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The COVID-19 lockdown has forced many organizations and employees to work from home. In such uncertain and unprecedented context, it is crucial for organizations to stimulate their employees’ creativity to adapt to new working environment and thus to sustain and improve organizational performance. This paper aims to examine how to stimulate employees’ creativity by focusing on their online knowledge sharing (OKS) behaviors, their use of online platforms and their organizations’ innovation climate in a working from home (WFH) context because of the lockdown. For empirical analysis, this research uses data from Vietnam – a developing country in the Southeast Asia.

Data are collected from employees working in Ho Chi Minh City but WFH during the COVID-19 lockdown. Structural equation models are used for analyzing the data.

Online platform use and organizational innovation climate are positively associated with creativity directly and indirectly via the mediating roles of internal and external OKS.

This research provides policymakers, organizational leaders and managers with an important evidence on how to stimulate creativity by emphasizing the roles of knowledge sharing, online platforms and innovation climate. Accordingly, relevant practical implications are also drawn to sustain or improve organizational performance in the context of WFH context because of COVID-19 lockdown. This research also contributes to knowledge management literature by providing an evidence on the relationships between online platform use, organizational innovation climate, OKS and creativity.

This research is among the early attempts that explore the associations between employees’ use of online platforms, their organizations’ innovation climate, their internal and external OKS behaviors and their creativity in the context of WFH because of a lockdown.

This article traces the transformation of hát bội, a form of traditional opera in Southern Vietnam, from its primary role as entertainment into a religious activity after the Reform (Đổi Mới) were enacted in 1986.

This research is based on ethnological fieldwork complemented by a review of historical documents and of the available literature on hát bội, cultural policies and on data collected from interviews with artists and spectators at the festival at the shrine to the Lady of the Realm.

Before 1986, hát bội was performed either as a stand-alone entertainment during the fair portion of community festivals or as part of religious ceremonies. The Reform and the accompanying relaxation of state control over religion and culture promoted the resurgence of popular religious fairs across the nation. New opportunities for hát bội to revive opened, artists left state-sponsored troupes to join private companies that catered to religious festivals. But almost exclusive involvement in religious rites has led to artistic stasis for private hát bội troupes.

This research constitutes novel insights of how the Reform in Vietnam affects the transformation of a traditional performance form.