留学生毕业dissertation网：meeting the challenge: Leadership

meeting the challenge Leadership development in the cultural and creative industries
Graham Devlin
Hilary Carty
Nicola Turner
contents
Foreword 6
Executive Summary 7
1 I Cultural leadership in a changing environment 13
2 I Why leadership? The wider context 17
3 I The cultural sector is now investing significantly 23
3.1 Clore Leadership Programme 24
3.2 Cultural Leadership Programme 26
4 I Taking stock and looking ahead 31
4.1 The need for a strategic framework 32
4.2 Diagnostic analysis and the person-centred approach 34
4.3 The contribution of non-executive leadership 35
4.4 Embracing and delivering diversity 36
4.5 Bespoke delivery models 37
4.6 The value of work based learning 38
4.7 The pivotal role of networks 39
4.8 Learning from the cultural and creative industries 40
4.9 The value of entrepreneurial approaches 41
4.10 International engagement and experience 41
4.11 The value and function of evaluation 42
5 I What sort of investment should be made going
forward? 45
6 I Conclusion and next steps:
meeting the challenge 49
Appendix 1: Leadership development case studies 53
• Museums, Libraries and Archives Partnership 53
• NESTA Cultural Leadership Awards 55
• Creating Cultural Leadership South West 56
• Leading Networks Evaluation (National Museum
Directors Conference) 56
• Royal Shakespeare Company 57
• School for Social Entrepreneurs 58
• ICA and the Pecha Kucha Programme 59
• Cultural Leadership Programme Peach Placement 60
Appendix 2: Cultural Leadership Programme activities

In 2005 Gordon Brown, then Chancellor of theExchequer, made £12m available over two yearsto develop leaders in the cultural and creativesectors. Following a ‘Call for Ideas’ and widerresearch into existing provision the CulturalLeadership Programme (CLP) was launched in
留学生dissertation网June 2006. In November 2007, CulturalLeadership Programme funding of £10m wasconfirmed for 2008-11 as part of theComprehensive Spending Review.At this point, the Cultural Leadership
Programme believes it is appropriate to drawbreath and review the current position ofleadership development in the sectors, placing itin context, recording achievements andexamples of good practice, and looking forwardto the next phase of cultural leadershipdevelopment. Meeting The Challenge sets out todo this. Further, it aims to stimulate individuals,organisations and businesses to embedleadership development in their strategic
thinking and planning.Meeting The Challenge draws on extensive deskresearch including examples from both withinand outside the cultural and creative industries.It is informed by sectoral consultations in
London, Leicester, Bristol and Liverpool, aquestionnaire to the current leaders of 60 majororganisations and a series of group discussionswith leaders from across the sectors. Crucially, itis also based on an analysis of the lessonslearned from the Cultural LeadershipProgramme’s first eighteen months of activity(informed by the ongoing evaluation by DTZConsulting). Taken together, this research hasproduced clear messages about the leadershipdevelopment that the sectors would like to see.Responding to those messages, Meeting TheChallengebegins by acknowledging the sectors’leadership strengths and needs, given their#p#分页标题#e#
socio-economic significance in a fast-evolvingknowledge economy. It goes on to recognise theimportance of leadership programmes outsidethe sectors before summarising the mechanismsthrough which the cultural and creative sectorshave responded to the Chancellor’s challenge.Drawing out the key lessons that have been
learned over the first phase of the Programme,it makes some suggestions as to how those
lessons might best be embedded in the sectors;and considers the level of financial support that
might be appropriate.
