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The social change model of leadership (SCM) is a widely used leadership model in higher education. StrengthsQuest is conceptually similar to the individual values of the SCM in its aim to identify and grow individual talents. This model is based on the idea that individuals perform at higher levels when they build upon their identified talents (Clifton & Harter, 2003). Prior studies have not examined the relationship of hope or one’s belief in their identified StrengthsQuest talents to the individual values of the SCM. This study examines that relationship using the adult-trait hope and strengths self-efficacy scales. The relationship between these constructs along and other predictors of social change capacity were explored using canonical correlation analysis. Strengths self-efficacy, hope, and student engagement were statistically significant (73% of the variability among the individual values of the SCM). Gender, race, and community service were not statistically significant in this study.

This paper describes a blended learning course for Emirati women combining face-to-face instruction with heavy use of distance learning technologies such as videoconferencing, email and a “virtual classroom”. Instructors conducted action research in order to 1) improve course design and teaching methods, 2) share distance teaching insights with colleagues, and 3) advise institutional authorities on IT resource management. Results of the study are presented, and conclusions about the suitability and efficacy of distance learning for Emirati women are offered.

This paper aims to investigate the ways in which “non-collaborative co-creation” can affect brand equity as perceived by independent observers. It reports a study of the different effects on that perception attributable to non-collaborative co-creation that takes the form of either “brand play” or “brand attack” and is executed either by established artists or mainstream consumers.

A 2 × 2 between-subjects experiment (brand play versus brand attack; consumer versus artist) measured observers’ perception of brand equity before and after exposure to purpose-designed co-created treatments.

Non-collaborative co-creation has a negative effect on observers’ perceptions of brand equity and brand attack, causing a stronger dilution of brand equity than brand play. Artists either mitigate the dilution or have a positive effect on those perceptions.

Future research could usefully investigate the relative susceptibility of brands to non-collaborative co-creation, the effects on brands of higher complexity than those in our experiment, exposed in higher-involvement media, and the effects of more diverse forms of co-creation.

Brand managers must recognise that co-creation carries considerable risks for brand equity. They should closely monitor and track the first signs of non-collaborative co-creation in progress. It could be beneficial to recruit artists as co-creators of controlled brand play.

This study offers a more complete insight into the effect of non-collaborative co-creation on observers’ perceptions of brand equity than so far offered by the existing literature. It connects the fields of brand management and the arts by investigating the role and impact of artists as collaborative or non-collaborative co-creators of brand equity.