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This article is an edited version of the presentation given by Ward Klein at the 2004 International Business Conference sponsored by the Boeing Institute of International Business at Saint Louis University’s John Cook School of Business. Over 300 guests listened to his comments and participated in a Q&A at the conclusion.

Educational mathematics game models tend to be simplistic because they are target-oriented. This paper aims to show how game models that facilitate discovery and analysis can be derived from successful implementations already existing in the popular culture.

Based loosely on Rivera’s Toward a visually-oriented school mathematics curriculum, the analysis combines perspectives from psychology, the graphic arts and object-oriented technology to illustrate the depth and breadth of mathematics in a popular commercial.

This paper offers an cross-disciplinary justification for expanding curricular resources beyond traditional alphanumeric metonymies. Illustrations show the mathematical concepts underlying the commercial structure as well as the multimodal, sensuous, semiotic aspects.

This analytical approach is intended to precede development of game mechanics. It is focused on expanding the psychology of mathematics beyond the metonymic, canned problem approach and toward more dynamic examples.

Games based on real examples from popular culture can provide learners with an answer to the following question: When will I ever use this in real life?

The philosophy here is that learners will be excited and challenged by engaging real-life mathematics. The issue has always been that people cannot imagine what they have never seen, and this approach gives them a way to see the math in action, answering Rivera’s question, “Can we make a game based on visualizing the mathematics” with a resounding “Yes!”

This paper offers a fresh approach to designing games for learning mathematics.

The purpose of this paper is to determine the motives of visitors to an electronic dance music (EDM) festival in South Africa and clustered the participants according to these motives.

Based on a visitor survey at the oldest EDM festival in South Africa, namely, H2O, five motives for attending H2O were identified (fun and dance; novelty; excitement, group identity and entertainment; lifestyle and well-being; and travel and escape), while the results revealed three clusters of EDM festival visitors: enthusiasts, energizers and electros. The results demonstrated that clustering EDM festival visitors based on their motives is a useful market segmentation tool as it yields a clear and direct profile and understanding of different types of attendees and their preferences.

The results as well as findings emphasize how EDM events can play a role in expanding tourism, especially youth travel, by hosting more EDM festivals in the country.

The study proposes a 3E typology of EDM festival visitors that could be applied to other EDM festival and event markets. This research, therefore, makes a clear contribution to the literature on EDM festivals and events and the market that this distinct music genre attracts.

The basic differences between good management education and excellent management education is the dynamism of the speaker and exciting materials. This paper is designed to introduce management educators to such materials. While not totally novel and unique, music and magic activities are becoming more and more widely utilized to enhance the dynamism and excitement of management education. They can also be easily customized to be utilized as icebreakers and/or energizers, or used as complete interactive exercises to enhance the management education process. The old proverb that “a lesson taught with an entertaining facet is a lesson retained” is still alive and well.

Discusses a recent practical experience of reconfiguring a logistics system in Europe. Begins by outlining the changing market boundaries and asserts that, whilst the trend is towards global manufacturing and a simplification of the supply chain and standardization of products, conflicts are arising with customers who want more tailor‐made products. In the light of this changing environment and new challenges, the paper looks at the company Energizer, the European arm of Eveready Battery. Suggests a number of recommendations for re‐engineering the supply chain of the company and outlines how this has affected the organisational structure.

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 consider leaders as continuing learning and development (L&D) crafters.

To maximize leaders’ “self-awareness” and “learning agility”, this article addresses itself to positive, purposeful and planned self-development by means of continuing L&D crafting.

Executing leader’s structured and personalized developmental portfolios produce both personal and organizational gains, as reported by participants in the global “Learning Entrepreneurs” research project.

The article offers a “designy” tool that executives can use in the workplace and outside.

Apart from the fact that it seems highly practical to employ L&D crafting as a business leadership development method, one can extrapolate this idea, and recommend this technique to leaders outside of business. This may transform institutions at large into learning organizations.

Rooted in design thinking and positive organizational studies, the article advances a “continuing developmental portfolio” made up of two components: a continuing executive development “Check-in” and “Design”. These together are a mechanism for natural and disciplined learning from opportunistic incidents.