Meeting The Challenge is aimed at theindividuals (whether paid executives or nonexecutives),
organisations and stakeholders thatmake up the cultural and creative sectors. It ispart of a suite of papers being developed tohighlight case studies, options and challengesfor leadership in the 21st century cultural andcreative sectors. During its development, it hasbeen reviewed by the Cultural LeadershipProgramme Delivery Partnership - Arts CouncilEngland; Museums, Libraries and ArchivesPartnership; Creative & Cultural Skills; and theCultural Leadership Programme Board, as well asa number of individuals who contributedthoughts and ideas, for which the authors arevery grateful. We now offer it for more generaldiscussion.6foreword executive summary1 I Cultural leadership in achanging environment (pp 13-15)The cultural and creative sectors employ over amillion people, are worth £56.5 billion, accountfor 8% of the overall economy and contributed£11.6 billion to the UK’s balance of trade in2003. Between 2004 and 2014 employment inthese sectors is projected to grow by over200,000, making significant new demands onleadership. In order to meet these demands, itwill be important to adopt and adapt the mostcreative organisational practices from everysource. Strong and innovative leadership will becritical in ensuring a strengthened, sustainablesector where leadership development isembedded as ‘core business’.2 I Why leadership? The widercontext (pp 17-21)Studies in many sectors, here and elsewhere inthe world, have demonstrated the benefits ofleadership development, resulting inconsiderable resources being committed toaddress perceived gaps. In the UK, “since 2002government has invested heavily in leadershipdevelopment... estimated to be in excess of£250m per year1”. Many of these leadershipprogrammes have now been comprehensivelyevaluated and ‘customer’ satisfaction is runningat over 80%, with some evaluations showing90% of respondents attributing a positive andcontinuing organisational impact to theirparticipation in programmes.1 Developing Managers to Deliver Good Youth Work by Kevin Ford (2006) FPM• Work-based Opportunities: includingnetworks, placements, coaching andmentoring.• Creative Choices: an online service and webportal.• Intensive Leadership Development: formallearning opportunities.• Powerbrokers: addressing the needs of futureblack and minority ethnic leaders.• Governance Development: embedding strongleadership through good governance.• Entrepreneurs as Leaders: strengtheningentrepreneurialism across the sectors.Signature programmes have included CulturalLeadership Programme Networks, ‘Peach’Placements (with established leaders andorganisations); Leadership Development Daysand Dialogues on Leadership (placing the sectorin local, national and global contexts).The initial two-year investment in the CulturalLeadership Programme has created a firmfoundation. Through these initiatives, theCultural Leadership Programme has enabled awide range of individuals to hone their skills andenhance their experience as leaders. It has alsoaddressed historic concerns that too littleattention is paid to the growing importance ofleadership across organisational boundaries orto learning between sectors.34 I Taking stock and lookingahead (pp 31-43)Early feedback from the Clore and CulturalLeadership Programmes indicates they will havea significant impact. The Cultural LeadershipProgramme has piloted a dispersed model ofleadership to broaden and deepen the pool ofleadership excellence in the sector with 10 keypriorities informing its upward trajectory:1 The need for a strategic framework: There iswide agreement on the benefits ofsystematic strategies for leadershipdevelopment. The Cultural LeadershipProgramme’s Leadership Framework outlineskey modes of support at differing pointsalong the pathway.2 Diagnostic analysis and the person-centredapproach: Diagnostic analysis and theprovision of coaching and mentoring haveproved to be critical to the assessment of thekey skills and experiences most appropriateto individual leaders and their particularneeds. The Cultural Leadership Programmewill continue to prioritise thesecomplementary tools for bespoke analysisand support.3 Non-executive leadership: Feedback fromthe Cultural Leadership Programme’sGovernance Development Programme revealsa perception of notable flaws in theoperation of governance across the sectorsand underscores the case for extendingleadership and capacity development tocover the roles and behaviours of nonexecutiveleaders of organisations. TheCultural Leadership Programme will continueto develop key tools and methodologies toaddress this important aspect of sectoralleadership.4 Embracing and delivering diversity: Diversityis widely acknowledged as one of the keystrengths of the UK cultural landscape, yetyears of institutionalised barriers to accesshave prevented the sectors’ leadership fromreflecting that diversity. The CulturalLeadership Programme has prioritised – andwill continue to prioritise – activities designedto strengthen the diversity of leaders acrossthe creative and cultural sectors.5 Bespoke delivery models: Most leadershipdevelopment studies endorse combining anumber of different approaches andproviders (borne out by the CulturalLeadership Programme experience of leadersseeking and selecting an eclectic learning mixparticular to their needs). Rather than tryingto create a ‘National Leadership College’,therefore, the Programme will developfurther its ‘dispersed’ model, embracingexisting deliverers and new partnerships,evolving a varied programme of leadershipprovision.6 The value of work-based learning: Researchand experience within the CulturalLeadership Programme and elsewhereunderscore the value of training in thecontext of the individual’s real-worldcircumstances, including: mentoring andcoaching; job rotation and shadowing; andexperiential learning. The Programme willcontinue to support work-based placementsfor sharing experience and use placements asa basis for partnership with key organisationsthat seek to develop as centres of learning.8 93 I The cultural sector is nowinvesting significantly (pp 23-28)Historically, the cultural sector has underinvestedin this area. Whereas the public andprivate sectors invest between 1% and 3% ofturnover in professional development”2, thecultural sector has historically committedsignificantly less. In 2006/07, Arts CouncilEngland’s Regularly Funded Organisations spentan average of 0.3%. However, a shift has nowbegun with the establishment of initiatives suchas NESTA’s Cultural Leadership Awards, the CloreLeadership Programme, the Cultural LeadershipProgramme, MA courses at City and LiverpoolJohn Moore’s Universities and a number ofdedicated sectoral initiatives.Since 2004, the Clore Fellowship Programme hasinducted 109 Fellows. 