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Social studies is the combined study of several disciplines including cultural anthropology where expressive culture is defined and described. Expressive culture is the processes, emotions, and ideas bound within the social production of aesthetic forms and performances in everyday life. It is a way to embody culture and to express culture through sensory experiences such as dance, music, literature, visual media, and theater. By integrating the arts into social studies, students are introduced to cultural ideals, traditions, and norms inherent in their own lives. This article describes the use of cultural anthropology as a vehicle to teach social studies concepts with visual and performing arts. Two examples of coequal social studies and arts units are examined in second and sixth grades.

The purpose of this study was to explore an innovative strategy for studying the Brazilian negotiator’s unique and paradoxical characteristics from a cultural point of view to acquire a better understanding of the nature of international business negotiations in Brazil.

The study is of a qualitative nature, using a multiple-case study design at three levels (small-, medium- and large-scale negotiations). Interviews were conducted with Brazilian and German managers to capture the emic–etic view of the Brazilian negotiator. The Strategic Trinity Model was developed to assess the behavior of the Brazilian negotiator in agreement with three metaphors: “African Capoeirista”, “Portuguese Bureaucrat” and “Indigenous Warrior”.

The three roles “African Capoeirista”, “Portuguese Bureaucrat” and “Indigenous Warrior” comprised similar as well as contradicting characteristics. The Brazilian negotiator chose naturally and even paradoxically from these role features, effectively negotiating any given situation, context and time. During the pre- and post-negotiation phases, traits of the “African Capoeirista” and “Indigenous Warrior” were the most salient. During the formal negotiation phase, however, the characteristics of the “African Capoeirista” and “Portuguese Bureaucrat” dominated.

International business negotiations in Brazil call for an in-depth comprehension of the paradoxical roles that local negotiators take on to achieve better negotiation outcomes.

The present study unveiled the contradicting Brazilian negotiating style in international business negotiations, thus acquiring a better understanding of the negotiation process in the Brazilian market.

The purpose of this article is to present, by means of a model, the determinants of organisational culture which influence creativity and innovation. A literature study showed that a model, based on the open systems theory and the work of Schein, can offer a holistic approach in describing organisational culture. The relationship between creativity, innovation and culture is discussed in this context. Against the background of this model, the determinants of organisational culture were identified. The determinants are strategy, structure, support mechanisms, behaviour that encourages innovation, and open communication. The influence of each determinant on creativity and innovation is discussed. Values, norms and beliefs that play a role in creativity and innovation can either support or inhibit creativity and innovation depending on how they influence individual and group behaviour. This is also explained in the article.

In some organizations action is taken to stimulate creativity and innovation. The right steps may have been taken, such as involving employees in decision making, recruiting and appointing employees who evidence characteristics of creativity, setting standards for work performance and giving regular feedback, yet creativity and innovation are hampered in some way. The culture of an organization may be a factor contributing to the extent to which creativity and innovation occur in an organization (Johnson, 1996; Judge et al., 1997; Pienaar, 1994; Shaughnessy, 1988; Tesluk et al., 1997; Tushman & O’Reilly, 1997 in Martins & Terblanche, 2003). The current organizational culture and the demands of creativity and innovation may lead to a conflict situation.

This chapter examines how hospitality and tourism researchers can use ‘expressive text’ (or writing) to express the lived quality of an experience in order to ‘show what an experience is really like’ rather than ‘tell what it is like’. Expressive text refers to written language forms such as narrative, poetry and metaphor that can be used as tools in research to vividly represent the meaning and feeling conveyed in an experience. The expressive text-based approach to researching lived experience provides a textual link between experience and its expression. For this reason, it is especially useful when working with lived experience accounts of phenomenological and hermeneutic research.

The expressive text-based approach suggested here is still a relatively under explored arena within hospitality and tourism research. As a relatively under explored arena, the rich insightful knowledge that can be gained from understanding practitioner experience is rarely a central focus of scholarly writings about the workplace in hospitality and tourism contexts. However, in order to be fully appreciated as a discipline in its own right and to advance knowledge of the field, understanding the typical and significant attributes of hospitality and tourism work will be decidedly helpful.

