 19

TUESDAY 26

THURSDAY 28

16’30 – 18’30h.

Digital module starts

DIGITAL TRANSFORMATION /

DIGITAL STRATEGY

18’30 – 20’30h.

CONTENT STRATEGY

15’30 – 18’30h.

SOCIAL MEDIA

18’30 – 20’30h

MOBILE, VR & other TECH

We’ll see examples of different technologies and from museums around the world all along the module. This module will cover 4 main aspects:

1. Museums and Digital Strategy
The strategy means an integral and unified approach that links the museum’s mission with audiences needs and expectations enhanced by digital.
Digital is not the goal, is a way to help us accomplish our goals. Digital Transformation is to apply digital technologies to a new way of creating / producing / communicating content and services. A set of digital projects don’t make a digital strategy. We need to think first: why, for whom, what, how, how well, that is objectives, public, offer, tools, evaluation.
The Digital Transformation is a process, a journey that affects the WHOLE museum.

Recommended readings:
Tallon, Loic (2017). Digital Is More Than a Department, It Is a Collective Responsibility https://www.metmuseum.org/blogs/now-at-the-met/2017/digital-future-at-the-met
Stack, John (2013). “Tate Digital Strategy 2013–15: Digital as a Dimension of Everything” www.tate.org.uk/research/publications/tate-papers/tate-digital-strategy-2013-15-digital-dimension-everything

2. Content strategy
Does museums’ content meet users' needs? Content strategy today is crucial to achieve the best results in connecting collections to audiences, to optimize resources and to improve internal processes. We have transitioned from a digital presence concentrated on the website to a diversity of channels, platforms and devices. The more museums diversify their content the more a content strategy is needed.
Recommended reading:
Halvorson, Kristina (2015) Content strategy for the web everything. www.slideshare.net/khalvorson/content-strategy-for-everything
Rodà, Conxa (2016). Do we have a content strategy in museums? Do we need one?
https://blog.museunacional.cat/en/do-we-have-a-content-strategy-in-the-museums-do-we-need-one/

3. Museums and Social media
Social media are a strategy element of museum communication today.
But… are we museums doing it rightly enough?
Do we explore/use the specificity of each network and platform?
These and other aspects will be addressed, illustrated with many examples of best practices on different networks.
Recommended reading:
Dilenschneider, Colleen (2016). The power of different social media platforms for organizations. http://colleendilen.com/2016/12/07/the-power-of-different-social-media-platforms-for-organizations-data/

4. Mobilizing and Virtualizing Museums
Mobile has become a key factor for the museum experience and interpretation. We’ll see best practices of apps, multimedia audioguides, augmented reality, virtual reality, immersive technology in museums and heritage sites.
Recommended readings:
Coates, Charlotte (2019). “ How Museums are using Virtual Reality?”. https://www.museumnext.com/2019/01/how-museums-are-using-virtual-reality/
Green, Lindsey (2016) What we know about mobile experiences in Museums after 6 years of research https://medium.com/frankly-green-webb/what-we-know-about-mobile-experiences-in-museums-after-6-years-of-research-42117def2c49?swoff=true

Formats we’ll use for this module:

Lectures in classroom
Activities in class:
9workshop of digital strategy (in groups)
9workshop of content strategy (in groups)
Readings: the recommended ones here. A list of wider bibliography will be provided at the end of the course.
Use of 2.0 specific tools for the module:

- twitter #digitalUIC @UICbarcelona
- instagram @uicbarcelona

Chapter Introducción to performing arts, technology and communication

Current trends: from traditional performing arts to emerging interdisciplinary practices
The incorporation of new technologies in performing arts

Chapter Performing Arts Technology and communication through case studies

Digitalization and performing arts pre-production processes: strategy, budget, management and the digital development.
Digitalization and performing arts dissemination processes: expanding the theatrical experience.
Digitalization and performing arts educative-commercial 360°strategic processes: targeting and broadening audience through innovative products.

Chapter Addressing trends and challenges

Main challenges for cultural managers: digitalization from theory to practice.

Teaching and learning activities

In person

LEADERSHIP
The course is based on a mixture of case method, classroom exercises, reflective leadership assignments, and lectures. At the end of each case there will be a wrap-up with the main learning points. Course requirements include a team assignment and three papers.

NEW TECHNOLOGIES
The learning activities that will help to understand the theoretical concepts through practice are: Master class, content analysis, discussion of case studies, correction of cases and an oral presentation of a group project. A group activity such as a visit to a cultural institution might be included in the module.

