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The purpose of this paper is to explore a possible way for service providers to learn from their customers' experiences and bridge gaps between their and their customers' perspectives. The research question is as follows: how can users' experiences be transformed through research‐based theatre, in particular Forum Theatre, into a utilizable format in the front‐end of interpretative, user‐driven service innovation in public health care organisations?

Research‐based theatre (RBT) is introduced in the study as both an artistic intervention technique – aiming to develop public health care services – and as a qualitative research method for interpretative user‐driven innovation processes.

The study provides a path for the application of Forum Theatre in interpretative user‐driven innovation and highlights the role of “the Joker” as a host of the interpretation.

Further studies could be based on international longitudinal participatory research and combine qualitative and quantitative research methods.

The study contributes to the discussion on the potential of innovation triggered in practical contexts. The potential itself seems to be relatively widely understood, but practical measures to exploit it still seem to be missing to a great extent. This study provides an example of a Finnish application of RBT as it explores the role of Forum Theatre as a sensemaking process in a fuzzy front‐end of innovation.

The study improves the understanding of the implementation of artistic interventions within a user‐driven service innovation in public health care services.

Formal ties between the theatre and research dissemination have only recently developed and its general efficacy is largely unknown. Here the purpose of this paper is to redress this neglect by examining the effectiveness of a research-based theatrical event in promoting dementia knowledge transfer with a group of front line care workers. The event ran over eight days and consisted of an original theatrical production followed by a chaired audience discussion and workshops.

Questionnaires which had been developed specifically for this evaluation were completed by 863 front line workers on the day of the event, eliciting their profiles and immediate reactions. Three months after the event, 30 completed a follow-up questionnaire and eight were interviewed.

Attendance was well received with high degrees of both cognitive and emotional engagement being expressed in the initial questionnaire. The follow-up evaluation suggested that these positive reactions were sustained over time. However, many taking part in this follow-up thought that their practice had not changed as a result of event attendance. This apparent discrepancy between knowledge transfer and utilisation appeared to be partly the result of the influence of contextual factors in impeding this utilisation within work settings.

Evidence is provided on the positive impact of theatre on dementia carers’ working lives. This is sufficient to warrant further applications of this method, provided there is careful attention to embedding the messages in the workplace context and evaluating their efficacy.

In exploring the impact of reflective and work applied approaches, the authors are curious how vivid new insights and collective “Eureka” momentums occur. These momentums can be forces for work communities to gain competitive advantages. However, the authors know little of how learning is actively involved in the processing of creating new insights and how such a turning to learning mode (Pässilä and Owens, 2016) can be facilitated. In the light of cultural studies and art education, the purpose of this paper is to explore how the method of dramatising characters (DC) in a specific innovation culture can be facilitated. In this viewpoint, the authors are suggesting one approach for this type of turning to learning which the authors call Beyond Text, outlining its theoretical underpinnings, its co-creative development and its application.

In this Beyond Text context, the authors are introducing the method of DC and the method of iStory both of which are the authors’ own design based on the theory of the four existing categories of a research-based theatre.

The findings of this viewpoint paper are that both iStory as well as DC methods are useful and practical learning facilitation processes and platforms that can be adopted for use in organisations for promoting reflexivity. Especially they can act as a bridge between various forms of knowing and consummate the other knowledge types (experiential, practical and propositional) in a way that advances practice-based innovation.

The originality and value of iStory and DC is that they can be utilised as dialogical evaluation methods when traditional evaluation strategies and pre-determined indicators are unusable.

The objective of this paper is to develop practice and theory from Augusto Boal's dialogue technique (Image Theatre) for organisational use. The paper aims to examine how the members in an organisation create dialogue together by using a dramaturgical storytelling framework where the dialogue emerges from storytelling facilitated by symbolic representations of still images.

The study follows the lines of participatory action and art‐based research. The data are collected from 13 dramaturgical work story storytelling sessions in four different organisations. The research design belongs to the tradition of research‐based theatre, which implies artful inquiry, scripting and performance in research.

The paper presents a model for organisational dialogue. The model illustrates the dramaturgical storytelling of work story which influences problem shifting in a positive way.

The limitations of this study are related to the scope of the research. The Scandinavian cultural context facilitates an open, bottom up process. More case studies in different kinds of environments should be conducted. In the future it might be advantageous to conduct more longitudinal studies on how organisations can nurture continuous dialogue.

Work story as a dialogue practice facilitated members from the same occupational groups to share experiences with each other and construct common interests by investigating unstructured and uncertain social situations at work.

The paper combines research fields that explore art‐based initiatives within organisations, workplace learning and innovation research.

The purpose of this paper is to conceptualise “Learning Jam” as a way of organising space, time and people through arts-based pedagogies in work-based learning. This form of encounter originated in Finland to challenge functional silo mentality by prioritising polyphony. Through the use of a “kaleidoscopic pedagogy”, arts-based initiatives are used to collectively and subjectively reconsider practice.

The research design is grounded in one of a series of Learning Jams co-created by practitioners from the field of arts and arts-based consultancy and academics from the field of arts, arts education, innovation and management, learning and development. The focus was on exploring the value of each participants work-based learning practice through the lens of an Arts Value Matrix. Rancière’s critical theory was used to frame the exploration. The research questions asked; what are the ingredients of this creative, transformative learning space and in what ways can the polyphonic understandings that emerge in it impact on work-based learning?

Findings of this study centre around alternative ways of being in a learning setting where we do not defer to the conventional figures of authority, but collectively explore ways of organising, where the main idea is to lean on something-which-is-not-yet.

A key research implication is that teaching in this context demands reflexive and dialogical capabilities for those who hold the role of organising and facilitating spaces for learning and transformation. The main limitation is in stopping short of fully articulating detailed aspects of these capabilities.

The originality and value of the practice of Learning Jam is that managers and artists explore the potential of operating as partners to develop new ways of working to realise organisational change and innovation.

This discussion paper reviews and critiques literature related to the evolution of the medical humanities as an academic discipline and its contribution to healthcare provision. We argue that despite considerable advances in the field of medical humanities, needs have been identified for a more inclusive, outward‐facing and applied discipline. These needs can be met in the form of what we have called the health humanities, which both embrace interdisciplinarity and engage with the contributions of those marginalised from the medical humanities ‐ for example, allied health professionals, nurses, patients and carers. It is argued that there is a need for new thinking to develop the discipline of health humanities, to develop, provide and share research, expertise, training and education.

The purpose of this paper is to argue that in order to maintain the legitimacy of qualitative management research it is important to re-emphasise the link between epistemology and methodology and recognise that different knowledge-constituting assumptions can underpin what might on the surface seem to be very similar methodologies. This means that the ways in which any research is evaluated needs to be tied explicitly to the underlying philosophical assumptions at play and those involved in undertaking, judging and publishing research need to show increased awareness in the philosophical assumptions which underpin their judgements of research quality and a willingness to accept difference.

This paper is a discussion piece.

This is a discussion piece.

The paper aims to contribute to the debate concerning the future of qualitative methods in management research.