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In this essay, two purposes are of importance. One is to frame anti consumption as a social marketing issue on micro and macro levels. The second is to set forth dance as a persuasive element in anti consumption social marketing strategy, which heretofore has been under utilized and under theorized.

This essay draws from relevant existing literature in social marketing and builds and extends dance theory in television ads to conceptualize dance as a viable consumer culture aesthetic in anti consumption social marketing campaigns.

Effectively employing dance images in anti consumption social marketing campaigns may contribute to redesigning of the self-image and identity of consumers. Moreover, through linkages of positive behaviors to dance celebrations and rituals, aligned with an overall social marketing campaign, dance may facilitate reduction of negative consumption behaviors.

Social marketers’ strategic success in high involvement behavior change depends in part on the target audience’s favorable response to message processing. The social marketing field encompasses a variety of such behaviors that if changed, improves both society as a whole, and the lives of individuals.

There are three aspects of value and originality in this contribution. They include forwarding anti consumption as a social marketing issue in consumer culture; theorizing dance as a somato-visceral and kinesthetic approach to anti consumption social marketing behavior change; and demonstrating dance as a positive persuasive element that can reside within the boundaries of social marketing ethics.

This paper seeks to explore the concept of dance as a metaphor for relating to the challenges of management and human relations within the organisational space. It asks in what way can the art‐related concept of dance be applied to the benefit of a dominant science‐led management learning and practice.

The paper explores its topic through counter‐factual argument, drawing on a recently published theory of art‐related management practice. It invokes dance as an application of the theory to further explore that theory's relevance to management and organisational thinking.

The concept of an organisational dance is explored by considering the notions of presence and rhythm. A definition for social presence is derived in order to present an ability of the individual to perceive a socially constructed reality, against which collective movement – aligned within a concept of organisational rhythm – permits a form of dance to emerge. The organisational dance sets up a form of social constructionism in which new forms of knowledge might arise through creative play.

The paper argues that the metaphor of dance can usefully provide new insight into thinking about management, by providing an intellectual basis for writing about organisational dance. The paper concludes that the research question is not (empirically) “what dances are being practiced” but, in order to better support managers in practice, “how do we make the organisation dance?”

In February 2015, Jørgen Vig Knudstorp, CEO of the LEGO Group, invited the national and international press to a financial briefing at the company's headquarters in Billund (Denmark). 2014 had been an exceptional year of growth for the LEGO group. Nevertheless, most of the journalists present in the room were surprised when the Danish CEO suddenly began to dance in front of the audience while singing ‘Everything is awesome’ from the LEGO Movie. Why did he do it? Was it out of spontaneous joy? Or was there a strategy behind his actions? And what were the reactions of the media and LEGO employees? What can a CEO who is dancing and singing for a few seconds or minutes in front of a group of journalists tell us about leadership roles and leadership communication? The aim of this chapter is to provide plausible answers to these questions. We combine theory of dancing with three different approaches to the study of leadership: (1) a strategic approach: the CEO as a Performer, (2) a positive organizational scholarship approach: the CEO as a Chief Happiness Officer and (3) a critical approach: the CEO as a Seducer. At the end of the chapter, we discuss how this small case study can contribute to a broader understanding of strategic communication that includes a dramaturgical and multimodal perspective.

The purpose of this paper is to analyze the strategy of performance art, especially Silat Movement (as a source and identity of traditional dance movement of Minangkabau ethnic group), as a marketing medium of tourism, especially in West Sumatera Province.

This research used a qualitative approach among six cases of dance. Quantitative method was used to collect data about the dance movement of Minangkabau ethnic group, which is in accordance with the cultural value that they adopt. The data collecting technique used was focus group discussion, documentation, observation and interview. The case study method was used to conduct this research, focusing on the Silat dance movement as a medium to promote tourism. The research method is presented to generate a study that is in harmony with the background and the problem statement. This was a qualitative descriptive analysis research with the aim of providing a comprehensive illustration of performance art as a medium to promote tourism in West Sumatera.

