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The purpose of this paper is to investigate the specific field of arts entrepreneurship by focussing on the practices of vertical dance; a language of contemporary dance where dancers act on a vertical axis, moving suspended on the surface of buildings and walls. The authors’ focus on vertical dance as a meaningful corporal practice to explore the particular combination of dance and human movement, going beyond its purely metaphoric dimension.

The authors’ adopt a micro-social perspective, observing the practices (Gherardi, 2012; Nicolini, 2012; Sicca, 2000), that took place from 2013 to 2015 in the daily work of Wanda Moretti, a Venetian choreographer and co-founder of the company “Il posto”, observed in different contexts of artistic practices (Zembylas, 2014).

Deconstructing the overlapping dimensions that compose the space in our daily experience (force of gravity and the supporting surface), vertical dance clarifies how often we undervalue the complexity of the space and, at the same time, opens up the way for a better understanding and investigation of entrepreneurship in artistic fields.

The study sheds light on the way in which different categories, such as the human body, space, and movement, are a particular entanglement of elements, useful in highlighting some of the fundamental assumptions at the heart of the field of entrepreneurship. The heterogeneous complexity of space and bodies is emphasised, challenging its ordinary conceptualisation.

Este trabajo tiene como objetivo investigar el campo específico de las iniciativas empresariales artísticas, centrándose en las prácticas de la danza vertical, un lenguaje de la danza contemporánea donde los bailarines actúan sobre un eje vertical, moviéndose suspendidos sobre la superficie de edificios y paredes. Nos centramos en la danza vertical como práctica corporal significativa para explorar la combinación particular de la danza y el movimiento humano, que va más allá de su dimensión puramente metafórica.

Adoptamos una perspectiva micro-social, focalizándonos en las prácticas (Gherardi, 2012; Nicolini, 2012; Sicca, 2000) que tuvieron lugar desde 2013 hasta 2015 en el trabajo cotidiano de Wanda Moretti, coreógrafa veneciana y co-fundadora de la empresa “Il posto”, observado los diferentes contextos de las prácticas artísticas (Zembylas, 2014).

En deconstruir las dimensiones superpuestas que componen el espacio en nuestra experiencia diaria (la fuerza de la gravedad y la superficie de apoyo), la danza vertical aclara la frecuencia con la que subvaloramos la complejidad del espacio y, al mismo tiempo, abre el camino para una mejor comprensión y la investigación del espíritu empresarial en los ámbitos artísticos.

El estudio subraya cómo diferentes categorías, como el cuerpo humano, el espacio y el movimiento, son un enredo particular de elementos, útil para poner de relieve algunas de las premisas fundamentales en el campo del espíritu empresarial. La complejidad heterogénea de espacio y los cuerpos se enfatiza, desafiando a su conceptualización ordinaria.

The purpose of this paper is to describe how organizational members became storywriters of an important process of organizational change. Writing became a practice designed to create a space, a time and a methodology with which to author the process of change and create a learning context. The written stories produced both the subjectivity of practical authors and reflexively created the con/text for their reproduction.

A storywriting workshop inspired by a processual and participatory practice-based approach to learning and knowing was held in a research organization undergoing privatization. For six months, 31 organizational members, divided into two groups, participated in writing one story per week for six weeks. The written story had to refer to a fact that had occurred in the previous week, thus prompting reflection on the ongoing organizational life and giving a situated meaning to the change process.

Storywriting is first and foremost a social practice of wayfinding, that is of knowing as one goes. Writing proved to be an effective practice that involved the authors, their narratives and the audiences in a shared experience where all these practice elements became connected and through their connection acquired agency.

Narrative knowledge has been studied mainly in storytelling, while storywriting by organizational members has received less attention. This paper explores storywriting both as a situated, relational and material practice and as the process that produces narratives which can be considered for their content and their style.