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Purpose – In January 2015, a diverse group of stakeholders engaged in a planning forum on “Envisioning our Information Future and How to Educate for It.” Focused on shaping a future by design, not by default, information educators, professionals, technologists, futurists, and others proposed proofs of concepts for larger-scale implementations. This chapter reports on four pilot projects using steps in the design-thinking process to frame the discussion.

Design/Methodology/Approach – The stages of (1) empathize, (2) define, (3) ideate, (4) prototype, and (5) test in the design-thinking process facilitate moving beyond what is and breaking fixedness to build a representation of what might be. Applied to library and information science (LIS) education, design thinking can lead to transformative change.

Findings – Creative collaborations yielded actionable outcomes from projects that identified the following: (1) the knowledge, skills, and abilities that employers seek in graduates of LIS programs, (2) curriculum options for developing and launching artist-in-residence programs, (3) how a Library Test Kitchen course enables students to apply design thinking, and (4) how a short-term faculty residency in a particular institution connects LIS educators with trends in the field and informs curriculum design.

Originality/Value – The value of tangible outcomes from pilot projects informing future innovation in LIS education is augmented by the originality of their framing within design-thinking processes.

In today’s hypercompetitive, digital-first, knowledge-based economy, organizational creativity has never been more important as a potential source of competitive advantage. The foundation stone for every innovation is an idea and all ideas are born of creativity. The innovation process thus starts with creativity and the new ideas it yields are ideally based on insights that will lead ultimately to novel outcomes (such as new products, services, experiences or business models) and thereby to a sustainable competitive advantage. In established businesses, until relatively recently, creativity was called on only for specific, often high-profile occasions, for ‘hackathons’ or for major ‘innovation jams’, but today it is an essential, everyday necessity of routine work. However, attaining the right level of creativity from within is a challenge for many organizations and so they need to establish an appropriate and effective way to import it into their teams, projects and, ultimately, culture. The arts are a pure, unadulterated form of creativity. Mindsets, processes and practices from the arts can give organizational creativity a significant boost and can potentially offset the creative deficit in an organization. Here, the illustrative cases and practices that demonstrate how the arts can have a positive impact on business are examined.

The purpose of this paper is to focus on arts-based interventions as a management tool for personal, team and organisational development. How have management teams implemented art in their organisations, and toward what end? The literature has focused predominantly on a single case, creating many possibilities of constructing arts-based interventions. Yet, a typology is still missing. This paper examines various arts-based interventions and their underlying principles from a business perspective.

The paper is based on a systematic review of the literature in English and German, with special consideration for articles and books within the field of business.

The typology presented in this paper, based on a mapping of the field, should contribute to a more coherent understanding of arts-based interventions. My goal is to provide researchers with a more structured perspective for approaching this academic area. Furthermore, the findings suggest that over and above the various types of arts that can be introduced to organisations, there are three basic principles for the achievement of this goal.

This paper presents a mapping of the cases in literature on arts-based interventions and presents a coherent understanding of ways of bringing art into organisations.

The three underlying principles presented in this paper should assist practitioners in designing arts-based interventions for specific problems.

This paper provides assistance to consultants, business executives, leaders, managers, researchers and students for understanding the basics of arts-based interventions. Furthermore, it provides a structure for the body of literature on cases of arts-based interventions.

Brand strategy, marketing strategy, service marketing, hospitality management and international marketing strategy.

Post-graduate-level students; practitioners from the hospitality sector, brand management, corporate social responsibility (CSR) and the arts and culture field may also benefit from the case.

Jumeirah Group is a luxury hospitality company that is implementing a global brand strategy after developing a strong-regional reputation. Jumeirah's strong cultural alignment to its Dubai heritage in the form of its hallmarks and communication tag line “Stay Different” is being translated into events, activities, sponsorship and more importantly in terms of service to create a symbolic and experiential brand strategy. For Alice Royton, the Director of Branding for Jumeirah Group, the dilemma was how to maintain the thrust forwards as a top luxury brand and keep brand synergy especially as Jumeirah was increasing its portfolio and the competitive arena heats up in the international market place.

Creation of stakeholder value, brand strategy looking at various brand levels, using arts and culture as part of CSR initiative; communication strategy, emotional touch points and moment of truth as part of interactive service strategy; CRM and loyalty.

Teaching notes.

The aim of the study is to contribute to the extending body of literature on ‘the different effects of cultural engagement’ through cases from Turkey. In the context of art and society interaction, the study seeks to find evidence from practice within the scope of the ‘cultural value’ and ‘arts marketing’ literature. ‘Co-creation’ is mentioned as an important term in the cultural engagement context, and purposeful co-creation acts are investigated in the art industry. Therefore, the research focuses on interaction in the context of culture in order to explore the complex nature of co-creation of cultural value in alternative places and cultural frames. From this perspective, the study underlines the roles of place and atmosphere in the cultural engagement process. The cultural engagement areas of art and the public are determined in three different fields: nature (art in the village), science (campus) and business (shopping mall). The case study research is realised in order to gain a detailed and holistic view of the process. While the intention of all art events is the interaction of art and society, all three cases lead to different dimensions of ‘cultural engagement’ in different contexts. In this manner, these different cultural frames enlarge our comprehensive view of the constitution of ‘art and cultural value’ in terms of place and cultural frame of the field. The study underlines that society-oriented local art events and organisations are supporting the art and society link rather than focussing the economic value of art and artists as the actors of a commercial art industry.

