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Identity is often used in wine territory narratives but its meaning is rarely explored with industry actors. This paper aims to present the development and application of a four-step iterative process for engaging an industry in a complex and deep reflection about its shared identity: understanding identity; identifying commonalities and differences; developing a shared narrative and sharing best practice.

The authors have engaged with over 50 wineries between 2016 and 2018 on the identity of the British Columbia wine territory through workshops, interviews and other conversations. Complementary methods include documentary review and observations.

The work shows the applicability of the four-step process. Success depends on building relationships with and across the industry; creating independent, safe learning environments and facilitation by an independent party; allowing for feedback between the steps, continuous reflection and reiteration of steps and making the time for complexity.

The application of the process in British Columbia shows that success depends on building relationships with and across the industry; creating independent, safe learning environments and making the time for complexity.

The paper presents the application of a unique process for industry to explore the identity of a wine territory. It focuses on British Columbia, about which little has been written. Through the process, the industry can better understand identity, what it is, why it matters and how it impacts businesses. The paper’s insights can inspire researchers and industries in their thinking and practice about identity.

Drawing on evidence of major Western governments’ concerns with the wider economic, social and environmental impact and performance of transnational firms, we argue that recent emphasis on deregulating industrial development, such as in the proposed Multilateral Agreement on Investment and ongoing discussions over a multilateral framework on investment, necessitates a fuller and regulated, rather than voluntaristic, corporate accountability, covering further details of the impact and performance of transnationals.

Articles DIS 1 and DIS 2 appeared in our April issue. DIS 1 presented an historical survey of the methods used, either in the past or currently, to develop interactive skills. DIS 2 described the search for new methods and set down the criteria an effective method would have to meet. The present article, DIS 3, brings us one step nearer to the actual training process and the new methods. Interactive skills training is concerned with the technique of changing behaviour in the work situation. But which behaviours need to be developed and which behaviours are not significant in improving company performance? Before any training can start a decision has to be made about which behaviours are relevant and therefore need to be developed. This is, if you like, the stage identified by the trainer as ASSESSING THE TRAINING NEEDS OF THE COMPANY. In this composite article, DIS 3, compiled by three members of the team, the authors describe how the assessment of the training needs of the company, in the field of interactive skills, is to be derived from the ORGANISATION BEHAVIOUR SURVEY.

The financial crisis demands that we in the business academy raise our game: we either caused it by training the generation of “greed is good” MBAs who designed those financial instruments of mass destruction, or failed to prevent it by not equipping them with appropriate caution and ethical standards. In short, we are either complicit or irrelevant. The purpose of this paper is to discuss how Michael Thomas anticipated both the causes and the lessons of the financial crisis, and made a robust call for change long before this became a mainstream concern.

The paper discusses the work and ideas of Michael Thomas in the context of the current financial crisis.

The paper concludes that we can respond to Michael Thomas' vision with a combination of muscular game keeping and intelligent poaching.

Michael Thomas's thinking has profound implications not just for marketing but the whole business sector. The newly established Stirling Institute for Socio‐Management (SISM) is responding to his call to look critically at current business models and completely reengineer our processes and procedures. SISM also argues that lessons learnt about influencing consumer behaviour can be applied to other parts of life such as social and health behaviours.

The paper highlights Michael Thomas's notions of a new, “social capitalism” founded on trust and transparency.

Examines how four major companies: Heinz, Nissan Motors, ICI and Rank Xerox have implemented TQM successfully, as presented by their senior managers at a TQM conference. The “secrets” of their success are outlined.

This study aims to address the question of what coordination mechanism can be used for cultural production and, in particular, for the governance of music culture production. The authors locate their reflection within the specific institutional innovations introduced in Italy in 2017, focusing on the idea of shared administration and the public–private collaboration instituted in Trentino (a province located in northern Italy) in support of its cultural policy.

This study focusses on the Trentino’s music school system. This includes 13 organisations (musicians’ cooperatives as well as associations of musicians and students, plus one municipal school which do not overlap with the public school system). To analyse shared administration features, the authors rely on selected information from 50 interviews with Trentino Music Schools (TMS) teachers and administrators, and on the proceedings of the 1994 music school conference organised by the schools at the time when this novel educational system was created.

To offer an innovative educational service, the public actor (Provincia Autonoma di Trento [PAT]) and the schools (TMS) have developed a strong interdependence at the different levels of decision-making: PAT needs organisations that are sufficiently structured and organised to respect requirements of transparency and accountability, as well as educational standards, whereas TMS need public funding to maintain their service accessible for users, good labour conditions and be financially sustainable. Likewise, the success of TMS in educating thousands of students every year, including additional teaching programmes funded by PAT within general public schools, has contributed to decrease the exclusion from music education, raise interest in young people for music and fed enrolment in TMS as well as in the public schools related to the conservatoire filière. Conclusions emphasise the existence of a polycentric system of music culture production which needs to acknowledge the risk of being trapped in a static disequilibrium, while recognising change and the need to support and promote a culture of cooperation among schools and across layered institutional levels over time.

Further research can observe this system of cultural production over time, to appreciate changes and organisational tranformations, while introducing comparative analysis with other systems in different regions.

The relationship between the public and private sectors to design, organise and manage activities of collective interest (in the social, cultural, sporting and other fields) can increasingly become an effective and efficient alternative to the traditional bureaucratic as well as to the competitive method. For this to happen, however, all actors involved must be aware not only of areas of efficiency but also of inefficiency. To remedy the latter, corrective measures will have to be introduced. For example, fostering and improving “co-programmazione” and “co-progettazione” means giving all stakeholders involved the opportunity to actively participate. Should the number of participants increase, more discussion fora could be set up because one alone may not be sufficient to foster maximum involvement, to enhance different points of view, to allow for intersectoral and multidisciplinary interpretations and responses.

The system governance based on co-programming and co-design has allowed – despite limitations – to pursue educational purposes and thus well-being for the users, as well as for the teachers and the community as a whole. The continuity of this educational and cultural action has been guaranteed by the economic and financial sustainability of the schools, which is highly dependent on the public actor funding personnel costs, and in turn tied to the number of students (demand) attending each school. Actors embedded in the system need to build awareness of industry and cultural changes and knowledge of how to introduce more adaptive capacity. This points towards the need for strengthening networking capacity and collaboration among schools and other relevant stakeholders.

The case presented is a unique system of music culture production in Italy, and its governance has never been addressed by previous studies. It provides an application of shared administration to which public administrations and communities can learn to improve access to music culture and education. For public and private organisations to take advantage of the method of “co-programmazione” and “co-progettazione”, to make the production of a meritorious good more efficient and to favour its maximum accessibility, this study considers the strengths and weaknesses of this approach, or the areas of efficiency and inefficiency, for which new measures will have to be introduced.