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This study aims to bridge a gap in literature by exploring the impact of art and culture projects on primary internal stakeholders (i.e. employees), focusing on the micro-foundations of corporate social responsibility (CSR).

The analysis uses a qualitative approach, using a single-case study and semi-structured interviews. The single-case study focuses on art and culture projects developed by companies participating in the public contest promoted by Parma City of Culture 2020. The analysis relies on the information gathered from interviews with the employees who were involved in the projects of seven of the winning companies.

The results suggest that employees positively assess their participation in CSR activities based on art and culture projects. Specifically, through their direct involvement in the competition employees manage to experience meaningfulness and they attribute intrinsic motives to these types of activities.

This study analyses the effectiveness of a publicly endorsed CSR initiative oriented towards internal social enhancement based on art and culture projects, leveraging the unique case of Parma City of Culture 2020. The findings might be beneficial to both companies and regulators aiming to achieve internal social enhancement. This study contributes to existing literature on the social dimension of CSR by emphasising the key role of art and culture projects in the organisational context and by opening new avenues for future research.

In an era of polycrisis, we argue that responsible leaders need to unlearn common thinking patterns imprinted by old (management) paradigms in order to find new solutions to the grand challenges of our time. To be able to overcome the “crisis of the imagination” and spur narratives about more sustainable futures, leaders need to update and restructure their skill sets and invest in developing anticipatory and futures (thinking) skills, as well as futures literacy as a competence. To achieve this on the student level, we also need to rethink business and management education at the university level by challenging the ways we teach, i.e., teaching pedagogics, as well as the content and story we want to tell about the future of management. Thus, with this chapter, we aim to rethink pedagogical methods and tools by introducing educators to potential pathways for equipping students with adequate skills to be able to “use-the-future”. As the process of unlearning is difficult, we argue that we need to venture out of the business discipline and push the barriers of the business and management curriculum so as to be able to further unleash creativity and imagination. To achieve this aim, we propose the integration of methods and approaches from art-related disciplines, such as theater, visual arts, or design, into the business curriculum.

The purpose of this paper is to explore the specific characteristics of consumers’ lived experience in a brand museum within a luxury context. While previous research has investigated this experience through the lens of brand heritage, the unique attributes and prestigiousness of the luxury field have not yet been examined. The authors argue that these distinctive features may alter the brand heritage experience in significant ways.

To understand the dimensions of a brand heritage experience in a luxury context, the authors applied a qualitative method using reflexive introspection. Specifically, the authors used 89 reflective introspections of 29 visitors of nine different luxury brand museums.

The findings indicate that a brand heritage experience in luxury is based on four dimensions: aesthetic, authentic, scientific and mythic. The data also reveal the heterogeneous aspect of the experience, which varies according to the level of consumers’ brand familiarity as well as whether the museum visit is led by a guide or not.

The authors contribute to the literature by emphasizing a new dimension of a brand heritage experience in luxury: a mythic dimension. This study also unveils the impact of contextual factors on the brand heritage experience.

Recent scholarship has called for researchers to recognize the urgency of place-based education as a critical component of social studies pedagogy. This study seeks to understand better the relationship between place-based education, sacrificial listening and difficult history.

In this qualitative, arts-based research study, collaging is used to investigate how students use the theory of sacrificial listening while trying to make sense of difficult histories during a place-based history education experience. Students enrolled in a PBE experience received instruction about the theory of sacrificial listening at the beginning of a two-week course on the lasting impact of the civil rights movement. Students created a collage and responded to a reflection prompt about the course after engaging in course experiences, including travel to Oklahoma, Arkansas, Tennessee and Alabama.

Findings in the study demonstrate how sacrificial listening appeared, both explicitly and implicitly, in the ways students processed difficult history during a place-based education experience. Ultimately, the study found, though students organized their thoughts in distinct ways, they all leaned on the theory of sacrificial listening to make sense of what they learned.

Few studies have applied the theory of sacrificial listening as a pedagogical framework. Future research should build on this work, further investigating the theory as a pedagogical framework in conjunction with both place-based history education as well as other instructional settings.