18 of the first cohort of 26have moved on to new senior positions,including 9 who have been appointed as CEOsof significant cultural institutions. Since July2006, 213 people have also participated inClore’s Short Course programme. Both theseinitiatives have received very positive externalevaluations.The Cultural Leadership Programme, launched inJune 2006, is delivered across sectoralboundaries by a strategic partnership betweenthe three lead organisations in the creative andcultural sectors: Arts Council England, MuseumLibraries and Archives Partnership and Creative& Cultural Skills. Covering the broad span of thecultural and creative industries, its suite ofprogrammes is delivered through six strategic#p#分页标题#e#
strands:
2 Association of Chief Executives of Voluntary Organisations (source)
3 Voiced by both the Government’s Performance and Innovation Unit and the Office of Public Management
5 I Conclusions (pp 49-50)
Going forward, the key challenge to be met isthat of embedding a culture of leadership
learning across the sectors. This will involvedefining the role and responsibilities of theCultural Leadership Programme supporting arange of programmes which deliver innovation,economies of scale and cross-sector benefit. TheCultural Leadership Programme will adopt a roleat the vanguard of leadership development,overseeing strategic direction in this field;providing research for the sector; and developing
relationships with initiatives in other sectors. Inthis way, it can nurture and support a culture oflearning, enhancing practice and maximisingopportunities for individuals, organisations andthe wider creative and cultural industries.
Based on extrapolations from comparableinitiatives in other sectors, it would seem that inorder to reach the core target ‘customer-base’ anannual investment of something between £4.3mand £5.7m is needed across the sectors. Inaddition, the Cultural Leadership Programme willestablish the pipeline to encourage the flow ofemerging leaders, including those from the microbusinesses that form a key segment of the sectors.
This will cost approximately £1m annually.
The welcome confirmation of resources for thenext phase of the Cultural Leadership Programmein 2008-11 will enable us to build on our progressto date and develop stronger partnerships withother bodies that share our aspirations for thesector. In doing that, we will combine strategicinterventions with a dispersed model that ensuresownership and delivery ‘on-the-ground’. Throughthis combination we will seek to establishsustainable leadership platforms that meet thelong-term challenge of business growth andimproved sectoral performance.
7 The pivotal role of networks: The CulturalLeadership Programme has supported 30eclectic and diverse leadership developmentnetworks and this key facility for peer-to-peersupport has proven to be a dynamic andflexible way to respond to particular sectoralneeds. The Programme will encourage thecontinued use of networks as an importantelement of support for leaders. The onlinepeer networking tools developed within the
Creative Choices Strand of the Programme willprovide a central facility for dialogue andexchange.
8 Learning from the cultural and creativeindustries: There is growing recognition of thelevel of leadership excellence that exists in thecultural sector and its potential to contributesignificantly to the UK’s desired USP in theworld market. Programmes such as Catalyst
and Impact Unleashed have forgedpartnership working with other industries andthese opportunities for sharing and exchangewill continue as a means of connecting acrossand beyond the core sectors.#p#分页标题#e#
9 International engagement: International andintercultural exchanges provide ways toextend and enrich UK leadership practice. TheCultural Leadership Programme has sought toembed international practice in itsprogrammes, drawing from the NESTA
Cultural Leadership Awards, which putinternational placements at the heart ofleadership development. Given the context ofLondon 2012 and the continuing priority forcross-cultural expertise and experience, theProgramme will continue to nurturepartnerships with the British Council and otherinternational connectors to enhance
leadership practice.
10 Entrepreneurship: In the fast-moving andincreasingly complex environments thatcharacterise the cultural and creative sectors,entrepreneurial attitudes and approachesgain added importance. The CulturalLeadership Programme will continue toexemplify, promote and facilitateentrepreneurship as a key aptitude forexisting and future leaders.The priorities outlined above offer a dynamicrange of principles and programmes to supportand enhance leadership development in thecultural and creative sectors.
In order to measure and refine for success, arobust evaluation must underpin the full suite ofprogrammes. The Cultural LeadershipProgramme has adopted the maxim, “buildevaluation in from the start”, http://www.ukthesis.org/Thesis_Writing/commissioningDTZ Consulting and Research to undertake astrategic evaluation of the Programme to informfuture decision-making and activity. Improvedsectoral performance is the key medium termobjective and the Cultural LeadershipProgramme will continue this structuredevaluation, linking with appropriate partners tostrengthen its impact and resonance for thesectors.
10 11
and overview 63
Appendix 3: Cultural Leadership Programme Networks 67
Bibliography 73

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