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The purpose of this paper is to point out whether Italian cultural organizations recognize, measure and manage intellectual capital (IC).

An empirical research on the subject of (IC) in cultural organizations has been carried out. Interviews have been realized with directors of Italian cultural organizations and a questionnaire submitted to a sample of 100 individuals involved in the Italian cultural sector.

Italian cultural organizations recognize the importance of IC, but they do not measure IC. Nonetheless, they claim to manage IC, even if they do not measure it through numerical indicators. A non‐metric approach for the visualization of IC has been rejected, as well. Controversial and ambiguous statements are discussed.

There is a gap between the directors' statements and their organizational behaviour. Most of them declare the need for IC numerical indicators, but only in one case is an overall IC performance measurement system in place.

The usefulness of the paper is that practitioners may reflect on the obstacles to the implementation of an IC measurement system in cultural organizations.

Cultural organizations are “unknown terrain” in terms of research into IC and may therefore suggest an innovative path for the analysis of IC. In this context, the paper discusses the need for either a metric approach or a non‐metric approach for the representation – and then the management – of IC.

This work seeks to offer a greater understanding of Lean healthcare implementation challenges conceptually taking a situated cultural organizational change perspective.

A descriptive model of healthcare organizations’ Lean adoption trajectories is built using ripple and bridging modelization strategies from elements of three classic organizational change theories and knowledge from Lean, organizational culture, healthcare and operations management literature.

The “contingent Lean culture adoption” (CLCA) model suggests five theoretical trajectories the healthcare organizations may experience when conducting a Lean transformation. These trajectories evolve from a new concept of Lean cultural friction (LCF) which represents cultural friction that a healthcare organization encounters toward an ultimate Lean culture proficiency state through time. From high to low initial LCF, a healthcare organization may in its Lean proficiency course end up in three states: lower, similar or higher LCF situation.

The CLCA model demonstrates the potential to be developed into a framework and possibly a Lean cultural friction theory pending further qualitative and quantitative validation.

The CLCA model may help healthcare managers to use more appropriate cultural change strategies during their organization’s Lean journey.

This work enriches the concept of Lean cultural change which may apply not only to healthcare organizations but also to other ones. It suggests the existence of a healthcare organization Lean culture proficiency archetype and introduces the notion of Lean cultural friction.

The purpose of this paper is to identify and discuss structure, essence, and quality of a current organizational frameworks for the arts and culture, institutions, NGO’s and enterprises that are core playgrounds for flexible individualization of taste, cultural literacy, individuals’ expressions and their cultural identity.

Paper design initiates with an analysis of the organizational landscape of cultural sector, including special focus on cultural education. This subject will be studied with a use of a case of cultural education organization leaders. The paper epilogue brings to the discussion inspirations from aesthetics and marketing studies.

In cultural education organizations, there is: an urgency: for more hybrid and flexible organizational forms; cross-sectorial synergy; for more focused leaders competencies fitting into expected categories of: managerial, communicative, sensemaking, and entrepreneurial.

The paper is a stimulus for further research within cooperating disciplines of organization studies, cultural policy studies, marketing, and aesthetics.

The text has practical implication for public administration, cultural policy makers and is an insight for cultural organizations leaders from public, private, and civil parts of cultural sector.

The topic of flexible individuation of taste in relations to cultural education institution practices, is reflected in a complementary approach, from triadic perspective of cultural policy, marketing and aesthetics, bringing new insights for organization change research and practice.

In today’s business landscape, arts and cultural organisations are challenged to search for excellence of their business model management to create and deliver value in a more sustainable way. This study develops exploratory focus groups aimed to capture insights into the practical challenges, wants and needs that arts and cultural organisations across Europe address and face in managing and developing their business models.

The focus groups method has been applied. The methodology included seven focus groups involving arts and cultural organisations operating in different European countries.

The overall feeling emerging from focus groups is that there is an increasing pressure to prove the value of culture, e.g. economic, social and civic, progressively more in quantitative figures. Arts and cultural organisations are greatly concerned about their financial health, and their ability to continue creating and presenting great arts and cultural events. At the same time, there is an acceptance that gaining financial resilience and sustainability can no longer be put off. Organisations are conscious that it is crucial to rethink their way of operating and to improve their value creation mechanisms to get sustainability. Nevertheless, the challenges to face and issues of change to get a more effective business model management are numerous and various.

The study sheds more light on “business dimensions” perceived by arts and cultural organisations across Europe, as particularly crucial for their survival and requiring proper management attention. In doing this, it offers fresh and valuable knowledge about aspects, factors and dimensions to take into account in the managing business model.

