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Few organisations exhibit the importance of physicality in leadership as explicitly as the symphony orchestra. While usually attributed to the direction of the conductor my own experience suggests that leading in orchestral performance is grounded in physical relations between individuals and among instrumental groups across the orchestra as much as in the interaction between musicians and maestro. In order to further interrogate this experience while enhancing our understanding of onstage relations among orchestral musicians, I recently undertook research that employed an autoethnographic methodology underpinned by the phenomenology of Merleau-Ponty (2002, 2004) and the sense-making ideas of Weick (1995, 2001a). Using this method while drawing on ideas such as kinaesthetic empathy (Pallaro, 1995; Parviainen, 2002), the picture presented in what follows is one of leadership embedded in physical interaction among colleagues.

This interaction is, I suggest, based on sense-making and sense-giving activity that occurs in a ‘kinaesthetic loop’ that draws on and is generated by auditory, visual and gestural information given and received by individual musicians. This activity in turn mediates the acoustic space between musicians and thus, ultimately, determines how leadership and coordination in the orchestra are constituted. Rather than being disembodied products of dictatorial direction dispensed through the orchestra’s hierarchy, orchestral performance and leadership emerge in this more nuanced account as co-creative processes in which all the musicians on stage share responsibility.

This longitudinal research examines US symphony orchestra sector organizations to determine individual efficiencies in allocating resources (donations, governmental/private funding, etc.) for desirable outputs (concerts, educational programs, community outreach). It provides researchers and managers with a tool for identifying, assessing and mitigating organizational inefficiencies.

This study assesses relative efficiencies in performing arts organizations using Data Envelopment Analysis (DEA), a widely-used nonparametric data-intensive benchmarking technique that determines an optimal “production frontier” of best-practice organizations among their peers and assesses their abilities to turn multivariate inputs into multivariate desired outputs.

This analysis highlights efficiency differences in a wide range of orchestras in converting available resources into performance-related outputs. It provides individual arts organizations with useful results for developing practical benchmarks to achieve organizational efficiency improvement.

This study provides constructive benchmarking guidance for improving efficiencies of relatively-inefficient organizations. Future analysis can expand the scope to utilize a two-stage DEA model to provide more specific guidance to arts organizations.

This pragmatic analysis enables arts/culture institutions to assess their organizational efficiencies and identify opportunities to optimize resources in producing social outputs for their target markets.

Efficiency improvements enable performing arts organizations to provide additional artistic/social services, with fewer resources, to larger audiences.

This research demonstrates the abilities of DEA analysis to assess both a sector and its individual organizations to determine efficiencies, identify sources of inefficiencies and assess longitudinal efficiency trends.