Undergraduate Course: Creativity in Theory and Practice (BUST10131)
Course Outline
| School | Business School |
College | College of Humanities and Social Science |
| Credit level (Normal year taken) | SCQF Level 10 (Year 4 Undergraduate) |
Availability | Available to all students |
| SCQF Credits | 20 |
ECTS Credits | 10 |
| Summary | Creativity is an important area of study. The British Department for Culture Media and Sport (DCMS) defines the creative industries as "those industries which have their origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the generation and exploitation of intellectual property (DCMS, Creative Industries Mapping Document, 2001)". In addition, the creative industries have become an area of priority in the UK and are seen as highly significant in economic and social terms, contributing approximately £57 billion to the UK economy and providing an estimated 1.8 million jobs (Sapsed, et. al., 2008), in advertising, media, and design agencies for example; and in theatres, music studios, craft workshops and architectural practices. Creativity is not a thing but a process that needs to be managed, and this brings distinct challenges, due to the range of contexts involved and the diversity of creative expression and practitioners. This course studies creative processes from a managerial perspective, specifically in relation to the management of creativity and creative people, within a marketing context.
There is a quota of 35 for this course. |
| Course description |
The practice of marketing often involves overseeing or engaging with creative processes, for example, in design or advertising agencies. The understanding of creative processes helps clients and marketing personnel in agencies to collaborate more effectively with creative counterparts. Furthermore, all efforts within the creative industries, in large, small or even one-person organisations, need to be managed and this in turn requires an understanding of creative processes.
In addition theories of management in the creative industries, research on how creative people are managed in practice, and how creative people manage the processes of creativity across different contexts. Thus the course aims to enhance understanding of managing creativity by linking theory and practice. Mutually productive links between theory and practice will be forged through reading and class examination of academic and practitioner literature; detailed analysis of particular examples and contexts; and engagement with industry and organisational partners.
Syllabus
Theories of Creativity
Culture and Creativity
Creative Lives
Evening trip to a Red Note Noisy Nights Performance (free entry)
Edinburgh Sculpture Workshop
Organisational Perspectives : theory and practice
Creative Leadership and Organising
Student Presentations
Student Learning Experience
A core element of the assessment of this course will be visits to different creative organisations: Red Note Contemporary Classical Music Ensemble (management of a creative group: evening session from 7-10pm) or the Edinburgh Sculpture Workshop (individual creatives managing themselves: session in normal class hours).
Students will visit the Edinburgh Sculpture Workshop, where they will be shown around the workshop, and given an understanding of how it operates, in addition to talking to the artists about their practice. The students will also attend a free Red Note performance, where the artistic director will address the students, and the students will be given the opportunity to talk to the musicians about their practice, in addition to observing the performance.
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Entry Requirements (not applicable to Visiting Students)
| Pre-requisites |
Students MUST have passed:
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Co-requisites | |
| Prohibited Combinations | |
Other requirements | Year 4 only. Business Honours entry required |
Information for Visiting Students
| Pre-requisites | Visiting students should have at least 3 Business Studies courses at grade B or above (or be predicted to obtain this). We will only consider University/College level courses. |
| High Demand Course? |
Yes |
Course Delivery Information
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| Academic year 2015/16, Available to all students (SV1)
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Quota: 35 |
| Course Start |
Semester 2 |
Timetable |
Timetable |
| Learning and Teaching activities (Further Info) |
Total Hours:
200
(
Lecture Hours 20,
Fieldwork Hours 3,
Programme Level Learning and Teaching Hours 4,
Directed Learning and Independent Learning Hours
173 )
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| Assessment (Further Info) |
Written Exam
0 %,
Coursework
100 %,
Practical Exam
0 %
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| Additional Information (Assessment) |
There are two elements to the assessment of this course:
1) Reflective learning journal: 60% of the total course grade
2) Group presentation + portfolio: 40% (10% of which will be moderated by the peer assessment marks using WebPA) of the total course grade
A core element of the assessment of this course will be visits to different creative organisations: Red Note Contemporary Classical Music Ensemble (management of a creative group evening session from 7-10pm) or the Edinburgh Sculpture Workshop (individual creatives managing themselves session in normal class hours).
