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This study explores the potential role of improvisation capability in enhancing organizational resilience. Additionally, this paper unravels novel strategies to support the development of organizational improvisation capability.

An in-depth review of the latest development of organizational resilience and improvisation provided insight into the linkages between the concepts. The current literature gap provides reasons to discuss the latest strategies to foster improvisation capability to amplify organizational resilience.

This study identifies the pertinent role of improvisation capability in amplifying organizational resilience and discusses various feasible strategies to cultivate organizational improvisation capability.

This research provides valuable insights to help organizations remain resilient in a disruptive environment. The study also offers cutting-edge strategies to nurture improvisation capability as a way forward to drive organizational resilience.

Many scholars have noted the critical skills needed for leaders in the face of volatility, uncertainty, complexity, and ambiguity (VUCA). These skills include self-awareness, listening, communication, adaptability, critical thinking, and collaboration. Students who are able to develop these skills would be better equipped to lead in settings where the answers—and even the questions—are unknown. This paper details an approach to developing leadership skills to prepare undergraduate leadership students for a VUCA world, through the use of a classroom workshop on improvisational comedy. I have refined this improv workshop over sixteen course iterations spanning the past nine semesters, and students commonly point to the workshop as one of the most challenging and rewarding class sessions of the course. In this paper I review the literature that has informed my approach, explain the learning objectives addressed by the improv workshop, describe the approach I use, share quantitative and qualitative data that illustrate the success of the approach, and share my lessons learned, all in service of supporting colleagues who wish to try this approach.

This study aims to explore the relationships between strategic improvisation, organizational culture and higher education institutions (HEIs) performance. The dynamic nature of today’s environment, increased population and demand and budget cuts have created a lot of pressure on HEIs around the world. Hence, the need for effective human resource capable of providing advanced policies for efficiency and sustainability of these institutions.

A total of 229 questionnaires were filled and returned by academic leaders from HEIs in Kano state, Nigeria. The study used partial least squares path modelling to test the hypotheses postulated.

The major findings indicate that both strategic improvisation and organizational culture dimensions have direct relationship with HEIs performance. However, only innovative culture moderates the relationship between strategic improvisation and HEIs, while bureaucratic culture and supportive culture fail to support the proposed hypothesis.

More studies are needed to further validate the impact of strategic improvisation (SI) on other public sector performance. Also, future studies should use longitudinal approach to establish at which stage SI has more impact on performance. Also, future studies should identify the difference that exists between units, department and faculty leaders, as some are more likely to engage in SI due to the nature of their specialization.

It is obvious that HEIs performance is not only limited to organizational factors but also individual characteristics such as ability to improvise. Hence, HEIs should consider SI ability during employment to ensure efficiency, performance and sustainability. Moreover, organizational culture of HEIs needs to be updated and to be more flexible in accommodating new initiatives or failure to encourage display of such ability.

Previous studies especially in the for profit sector have demonstrated the role of SI and organizational culture on performance. Thus, the present study is one of the early studies in the non-profit sector, specifically the HEIs. Moreover, the inconsistent result of the previous findings necessitates the study to test the moderating effect of organizational culture.

In this study, we applied the strategy-as-practice (SAP) framework to analyse strategic communication practices. SAP implies approaching strategy as something that organisational members do and is useful for understanding the tensions between emergence and formalisation and between planning and improvisation that characterise the everyday communication work of communication practitioners.

The paper is based on an ethnographic study of a record company and on qualitative interviews with various actors from the music industry.

Tensions exist between the emergence of inputs from active consumers that require flexibility and attempts to strategically formalise and continuously adapt plans and encourage consumers to act in anticipated ways. The findings revealed five strategic communication practices—meetings, working in the office, gathering and analysing consumer engagement and related data, collaboration and storytelling—that practitioners used to conduct strategic communication and navigate the tensions.

The study contributes to understanding the role of strategic communication practices in contemporary organisations and how practitioners manage the tensions within them. The study shows that an SAP approach can account for improvisation and emergence, as well as planning and formalisation. It also shows how SAP resonates with emergent and agile strategic communication frameworks.

The purpose of this paper is to explore the concept of co-creativity in relation to artistic practice with people with a dementia. The aim of the discussion is to outline how co-creativity offers fresh approaches for engaging artists and people with dementia, can contribute to less restrictive understandings of “creativity” and above all, expand the understanding of people with a dementia as creative, relational and agential.

In order to examine current conceptions of co-creativity and to inform the artistic practice, relevant literature was explored and eight expert interviews were conducted. The interviews were thematically analysed and are included here.

This paper consequently demonstrates that improvisation, structure, leadership and equality are central elements of co-creative processes and outlines how co-creativity can offer fresh insights into the way in which the arts can engage people with a dementia, the relationship between creativity and dementia and the transformative potential of the co-creative arts for those living with a dementia.

The paper discusses some of the difficulties that are inherent a co-creative approach, including power relations and the limitations of inclusivity. Due to ethical restrictions, the paper is limited by not including the perspectives of people living with a dementia.

This paper paves the way for future research into co-creative processes in a variety of different contexts.

A more nuanced understanding of co-creativity with people with dementia could challenge the dominant biomedical and social paradigms that associate “dementia” with irretrievable loss and decline by creating opportunities for creative agency.

This exploration of co-creativity with people with dementia is the first of its kind and contributes to the wider understanding of co-creativity and co-creative practice.

We offer a theoretical account of how two types of bricolage influence the entrepreneurial process. The first type involves social relationships or physical or functional assets, and thus pertains to an entrepreneurʼs external resources used in the instantiation of operations of a new venture. The second type pertains to an entrepreneurʼs internal resources‐experiences, credentials, knowledge, and certifications‐which the entrepreneur appropriates, assembles, modifies and deploys in the presentation of a narrative about the entrepreneurial process. We argue that both types of bricolage are essential to the success of a venturing attempt.