Evaluation systems and criteria

In person

Leadership

Assesment

Assignment	Number	Weighting	Total
Assignments (most can be done in-class but should be submitted)	2	17,5%	35%
Debate/class participation	9	5%	45%
Paper-The Change I want to Be and Do	1	20%	20%

The individual paper:
This paper aims to provide you with the opportunity to reflect about yourself as a leader. It also seeks to examine how your way of leading may affect your effectiveness as a leader and your relationships with the people you will be coaching or working with at the same level.
Your reflection will take into consideration the results of the LCP and VUCA7. The first test will show you if you are leading from a creative or reactive approach. The second test will show you how well prepared you are to lead in a VUCA world.
The reflection shows what you have learned about yourself as a leader and leading strategies in the context of the class theoretical components. It should also provide elements of what key insights you want to incorporate in the way you lead a cultural organization or project. Furthermore, what are going to be some practical steps that you are going to take to develop yourself as a leader further.
The length should not be more than three pages double space and Roman 11 font. The professor will evaluate how practical the reflective process and action steps are. The paper is going to be submitted by May 2
The group paper:
The group paper will be done by the groups that are already working on the TFM. The goal of this paper is to reflect the learnings they have made as a result of applying the principles taught during the classes in their reality as a team.
The paper should be a journal that reflects how they have grown as a team thanks to the application of the different tools and strategies taught in class. The paper should answer the following questions:
1. Were we a team or a group? Why?
2. What were the most obvious dysfunctions in our team? What have we done to overcome them?
3. What kind of team were we: individual stars, basic group, teenage team, learning team, high performance team?
4. Which of the characteristics of a high performance team were missing? What have we done to overcome them?
5. What actions steps are we going to take to become a high performance team?
The length should not be more than three pages double space and Roman 11 type of letter.
The professor will evaluate how practical the reflective process and action steps are.
The paper is going to be submitted by May 6

Performing Arts & Technology
The assessment criteria and procedures include:

Attendance and participation in the sessions: 5% of the final grade.
Analysis of case study + oral presentation: 20% of the final grade.

New Technologies and Museums and Heritage
Compulsory assignment: deadline last day of class
Find one example of good practice of engagement / connexion with the public by museums digitally during the confinement by Coronavirus (on the web, social media, online collection, games, etc.). Which initiative do you think is valuable, interesting?
Delivery: last day of class

Length: 1 page maximum. It is about commenting, analyzing and assessing rather than describing the good practice. The description must occupy only the first paragraph. Your comment should assess the originality of the proposal, its attractiveness / power of attraction for users, the presentation (is it clear, well designed), and any other qualitative elements that you see remarkable. How do you think the proposal could be improved?

And please don't forget to include the link to the good practice!