In this paper we ask: “What are the opportunities and challenges that creative methods pose in terms of conducting research processes with indigenous peoples impacted by emergencies and disasters?” To do that, we critically examine the creative and collaborative methodological approaches applied in the research project, Moving with Risk: Forced Displacement and Vulnerability in Colombia. This project sought to understand the trajectories of risk of families who were forcibly displaced as a result of the armed conflict in Colombia and resettled in areas at risk of disaster.

This article is intentionally written from the perspective of the researchers’ positionality. In doing so, we embrace writing that is situated and embodied in the researcher’s experiences and positionalities. This reflexive writing allows us to question the methodological experience of the research project we are analysing and, at the same time, ourselves, “the researchers” be questioned by it.

In this paper, we show how creative methods and participatory research can foster awareness and become the basis for inclusive and reciprocal research processes with indigenous communities in disaster studies. Specifically, we show that the use of creative methods helped us recognise that agency needs to be framed in collective spaces with the indigenous women we were working with and in relation to their livelihoods needs. We argue that finding spaces to conduct collaborative research and recognize agency is inextricably related to how the researchers reflect on their positionality.

This article contributes to critical perspectives in Disaster Studies and to an overall understanding of the role that creative methodologies play in research processes with people affected by disasters. It provides a novel perspective on the opportunities and challenges of applying arts-based methods in disaster risk studies with indigenous communities in Latin America.

This paper examines an identified but unexplored career gap evidenced at a mid-level classification in the academic career path for women in Australia. This career-stalling effect or holding pattern, is examined to determine underlying causes of career trajectory interruption.

Guided by the epistemological stance of standpoint theory, this exploratory abductive study employs a novel arts-based method, draw, write, reflect, to access experiences that may be difficult to convey verbally. The obtained drawings and reflections were thematically analysed.

Drawing on Bourdieu’s concept of illusio this article finds support for female academics’ bifurcated consciousness. Results demonstrate how opposing social role prescriptions result in the deliberate avoidance of work-life conflict, a nuanced lack of confidence in work tasks in combination with other, often competing responsibilities, and the uneven distribution of administrative duties known as “academic housework”, which combine to stall careers. Female academics feel pressure to prioritise their domestic role and eschew career progression.

Despite the small sample size, the findings provide rich career narratives and experiences of female academics in Australia providing additional impetus for increased gender equity efforts.

This study is the first to explore the previously unidentified holding pattern for female academics in Australia. Findings suggest there is a range of previously unexplored impediments resulting in a gendered stalling at a mid-level classification interrupting female academic career progression.

Disaster research is often geared towards logocentrism and has relatively few outputs that explore alternative forms of representation, particularly those using an artistic medium. This paper explores how the creative use of audio representation can enhance understanding of flooding experiences, challenging the predominant text-based approach within qualitative study.

During a series of visits to people who had been flooded in 2019 in the UK, interviews and ambient sounds were recorded, analysed and then intertwined with musical elements composed by the lead author. The result is a phonographic representation of the synthesised data. The process explores a tripartite, creative, sonic approach that comingles thematic spoken excerpts with local sounds and musical compositions.

This article presents three sonic vignettes that illustrate the use of audio as a medium for academic research outputs. It contributes to the current consensus that the interpretation, representation and dissemination of research findings should be broadened beyond the dominance of the written word to align with the ethos of the Disaster Studies Manifesto.

The research contributes to disaster scholarship by developing a transdisciplinary approach to explore people’s experiences. By retaining the participants’ voices at its core, it makes use of in-depth, rich data to illustrate individuality, rather than aiming to generalise.

Very little disaster research has focussed on pushing the boundaries of investigation by using the arts as a lens for both the researcher and their audience. Such work may connect with a wider range of people compared to a text-based “traditional” academic output. It can offer new opportunities for practical uses within Disaster Risk Reduction, for example as a communicative and educational tool.

This paper contributes to understanding the impact of developing audio representation as a medium for conveying people’s experiences of flooded homes.