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| Feedback |
Generic feedback on your coursework, together with individual marks, will be available on Learn. You can also look at your individual feedback in the UG Office (Room 1.11, Business School, 29 Buccleuch Place) and take away a copy of the feedback form, but you will not be able to take away the original piece of coursework, as it may be required by the Board of Examiners.
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| No Exam Information |
Learning Outcomes
On completion of this course, the student will be able to:
- Demonstrate knowledge and critical understanding of the principal theories and practices of creativity and design thinking
- Apply a range of practical techniques and frameworks for managing creativity and design thinking within a range of organisational settings
- Critically identify the range of management and organisational challenges involved in managing creativity across a range of different organisational settings
- Critically discuss theories and methods for effectively harnessing and managing design thinking and creativity within organisations
- Apply knowledge, skills and understanding in a reflective critical analysis of the ideas and concepts discussed and experienced on the course
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Reading List
Essential Reading:
Runco, M. (2014) Creativity. Theories and Themes: Research, Development and Practice. Elsevier.
Recommended Reading:
Bain, A. (2005) Constructing an Artistic Identity. Work, Employment and Society 19(1): 25-46.
Bilton, C. (2008) Management and Creativity: From Creative Industries to Creative Management, Blackwell Publishing.
Coulson, S. (2012) Collaborating in a Competitive World: Musicians, Working Lives and Understandings of Entrepreneurship. Work, Employment and Society 26(2): 246-261.
Collinson, D.L. (2003) Identities and Insecurities: Selves at work. Organization 10(3): 527-547.
Csikszentmihalyi, M. (1996). Creativity: Flow and the Psychology of Discovery and Invention. New York: HarperCollins.
Csikszentmihalyi, M. (1999) Creativity as the outcome of a system "Implications of a Systems Perspective for the Study of Creativity" Cambridge Handbook of Creativity. Cambridge Press.
Davies, R. & Sigthorsson, G. (2013) Introducing the Creative Industries: from Theory to Practice Source?
Elsbach, K. D. (2009) Identity affirmation through `signature style': A study of toy car designers. Human Relations 62(7): 1041-1072.
Feldman, D. (1999) Role of family, education & socio-cultural forces in creativity in Cambridge Handbook of Creativity pp. 169 - 186. Cambridge Press.
Goodman, S.M. & Goodman, M. (2012) Creativity and Strategic Innovation Management. Routledge.
Gotsi, M., Andriopoulos, C., Lewis, M. W. and Ingram, A. E. (2010). Managing creatives: Paradoxical approaches to identity regulation. Human Relations 63(6): 781-805
Grey, C. (1994). "Career as a Project of the Self and Labour Process Discipline", Sociology, 28 (2), pp.479-497.
Hassard, J., Morris, J. and McCann, L. (2012) My brilliant career? New organizational forms and changing management careers in Japan, the UK and the USA. Journal of Management Studies 49(3): 571-599.
Moeran, B. & BO T Christensen. (2013) Exploring Creativity. Evaluating Practices in Innovation, Design and the Arts. Cambridge University Press.
Montuori, A. (2003). The complexity of improvisation and the improvisation of complexity. Social science, art, and creativity. Human Relations. 56(2) 237-255
Sternberg, R. (2006) The Nature of Creativity . Creativity Research Journal . 18:1 pp. 87-98.
Townley, B. & Beech, N. (2009) Managing Creativity: Exploring the Paradox. Cambridge University Press.
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Additional Information
| Graduate Attributes and Skills |
Generic cognitive skills (e.g evaluation, critical analysis)
a) Critically identify, define, conceptualise and analyse complex issues in Creativity
b) Critically review relevant literature and practice in Creativity
Communication, numeracy and IT skills
a) Communicate with practitioners through a presentation from the venues visited
b) Communicate with performers about their practice, in addition to observing the performance.
Autonomy, accountability and working with others.
a) Write a personal reflective learning journal in which students reflect on artistic and organisational practices
b) Prepare group presentations that demonstrate a range of practical techniques and frameworks for managing creativity and design thinking within a range of organisational settings
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| Special Arrangements |
Business Studies Honours entry |
| Keywords | CTP |
Contacts
| Course organiser | Dr Charlotte Gilmore
Tel:
Email: Charlotte.Gilmore@ed.ac.uk |
Course secretary | Miss Anastasia Fliatoura
Tel: (0131 6)50 3826
Email: Anastasia.Fliatoura@ed.ac.uk |
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