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Creativity and innovation have been buzzwords of managerial discourse over the last few decades as they contribute to the long-term survival and competitiveness of firms. Given the non-linear, causally ambiguous, and intangible nature of all innovation-related phenomena, management scholars have been trying to uncover factors that contribute to creativity and innovation from multiple lenses ranging from organizational behavior at the micro-level to strategic management at the macro-level. Along with important and insightful developments in these research streams that evolved independently from one another, human resource management (HRM) research – especially from a strategic perspective – has only recently started to contribute to a better understanding of both creativity and innovation. The goal of this chapter is to review the contributions of strategic HRM research to an improved understanding of creativity at the individual-level and innovation at the firm-level. In organizing this review, the authors rely on the open innovation funnel as a metaphor to review research on both HRM practices and HRM systems that contribute to creativity and innovation. In the last section, the authors focus on more recent developments in HRM research that focus on ambidexterity – as a way for HRM to simultaneously facilitate exploration and exploitation. This chapter concludes with a discussion of future research directions.

Purpose: This chapter explores the strategic role of human resource development (HRD) as a function of talent management (TM) and discusses how HRD activities can help to facilitate more creative behaviours, in the international hospitality industry.

Approach: We focus on TM and HRD research exploring how these lenses are conceptually positioned given our current knowledge on creativity. We draw on the system-based approach to creativity and reconceptualise the creativity components by levels of flexibility/plasticity and outline how such approaches can help creative practice development.

Findings: We rationalise the existing conceptual approaches to creativity and propose a simplified model considering the developmental aspects of creativity. First, we theorise the TM/HRD strategies, such as training and development via learning, as a mechanism to connect TM/HRD to creativity in the organisational setting. We inform the current literature on whether and how creative processes emerge at work and affect creative flow in the bottom-top and top-bottom directions. Second, we advance the development of creativity theory by reconceptualising the established creativity components by degrees of flexibility/plasticity. Such re-conceptualisation allows for more nuanced examinations of organisational stimuli (i.e. training and development) on developmental conceptions of creativity.

Originality: This is the first piece of work that has investigated the fit between TM/HRD and creativity research. Our conceptual model illustrates that creativity can be promoted and developed at work by incorporating developmental initiatives such as TM/HRD.

Recognizing the impact of innovation on organizational performance, scholars from a number of disciplines have sought to identify the conditions that make innovation possible. Although these studies have served to identify a number of key variables, the relationship between these variables and innovation is complex. In this chapter, we argue that the apparent complexity of these relationships may be attributed to cross-level differences in the requirements for innovation and the existence of complex interactions among the phenomena operating at a given level of analysis. The implications of this multi-level perspective for understanding how innovation occurs in organizational settings are discussed.

Organizational creativity and innovation are inherently complex phenomena, and subject to a myriad of broad contextual and social influences. As the evidence grows for the link between innovation and organizational effectiveness and, ultimately, organizational survival, there is no doubting the need for theoretical and practical advances in our understanding. The complex nature of these constructs, however, requires that such efforts utilize a multi-level lens. This chapter discusses key aspects of creativity and innovation in organizations, including fundamental construct definition issues, which underscore the need for a multi-level perspective. It also reviews extant theoretical perspectives for their contributions to a multi-level understanding, and the research in two key areas of social influence – group factors and leadership – that have received substantial attention in the organizational literature. The review and discussion of these areas reveal not only numerous advances, but also substantial limitations that must be resolved through more complex and comprehensive (i.e., multi-level) approaches. The chapter concludes with several recommendations intended to guide and inform future work in the organizational creativity and innovation field.

This chapter explores the roles that library leaders have in ensuring libraries demonstrate innovation and creativity in their services, systems and facilities. This is grounded in the pressures for innovation resulting from the ‘disruptive technologies’ identified by Christensen (1997). ‘Obliquity’ (Kay, 2011) is inter-related around how innovation can be used to meet the challenges. The areas proposed where library leadership can contribute to innovation are leading by example, shaping organisational culture/values, ensuring appropriate training/development takes place, helping develop appropriate organisational structures and establishing appropriate reward and recognition.