The introduction of a People’s Academy (PA) within the School of Health and Social Care (HSC) at London South Bank University has created ripples across the pond that is Higher Education. The paper aims to discuss this issue.

Working as a coproduction innovation hub, the PA celebrates inclusion of those with a lived experience of HSC services into the academic community as valued members of the teaching and learning team. In its second year the PA has gained attention and achieved a “highly commended” status from external regulating bodies.

In this paper the authors report on aspects arising from an entrepreneurial education approach. First, is the work-based learning experience students achieve within the Higher Education Institution (HEI) setting, preparing them for clinical placements and client encounters. Second are ripples of activity the PA work streams have sent throughout the academic staff via critically creative working practices as a process of entrepreneurial education. Conclusions focus on a sustainable approach to recovery and resilience (whether physical or psychological) and overall well-being that PA members recognise as a raised level of compassion for sustainable health and well-being for all.

The work and enthusiasm of the PA as an authentic social engagement process rippling across the “University” experience; whether for students in the classroom or when working alongside academic staff, is identifiable in all aspects of academic activities. Most importantly is a positive gain in terms of knowledge, skills and confidence for the PA members themselves and their own well-being enhancement.

The PA approach to entrepreneurial education and work-based learning across the HEI setting is one of the first of its kind. This paper outlines core practices to achieve innovative coproduction approach that others may wish to replicate.

Arts-based cooperations between business and the arts create innovative solutions for companies by introducing artistic practices. Cooperations of this nature are predominantly prepared and implemented by intermediaries who act as “matchmakers” and bridge the cultural clash. The paper aims to discuss these issues.

For the present study on the function of such intermediaries, qualitative data material from interviews and case studies on arts-based cooperations was collected and analysed.

This paper analyses the results from an institutional economics perspective. By drawing on transaction cost theory and information economics, the findings are transformed into an intermediation theory of arts-based cooperations. The theory postulates that intermediaries are able to reduce transaction costs as well as the risks which are contingent on asymmetric information. Involving an intermediary produces cost advantages compared to direct contact between companies and artists.

The analysis illuminates an important but heretofore neglected aspect of arts-based initiatives thus providing an indication for their successful implementation.

The main objective of this paper is to analyse the roles of the artists’ collective in the creation of socially shared knowledge, concerning Gdansk Shipyard's heritage protection during the urban regeneration process over last ten years, since 2002.

The empirical section of the paper is based on a single case study concerning the artists collective’ ability to build a complex network of social relations, to research cultural heritage of the Gdansk Shipyard, to translate this knowledge into symbolic languages through art-based work and to transmit knowledge to the wider public with an aim to engage in an open dialogic public communication.

The case study draws on insights from participant observation carried out on the premises of the Gdansk Shipyard between years 2000 and 2008 and interviews with individual artists from the collective, conducted between years 2004 and 2006. Data was also drawn from archival research. The exposure in public media was also examined over last ten years, including Internet websites as well as newspapers and magazines’ content.

The case study research indicates that methods and techniques applied by the artists’ collective in researching the shipyard's historical heritage and communicating their findings to the wider public have been more effective than the official planning methods of expert-led post-industrial urban regeneration. Over the last ten years, the artists have succeeded to transform the negative perceptions about the values of the shipyard's cultural heritage and engaged local citizens in the preservation of the historical identities of the place. In 2012, the Mayor of Gdansk has invited representatives of the artists’ collective to the newly established Young City Stakeholders’ Board in order to utilize their knowledge of the shipyard's cultural heritage and their capacity to mediate between various groups involved in urban regeneration planning process as well as to communicate with the wider public.

Despite persistent views in literature that equate public engagement in the planning process of urban regeneration with a kind of “modern utopia”, we argue that participatory process is not only possible in practice but also can be highly effective and democratically ethical.

The purpose of this paper is to record Visual Arts education in Western Australia (WA) as it underwent significant change between 1967 and 1987, in administration, policy, curriculum and professional development.

A narrative inquiry approach was utilized to produce a collective recount of primary Visual Arts teacher education, based on 17 interviews with significant advocates and contributors to WA Visual Arts education during the aforementioned period.

This paper underscores the history of the role of Western Australian Superintendents of Art and Crafts and the emergence of Visual Arts specialist teachers in primary schools, from the successful establishment of a specialist secondary Visual Arts program at Applecross Senior High School, to the mentoring of generalist primary teachers into a specialist role, as well as the development and implementation of a new Kindergarten through to Year 7 Art and Crafts Syllabus. It also discusses the disestablishment of the WA Education Department’s Art and Crafts Branch (1987).

The history of primary Visual Arts specialists and advocacy for Visual Arts in WA has not been previously recorded. This history demonstrates the high quality of past Visual Arts education in WA, and questions current trends in pre-service teacher education and Visual Arts education in primary schools.