scholarly journals Managing collective creativity: Organizational variables to support creative teamwork

2021 ◽  
Author(s):  
Stefano Cirella
Keyword(s):  
Organizational Variables ◽  
Collective Creativity

The role of demographic variables as the moderator between organizational variables and job stress among teachers in Sabah

2009 ◽  
Vol 6 (1) ◽  
pp. 1
Author(s):  
Najihah Hanisah Marmaya ◽  
Syed Azizi Wafa
Keyword(s):  
United Kingdom ◽  
Sample Size ◽  
Job Stress ◽  
Demographic Variables ◽  
Personal Factors ◽  
Occupational Groups ◽  
Organizational Variables ◽  
Population Norms ◽  
The United Kingdom

A nationwide investigation into stress among teachers in the United Kingdom, found teachers to be reporting stress-related problems which were far higher than those of the population norms and other comparable occupational groups. Job stress can be influenced by personal factors (Matteson & Ivancevich, 1999). The present study examined the role of demographic variables as the moderator between organizational variables and job stress. A sample size of 177 teachers participated in this study revealed that teachers in Tawau and Lahad Datu experienced low stress levels. This study found that demographic variables do not serve as the moderator between organizational variables and job stress.

Reclaiming the City as Commons. Learning from Latin American Housing Movements

2020 ◽  
Vol 46 (1) ◽  
pp. 139-153
Author(s):  
Stavros Stavrides
Keyword(s):  
Latin American ◽  
Housing Conditions ◽  
Urban Living ◽  
City Life ◽  
Urban Condition ◽  
Collective Creativity ◽  
Urban Movements ◽  
The City

This paper explores a renewed problematization of contemporary metropolises' dynamics in the light of speci fic efforts to reclaim the city as commons. Building on Lefebvre's theorizations of the city's virtuality and comparing it to contemporary approaches to the urban condition that emphasize the potentialities of contemporary city-life, it suggests that urban commoning is unleashing the power of collective creativity and collaboration. Struggles to appropriate the city as a crucial milieu for sharing transforms parts of city and produces new patterns of urban living. Examples from Latin American urban movements focused on establishing emancipatory housing conditions are used to illustrate the transformative capabilities of urban commoning.

Introduction

2018 ◽  
Author(s):  
Tina K. Ramnarine
Keyword(s):  
Case Studies ◽  
Fundamental Question ◽  
Social Agency ◽  
Comparative Approach ◽  
Global Perspectives ◽  
Collective Creativity ◽  
Ensemble Performance ◽  
The World

This Introduction outlines various examples of ensemble performance to highlight diverse practices in the world of orchestras. It poses a fundamental question: What is an orchestra? It raises issues around collective creativity and social agency, which provide thematic foci in relation to a diversity of orchestral practices. Discussion on the conceptual aspects of adopting global perspectives on orchestras highlights comparison as a mode of theorization. The relevance of a comparative approach lies in its capacity to draw together diverse ethnographic case-studies. The Introduction thus provides a framework for reading this volume and it points out some of the conceptual connections between its chapters.

Punk as Folk: Continuities and Tensions in the UK and Beyond

2020 ◽  
Author(s):  
Pete Dale
Keyword(s):  
Folk Music ◽  
Music Making ◽  
Collective Creativity ◽  
Living Tradition ◽  
Wide Range ◽  
The Us ◽  
The Common ◽  
The Individual ◽  
The Uk

Numerous claims have been made by a wide range of commentators that punk is somehow “a folk music” of some kind. Doubtless there are several continuities. Indeed, both tend to encourage amateur music-making, both often have affiliations with the Left, and both emerge at least partly from a collective/anti-competitive approach to music-making. However, there are also significant tensions between punk and folk as ideas/ideals and as applied in practice. Most obviously, punk makes claims to a “year zero” creativity (despite inevitably offering re-presentation of at least some existing elements in every instance), whereas folk music is supposed to carry forward a tradition (which, thankfully, is more recognized in recent decades as a subject-to-change “living tradition” than was the case in folk’s more purist periods). Politically, meanwhile, postwar folk has tended more toward a socialist and/or Marxist orientation, both in the US and UK, whereas punk has at least rhetorically claimed to be in favor of “anarchy” (in the UK, in particular). Collective creativity and competitive tendencies also differ between the two (perceived) genre areas. Although the folk scene’s “floor singer” tradition offers a dispersal of expressive opportunity comparable in some ways to the “anyone can do it” idea that gets associated with punk, the creative expectation of the individual within the group differs between the two. Punk has some similarities to folk, then, but there are tensions, too, and these are well worth examining if one is serious about testing out the common claim, in both folk and punk, that “anyone can do it.”

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