Both theoretical insight and practical experience are used to inform the chapter. Management and leadership theories/research provide the context within which library leadership and innovation is explored. This is complemented by the authors between them have experience in developing innovation in libraries and also in delivering leadership training on innovation.

For any library looking to demonstrate innovation and creativity, the chapter identifies some clear responsibilities for leaders. The five specific roles for the leader are crucial in libraries being innovative. A further element of the work is that it explores some of the challenges a library leader will face in moving in this direction.

Having joint authorship by people from different backgrounds ensures that the chapter is based on a blended insight of theoretical understanding and practical experience.

Creativity is a critical skill across disciplines and contexts, and it is an important trait for humans to survive and thrive, personally and collectively. The fast-paced culture of business innovation has sought to promote and reward creativity as a coveted thinking skill. Creativity in and of itself, however, is a value-neutral construct, because novel and effective ideas may also have negative consequences. This darker aspect of creativity has come to the forefront in many recent cases, particularly in contexts involving digital and networking technologies, where the rapid pace of technological change does not encourage the kind of deliberative thinking necessary for nuanced and ethical business decisions. The authors consider why education is essential for expanding the ethical capacity of creative agency in business, describing the need to bring creativity and ethics together in educational opportunities and cultural values. The authors explore the idea of ‘wise creativity’ and the need to infuse more human-centred learning from the arts and humanities into business fields. Further, the authors suggest better practices for creative business education, such as: infusing real-world ethics learning into business education and professional development; infusing the liberal arts curriculum in business; offering opportunities for arts-based approaches in business learning; and instilling genuine mindfulness training in business education environments. The authors’ focus is on a shift away from a culture that values creativity purely as an instrumental approach for greater profitability, and towards one that values wise and humanizing creativity for good business practices that consider societal and individual wellbeing.

This chapter attempts to elucidate the important role that divergent thinking plays in organizational creativity, innovation, and change. We define brainstorming as a systematized method of divergent thinking, review this literature, and advocate for the strategic use of brainstorming to enhance creativity and innovation. We identify contradictory findings in the research literature that have led practitioners and researchers to disregard brainstorming techniques. We suggest that cultural forces embedded in organizations may prevent divergent thinking and brainstorming from becoming established normative organizational processes, thus hampering organizations’ potential for change and innovation. The chapter closes by putting divergent thinking and brainstorming in perspective and provides guidelines for its use.

In some organizations action is taken to stimulate creativity and innovation. The right steps may have been taken, such as involving employees in decision making, recruiting and appointing employees who evidence characteristics of creativity, setting standards for work performance and giving regular feedback, yet creativity and innovation are hampered in some way. The culture of an organization may be a factor contributing to the extent to which creativity and innovation occur in an organization (Johnson, 1996; Judge et al., 1997; Pienaar, 1994; Shaughnessy, 1988; Tesluk et al., 1997; Tushman & O’Reilly, 1997 in Martins & Terblanche, 2003). The current organizational culture and the demands of creativity and innovation may lead to a conflict situation.

This chapter uses reflexive praxis to advance a framework for developing creative virtuosities for entrepreneurs based on four interrelated aspects: finding their own voice and passion at work; unleashing creativity and imagination at work; working collaboratively toward innovation; and handling complexity and integrative thinking. These four creative virtuosities emerged from observations and exploratory interviews with training program participants on five different occasions in Turkey, the UK, and Canada. They are illustrated through four arts-based metaphors: poetry; theater; orchestra; and jazz. The core premise of this chapter is that these four virtuosities can provide entrepreneurs with a sound basis and a wealth of knowledge on developing creative solutions to new socioeconomic challenges of prospective radical technological and economic changes.