Minangkabau ethnic dance movement, which is based on custom and religion, includes movements originating from the Silat movement. Movements in Minangkabau dance include Silat movements, such as attacking and fending off, rolling over, sawhorse posture and leg and hand movements. This is an original movement source and derives from cultural movements born from the fighter. That is why the Minangkabau dancer is a male; females were initially not allowed to dance because the movements are not suitable for them. Movement stylization suitable for a woman appears when she starts involving in dance movements in Minangkabau. Given the basis of culture and religion, the concept of suitable movements for a woman involves having no pelvic-rocking movements, erotic movements (with legs, hands and head) or other movements, such as rolling over, fighting and fending off. When male and female dancers perform together, they are not allowed to touch each other.

The movement in the dancing art of Minangkabau actually should be in harmony with, balanced on and based on the value of Adat Basandi Syarak, Syarak Basandi Kitabulah, which is the philosophy of the Minangkabau ethnic group. This means, a religious value must be seen in all expressions of dance movements of the Minangkabau ethnic group; no expression should contradict the values of the religious and customs value. A similar perception to the philosophy states that it is very helpful for Indonesian choreographer for the needs of aesthetic from the rich of Indonesian dance. Also, Hastuti and Supriyanti (2012) state that it can be a differentiator from the dance rules of Western thought patterns.

Many graduate attributes (such as adaptability, resilience, cultural awareness and professionalism) are often considered aspirational or invisible and conventionally go “under the radar” of standard university dance education. The purpose of this paper is to add to existing theories of dance as an academic discipline and contributes to studies identifying and mapping graduate attributes across the academy.

The research project Making the Invisible Visible contextualises this paper. It has involved a two-year, cyclical data-gathering process, involving interviews with leading dance employers and academics, and surveys of students from diverse disciplines entering and completing full-time dance degrees.

Due to the centrality of embodiment in studio learning, dance is an unusual discipline within research on graduate attributes and holds a unique place in academia. The creative, embodied, collaborative activities typical to dance learning offer fresh insight to the literature on graduate attributes – both visible and invisible – all graduates from a given institution are expected to hold.

A narrative methodology is employed to present a series of amalgam characters manifesting specific ways in which invisible graduate attributes inform pedagogies, student–teacher relationships and student understandings of their professional skills.

Induction is the process of newcomers entering and becoming part of an organization. In one sense newcomers represent an opportunity for organizations to learn and change, but in another sense newcomers are instigated into an existing institutional order. The purpose of this paper is to explore how induction of newcomers can be understood as both organizational renewal and the maintenance of status quo, and to develop ways of describing this in terms of learning.

The paper is designed as a qualitative study of induction practices in two branches of a Danish retail bank and a Danish management consulting company. The data are based on 30 semi‐structured interviews and on some observations in the case companies. The data have subsequently been analyzed phenomenologically and thematically in light of a pragmatist understanding of learning.

The paper provides two main findings. The duality of induction, in terms of organizational renewal and the maintenance of status quo can be conceptualized and meaningfully discussed through the metaphors of organizational rhythm and generative dance. And if this ambiguous dimension of induction is recognized, organizational idiosyncrasies, ways of doing and taken‐for‐granted aspects can be thrown up for discussion and thus potentially change or stabilize organizational practice based on persons and institutional order.

The paper adds to the growing academic debate of the complex nature of practice in general, and induction in particular. In addition, the paper has implications for practitioners involved in induction, as the paper highlights the need to rethink induction as both an opportunity to create organizational renewal and a way of maintaining status quo.

Seeing the duality of induction and exploring it through the metaphors of organizational rhythm and generative dancing is original and potentially enriching for researchers and practitioners.

Tonya and Anete are new players at sc’MOI, but this theme emerges at the tail end of sc’MOI so they are best to explicate it. This chapter describes the theoretical contributions of quantum storytelling theory (QST) and practice. Building on the application of complexity theory in the hard sciences as well as social contexts and theory on multimodal constituency, this chapter considers the areas of overlap and difference between quantum storytelling and its theoretical fellows, with special attention given to sociomateriality, storytelling, feminism, fractal, and complexity theory.