Bibliography and resources

LEADERSHIP
Mandatory readings:
Avolio, Bruce J.; Walumbwa, Fred O.; Weber, Todd J. (2009). “Leadership: Current theories, research, and future directions”. Annual review of psychology, 60, p. 421-449.
Cray, D, L. Inglis and S. Freeman. 2007. "Managing the arts: leadership and decision making under dual rationalities. Journal of Arts Management, Law, and Society, Vol. 36, no. 4, p. 295-313
Glow, Hilary (2012). Cultural leadership and audience engagement: a case study of the Theatre Royal Stratford East, in Arts leadership: international case studies, Tilde University Press, Melbourne, Vic., pp.131‐143.
Goleman, D. (2013). “The focused leader”. Harvard business review, 91(12), 50-60.
Kolsteeg, J., & Zierold, M. (2019). Mapping the meanings of Cultural Leadership: The use of the term in the field of arts management. Arts Management Quarterly, 6-10.
Nisbett, Melissa & Walmsley, Ben (2016) The Romanticization of Charismatic Leadership in the Arts, The Journal of Arts Management, Law, and Society, 46:1, 2-12, DOI: 10.1080/10632921.2015.1131218
Optional readings:
Avolio, Bruce, Walumbwa, Fred and Weber, Todd: Leadership: Current Theories, Research, and Future Directions
Boyatzis, Richard, McKee, Annie and Goleman, Daniel: Reawakening Your Passion for Work
Collins, Jim and Porras, Jerry: Building Your Company’s Vision
Collins, Jim: Level 5 Leadership: The Triumph of Humility and Fierce Resolve
Davis, Murray: That’s Interesting!
Goffee, Rob and Jones, Gareth: Managing Authenticity: The Paradox of Great Leadership
Goffee, Rob and Jones, Gareth: Leading Clever People
Goleman, Daniel: The Focused Leader
Goleman, Daniel: What Makes a Leader
Humphrey, Ron: How Do Leaders Use Emotional Labor
Humphrey, Ron, Ashforth, Blake and Diefendorff, James: The Bright Side of Emotional Labor
Maccoby, Michael: Narcissistic Leaders: The Incredible Pros, the Inevitable Cons
Maccoby, Michael: Why People Are Drawn to Narcissists Like Donald Trump
Owens, Bradley and Hekman, David: Modeling How to Grow: An Inductive Examination of Humble Leader Behaviors, Contingencies, And Outcomes
Schwartz, Tony and McCarthy, Catherine: Manage Your Energy, Not Your Time
Senge, Peter: Leading Learning Organizations
Silard, Anthony: The Bait‐and‐Switch of the Internet: The Influence of Connectivity on Contactedness and Connectedness
Wright, Sarah: Coping with Loneliness at Work
Wright, Sarah and Silard, Anthony: The Price of Wearing the Crown: The Antecedents and Outcomes of Leader Loneliness
Competencies and coaching
How to Develop Leadership Competencies. Pablo Cardona and Pilar García. Ed. EUNSA, 2005.
Effective Coaching. Marshall J. Cook. Ed. McGraw-Hill, 1999.
Building Robust Competencies. Paul C. Green. Ed. Jossey-Bass, 1999.
The 7 Habits of Highly Effective People. Stephen R. Covey. Ed. Simon & Shuster, 1989.
Communication
Difficult Conversations: How to Discuss What Matters Most. Douglas Stone et al. (Harvard Negotiation Project). Penguin Books, 2010.
People Skills: How to Assert Yourself, Listen to Others, and Resolve Conflicts. Robert Bolton. Touchstone Books, 1986.
Nonviolent Communication: A Language of Life. Marshall Rosenberg. Puddledancer Press, 2015.
The Dance of Connection: How to Talk to Someone When You’re Mad, Hurt, Scared, Frustrated, Insulted, Betrayed, or Desperate. Harriet Lerner. William Morrow Paperbacks, 2002.
Since Strangling Isn’t an Option…..Dealing with Difficult People—Common Problems and Uncommon Solutions. Sandra Crowe. Perigee Books, 1999.
Leadership
The Nature of Leadership (2nd Edition). David V. Day and John Antonakis. Sage, 2012.
The Leadership Challenge. James M. Kouzes and Barry Z. Posner. Ed. Jossey-Bass, 1995.
Why Should Anyone Be Led By You? Rob Goffee xxxx…..
Handbook of Leadership: Theory and Practice. Nitin Hohria and Rakesh Khurana. Havard Business Press, 2010.
Primal Leadership. Daniel Goleman, Richard Boyatzis, and Annie McKee. Harvard Business Review Press. 10th Anniversary ed., 2013.
Stewardship. Peter Block. Ed. Berrett-Koehler, Publishers, 1996.
Leading organizations
Built to Last. James C Collins. HarperCollins Publishers Inc, 1994.
The Individualized Corporation. Sumantra Ghoshal and Christopher A. Bartlett. Ed. Harper Business, 1997.
Beyond Performance: How Great Organizations Build Ultimate Competitive Advantage. Scott Keller and Colin Price. John Wiley & Sons, Inc., 2011.
Motivation and influence
The Power of Full Engagement. Jim Loehr and Tony Schwartz. Free Press. 2003.
Work Motivation. Gary P. Latham. Sage, 2007.
Rewarding Excellence. Edward E. Lawler III. Ed. Jossey-Bass, 2000.
Working with Emotional Intelligence. Daniel Goleman. Ed. Bantam Books, 1998.
Textbooks on Organizational Behavior
Organizational Behavior (2nd European ed). Robert Kreitner, Angelo Kinicki, and Marc Buelens. Ed. McGraw-Hill, 2002.
A Primer on Organizational Behavior (4th ed). James L. Bowditch and Anthony F. Buono. Ed. John Wiley & Sons, 1997.
Classic Readings in Organizational Behavior (2nd ed). J. Steven Ott. Ed. Harcourt Brace College Publishers, 1996.

NEW TECHNOLOGIES AND PERFORMING ARTS
General bibliography
Benson, S. & Giannachi,G. (2011). Performing Mixed Reality. Massachussets: MIT Press.
Bilton, C. (2007) Management and creativity. From creative industries to creative management, Blackwell publishing: Oxford.
Blake, B. (2014). Theatre and the Digital. New York: Palgrave Macmillan.
Byrnes, W.J. (2009) Management and the arts, 4th edition, Elsevier: Oxford.
Dixon, S. (2007). Digital Performance: a History of New Media in Theatre, Dance, Performance Art and Installation, Massachusetts: MIT Press.
Fine, D. & et al. (2018) Digital Media, Projection Design and Technology for Theatre. London: Routledge.
Napoli, P.M. (2010). Audience Evolution: New Technologies and the Transformation of Media Audiences. Columbia University Press: New York.
Rosewall, E. (2013). Arts Management: Uniting Arts and Audiences in the 21st Century, Oxford: Oxford University Press.
Townley, B. & Beech,N.(2009) Managing Creativity: Exploring the Paradox. Cambridge University Press: Cambrigde.
Other materials such as texts and presentation might be delivered throughout the sessions according to the students' needs.
NEW TECHNOLOGIES AND MUSEUMS AND HERITAGE
Below there are a couple of links where you can find examples or you can contribute one that you have seen on your own:
The Ultimate Guide to Virtual Museum Resources, E-Learning, and Online Collections
https://mcn.edu/a-guide-to-virtual-museum-resources/
Museum Social Media Entertains During the COVID-19 Crisis
https://www.museumnext.com/article/museum-social-media-entertains-during-the-covid-19-crisis/

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