One of the difficulties of working with lived experience accounts is finding a suitable research approach that helps to both retain the lived elements of the experience and ensure the rigour of the inquiry. An expressive text-based methodological framework that has a phenomenological and hermeneutic philosophical underpinning is argued to be suitable for this purpose. Therefore, the focus of this study is to discuss such a methodology and explain the reasons for its content, style and structure in researching lived experience. The approach that is proposed here consists of a five-tiered textually expressive methodology that is employed to contextualise, portray and interpret the lived experience meanings in order to understand the significance of the experience in relation to relevant discourses in hospitality and tourism studies, and to consider implications for policy and professional practice. The guiding questions of the five-tiered framework cover the following issues: (1) What is the context of the lived experience? (2) What is the lived experience of this practice like? (3) What is the meaning of this experience for the practitioner? (4) What is the significance of the experience in contributing to the advancement of knowledge within the field? (5) What are the implications for practice and professional development?

To illustrate uses of this methodology in research, the study here includes an example showing portrayals and interpretations of the typical and significant lived nature of hospitality reception work. This shows and communicates the full meaning of the episode, circumstances or situation. The chapter then concludes with some reflections on benefits as well as tensions in working within an expressive text-based phenomenological and hermeneutic framework.

The rise of arts and culture is transforming citizen politics. Though new to many social scientists, this is a commonplace for many policy makers. We seek to overcome this divide by joining culture and the arts with classic concepts of political analysis. We offer an analytical framework incorporating the politics of cultural policy alongside the typical political and economic concerns. Our framework synthesizes several research streams that combine in global factors driving the articulation of culture into political/economic processes. The contexts of Toronto and Chicago are explored as both enhanced the arts dramatically, but Toronto engaged artists qua citizens, while Chicago did not.

This paper aims to investigate Western studies on beliefs about aggression which have found that men typically hold instrumental beliefs and women hold expressive beliefs.

To investigate whether beliefs about aggression are qualitatively different in an Indian sample, interviews were undertaken with focus groups of 16 and 26‐year‐olds from north‐east India.

IPA analysis indicated that respondents viewed their aggression in terms of: how they might appear; honour or shame; gender roles; and as a loss of self‐control. These findings indicate that beliefs about aggression held in this Indian sample are more complex than can be characterised by the instrumental/expressive dimension.

Implications of these findings for developing more culture‐specific measures of beliefs about aggression are discussed.

This chapter examines the underpinnings of collective resistance in a nonunion factory. I begin by acknowledging the important contribution made by Randy Hodson and others who have uncovered key material structural underpinnings of collective resistance in workplaces. Such an approach, however, leaves large unanswered questions about collective agency. I argue that a focus upon the potential links between lived culture and collective resistance can bring us closer to an understanding of collective agency. To this end, I present key findings of an ethnographic study of culture and resistance at window-blinds factory. I outline the informal collective resistance enacted by the workers in the factory and offer an analysis of the structural factors underpinning the considerable resistance at this factory. The second half of the chapter is dedicated to outlining the everyday Stayin’ Alive culture on the shopfloor and to analyzing the dotted lines that led from this culture to the collective resistance.

To examine control and accountability in an expressive organisation.

The paper was based upon a longitudinal case study of events in the Church of England from 1994 to 2001 and was based on documents, debates in the governing body, conversations and interviews and participants' observation.

As a response to a financial crisis a group of financiers from within the Evangelical theological tradition (which places stress on headship and control) proposed the creation of a new church governance body (a national council) with strongly integrated central control and severely diminished conciliar participation. This group described the complex church organisations and structures (disparagingly) as “a cats cradle of autonomous and semi autonomous organizations”. This conflicted with the values of the other covenant traditions (Anglo‐Catholic and Liberal). The new body was created, but the proposed centralised control was unraveled, the existing constitution and governance was maintained, the “cats cradle” was enriched within the ground metaphor of autonomy. The case shows how the loosely coupled nature of this expressive institution with its multiple theological (value and belief) stances and multiple organisations, relationships and accountabilities was almost impervious to the attempt to shift them into an ordered and controlled hierarchy.

The great complexity of an ancient Church constrains the researcher to a limited account.

Change in expressive organisations happens by emergent negotiation and cannot be directed because the various value positions infuse everything.

The conception of control and accountability as being constructed and reconstructed in the interplay of the constructs of covenant, constitution and contract. This theorising may have a wider application both to expressive, public institutions and private organisations.