According to the Census, racial/ethnic minority populations are growing at such a fast rate that by 2050 more than 50% of the population will belong to a minority group (US Census, 2001). The increasing diversity of the U.S. population is one of the many changes that health care delivery organizations need to proactively address in order to better serve their community and improve their performance. In this paper, we argue that cultural competency not only is important from a societal perspective, i.e., reducing health disparities, but can also be a strategy for health care organizations to improve quality, lower cost, and attract customers. We provide detailed recommendations for health care leaders and managers to adopt in order to successfully serve a diverse patient population.

To make a literary review related to effective management of cultural diversity in organisations and to systematically bring up different views put forward regarding this issue.

First, the literature which covers the “diversity management” and “cultural diversity management” is reviewed in detail and then tried to explore the contributors’ different views about the effective cultural diversity management approach. In the paper these different perspectives about this matter are classified.

The answer to the question of how cultural diversity should be managed effectively cannot be given easily. There are various typologies about the organisational and managerial literature. In order to be able to effectively manage cultural diversity in organisations, it is beneficial to develop a “cultural diversity management model” peculiar to the organisation by considering the positive and negative sides of different perspectives located in this study.

Because the main aim is to make only a detailed literary review and bring up different views through a classification, there are no theoretical interpretations nor personal critiques about the writers’ different perspectives in the paper.

The researchers of this topic would be able to make empiric and theoretical evaluations in the frame of perspectives explored in the paper.

This paper will provide a contribution to cultural diversity in organisations related to its management as an anthology and will be a systematic knowledge base for researchers.

The increased involvement of customers in their experience is a reality for all service organisations. The purpose of this paper is to explore the way organisations collaborate with customers to facilitate consumption of cultural experiences through the lens of co-production. Although organisations are typically an integral part of the co-production process, co-production is typically considered from a consumer angle. Aligned with the service ecosystem perspective and value-in-cultural context, this research aims to provide greater insight into the processes and resources that institutions apply to co-produce experiences with consumers and the drivers and inhibitors of such processes.

Case study research with three exemplar organisations, using in-depth interviews with key informants was used to investigate the processes organisations follow in co-producing the service experience with customers, as well as the drivers and inhibitors of organisational co-production of the service experience in the cultural sector.

The findings illuminate that cultural organisations are co-producing the service experience with their customers, as revealed through a number of key processes: inviting customers to actively participate in the experience, engaging customers and supporting customers in the co-production of the experience. Increasingly demanding consumers and a changing competitive landscape are strong external drivers of co-production. Visionary leadership and consumer-focussed employees are internal factors impelling organisations to co-produce experiences with consumers. A strong curatorial orientation, complex organisational structure, employee attitude and capability gaps and funding constraints are impediments towards organisations co-producing experiences with consumers.

This paper addresses a gap in Service-Dominant logic theory, arts/cultural marketing and broader services marketing literature by proposing a broadened conceptualisation of co-production of the service experience. This conceptualisation can be used as a platform to derive strategic imperatives for managers of service organisations. The findings highlight the key practices and resources that are central to organisations co-producing experience with customers. In this way, greater understanding of institutional logics and practices that underpin experience co-production emerges.

The under‐representation of entrepreneurial women, or women leaders, in the higher levels of organisations is an increasingly debated issue. Comments in the media regarding the lack of women in senior management positions in the creative industries have attracted much attention, both for and against. Despite opposing viewpoints there is little doubt that this is an issue that requires investigation. However, understanding the under‐representation of women in senior management, leadership and ownership roles has been problematic due to a lack of “hard data”. The purpose of this paper is to provide a quantitative understanding of the under‐representation of female leaders in the UK's creative and cultural industries. Based on a study completed by TBR for the Cultural Leadership Programme (CLP) it presents baseline data and groundbreaking analysis to understand gendered leadership in organisations.

The study for CLP established a quantitative evidence base to benchmark the number of women in leadership in the creative and cultural industries. This was possible by utilising a unique data resource, TCR, which enabled detailed analysis of gendered management structures in creative and cultural organisations. We use this evidence base to further understand gender diversity in organisational leadership positions and the characteristics of different leadership styles.

The study generated unique understanding regarding gendered leadership within the creative and cultural industries. It identified that there are 32,800 female and 82,450 male leaders in the creative and cultural industries and despite there being a comparatively high proportion of all‐female managed organisations, there are half the number of female executives per organisation compared to the UK average.

A trend of polarisation of all female and all male led organisations was identified over the last 25 years, which was reflected in recognition of distinct female and male leadership styles. The study proves some assumptions about the leadership approach of men and women and identifies characteristics similar to the transactional and transformational styles described in Women at the Top by Holden and McCarthy. Unless this trend is reversed, it is likely to become increasingly important for women and men to develop skills in both transactional and transformational leadership styles.

The paper provides a new examination of the balance of male and female leadership in organisations and significantly furthers debate about the under‐representation of women in leadership. It provides “hard‐data” to inform future dialogue regarding entrepreneurial women and further investigates the lack of women in leadership.