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In this chapter, we develop a theoretical model of group splits, culture shifts, and creativity in diverse groups. This model explains how the strength of informational faultlines can elicit a culture shift from a desired to an actual culture of creativity in a team, which then might differentially influence team creativity and group performance. We further argue that subgroup support and team creative efficacy may enhance the interaction of informational faultlines with a desired culture of creativity to facilitate the shift toward an actual culture of creativity. We also discuss future research directions and practical implications for stimulating creative behaviors in organizations.

This chapter explores the unique role of leadership in organizational innovation. Drawing from the investment theory of creativity (Sternberg & Lubart, 1995), we show that organizational innovation begins with a leadership decision. Based on a review of the creativity, organizational, and leadership literatures, the key components of organizational innovation are examined from individual, group, and organization-wide perspectives. Leading innovation is conceptualized as a special case of leading organizational change, which requires creative leadership skills applied to social systems. Establishing an organizational environment that supports innovation in the current market environment increases systemic paradoxes that must be managed by leaders. We conclude that leading innovation increases the creative demand on the leadership system, which requires leaders who have a developed understanding of the process of innovation and its environmental requirements.

The phenomenon of creativity spans research topics across Marketing and Consumer Behavior. Interest in, and research on, creativity has grown over the past several decades. With this heightened attention comes the question of how best to conceptualize and measure creativity. This question is addressed by reviewing the conceptualizations and measures used in the psychological study of creativity. From this review, we build a framework by which to analyze papers from the Journal of Consumer Research and the Journal of Marketing Research. Based upon this analysis, we provide recommendations and best practices for future research. Of particular importance, we recommend the use of convergent problem-solving tasks in combination with ratings of novelty and usefulness reported separately. Such measures allow one to distinguish between instances of effective-creativity (when an idea is both novel and useful) and instances of quasi-creativity (when an idea is novel but lacks usefulness). The importance of the framework to research and analysis beyond the experimental paradigm is discussed.

The purpose of this study is to investigate the role of the physical environment characteristics on artists’ creativity.

Based on mixed-method of research the data was collected through questionnaires and interviews with 40 artists. The parameters of the physical environment characteristics included light, object design, color, window, the possibility of communication, flexibility and the existence of personal space.

The effect of these factors used simply and naturally on artists’ creativity was evaluated to be positive. It was found that if these factors were not present and only a simple, non-inspiring space was designed, the results would be simpler and less creative. It was suggested that designers need to design a space according to the artists’ individual and social needs and their perceptions.

This study is mostly limited to Iranian artists; however, it is a starting point for broader implications.

The main contribution of this research is providing environmental characteristics, which can assist in creating an appropriate workspace for artists.

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 paper aims to investigate the relationship between negatively perceived organizational politics (NPOP) on creative propensity (CP), while also studying their interplay with organizational commitment (OC) and job satisfaction (JS).

A survey technique was used in three different IT-related companies in an emerging market. Customers also included foreign companies for two of the three. In terms of age, these companies were roughly a decade old or more. Respondents were employees who were involved in IT-related jobs. Instrument was used five-point Likert scale. Data analysis involved partial least squares structural equation modeling (PLS-SEM).

JS appears to have a positive relationship with OC. Both factors have been shown to have a positive relationship with CP. NPOP appears to have a negative relationship with not only CP but also JS and OC.

This research aids in bridging a gap in research and contributes to literature with respect to the relationship among CP with JS, OC and NPOP. There is a need for greater research with respect to the relationship of CP with JS, OC and particularly with NPOP between these factors. This research would aid in bridging the gap by investigating relationships among these factors. Globalization and international business may increase the importance of creativity for IT-related as well as other companies. Businesses in emerging markets may require creativity for growth, survival and catching up to companies in developed markets or for competitiveness. With the prevalence of politics in organizations, it may be of strategic value for businesses in emerging markets to be able to calibrate these factors to increase their potential for creativity.

The purpose of this paper is to explore the role of and the management of creative individuals in organizations.

The paper integrates concepts including a range of recently published (1995‐2006) theoretical works in the creative culture, creativity, and innovation literature.

The paper provides information and action approaches to marketers to aid them in harnessing creative talent within their organizations. Relevant literature shows that communities may be magnets that attract or repel creative individuals. Organizations can engineer themselves to become attractive to creatives. If marketers are skillful in managing creative individuals, the organization may enjoy increased competitiveness.

The theoretical concepts that form the foundation of the paper appear to have a significant application to consumer marketing but have not been tested empirically.

The study explores a global effect that has implications for the nature and scope of marketing orientation performance.

This paper describes the nature and application of creativity and creative culture to marketing. While most literature has concentrated on the city or community level, the paper provides a perspective that may help to nurture the creativity of individuals within an organization. It offers the potential of increasing marketing competitiveness by allowing firms to maximize their creativity as a competitive tool.

The purpose of the paper is to demonstrate ways in which collective creativity and individual creativity exist in an “and/both” rather than in an “either/or” relationship.

This study uses and interrelates a number of dualities using “metalectics”, the principal task of which is to balance seemingly conflicting opposites by revealing them and locating them on their strengths.

Collective creativity, as a bridging metaphor, renders itself as an oxymoron, both literally and as an outcome: where individual and collective creativity are dichotomised, diversity is treated as a constraint, and collaboration is confused with coordination.

An essential of creativity is deviancy, and that this has to be valued to bring about change.

Heterogeneous communities of practice should not be confused with homogenous communities of practice because this causes artificial dialogues that destroy the very creativity they claim to ignite.

The paper offers an alternative way of thinking, arguing for a move away from simplified, unbalanced perspectives of creativity that focus on one‐dimensionality and asymmetry.

Creativity and innovation are important for fulfilling organizational goals. In understanding ways to enhance creativity research has moved on from understanding individual creativity, to an organizational analysis of successful firms that encourage creativity. However, an additional source of creativity stems from direct and indirect leadership and the decisions leaders make to enhance creativity throughout the organization. This chapter examines creativity in film and television as influenced by leadership activities at the organization, team, and individual level and describes lessons learned.

The purpose of this paper is to develop and empirically test a model in which antecedents of creativity are hypothesized to lead to enhance employee creativity and, subsequently, to increase innovative performance outcomes. Leader–member exchange (LMX) is posited as a moderator of the leader encouragement of creativity and employee creativity relationship.

This study is based on a sample of 163 employees working in various service organizations in Kuwait and pursuing an MBA. Structural equation modeling techniques with AMOS software were used to assess the relationships between the different constructs.

The findings show that all creativity antecedents are positively and significantly related to individual creativity, except for leader encouragement of creativity and perceived organizational support. The results show also that LMX mediates the relationship between leader encouragement of creativity and individual creativity, and that intrinsic motivation moderates the relationship between perceived organizational support and individual creativity.

This study has several limitations including a small sample size, cross-sectional design, same-source bias and one point in time data. Future studies could examine these findings in different settings, use longitudinal design and capture a full range of creativity antecedents,

This study is the first to theorize and identify antecedents that promote individual creativity in a collectivist context (i.e. Kuwait). Moreover, this study is unique in that we predict that employee creativity is a mediating mechanism that can explain the link between creativity antecedents and creativity outcomes.