Lucy L. Gilson, Yuna S. H. Lee, and Robert C. Litchfield
Although creativity research has historically focused on individuals, with more and more employees working in teams, researchers have started to explore the construct of team creativity. Rather than a comprehensive review, this article takes an in-depth look at the most recent team creativity research. To do this, key themes and trends are discussed, which are then tied back to prior reviews, and new avenues for future research are proposed. Team creativity is a challenging construct because it can be conceptualized as both an outcome and a process, and there is no clear definition of either. When considering team creativity as an outcome, research has employed both complex mediation models as well as a more nuanced examination of moderating variables and constructs that may strengthen or attenuate the effects of relationships related to team creativity. This growing avenue of research recognizes the variability in team creativity that is possible in different circumstances and contexts, and seeks to identify what drives different outcomes. These approaches also acknowledge that team creativity is not guaranteed even when enabling conditions are in place, and that other variables may exert forces in different ways.
The recognition that team creativity is unlikely to be the simple sum of members’ creative processes is becoming very apparent, with researchers examining ways of encouraging, fostering, and sustaining creativity in teams over time. Researchers have also recognized that team creativity is more likely to unfurl over time as a process, rather than a discrete point-in-time event. To this end, the key areas examined are the roles of member diversity and leadership. For diversity, racio-ethno, cultural, gender, age, political orientation, and diversity training have all been examined. For leadership, the focus has shifted away from the more traditional transformational theories and to newer constructs such as humility, ethical and shared leadership, as well as what it means to have an ideational leader who facilitates idea generation. Taken together, what the most recent research tells us is that creativity in teams remains a growing and evolving area of inquiry. While no longer unexplored, much remains to be clarified such as the barriers to effective team creativity, and practices that may help transcend these barriers. A lot of promising areas for future research are highlighted, which will become more important as workplaces pivot toward cultivating team creativity in a systematic and intentional way.
Joan V. Gallos
The arts have played a major role in the development of management theory, practice, and education; and artists’ competencies like creativity, inventiveness, aesthetic appreciation, and a design mindset are increasingly vital for individual and organizational success in a competitive global world. The arts have long been used in teaching to: (a) explore human nature and social structures; (b) facilitate cognitive, socioemotional, and behavioral growth; (c) translate theory into action; (d) provide opportunities for professional development; and (e) enhance individual and systemic creativity and capacities for change. Use of literature and films are curricular mainstays. A review of the history of the arts in management teaching and learning illustrates how the arts have expanded our ways of knowing and defining managerial and leadership effectiveness—and the competencies and training necessary for them.
The scholarship of management teaching is large, primarily ‘how-to’ teaching designs and the assessments of them. There is a clear need to expand the research on how and why the arts are and can be used more effectively to educate professionals, enable business growth and new product development, facilitate collaboration and team building, and bring innovative solutions to complex ideas. Research priorities include: the systematic assessments of the state of arts-based management teaching and learning; explorations of stakeholder attitudes and of environmental forces contributing to current educational models and practices; analyses of the learning impact of various pedagogical methods and designs; examining the unique role of the arts in professional education and, especially, in teaching for effective action; mining critical research from education, psychology, creativity studies, and other relevant disciplines to strengthen management teaching and learning; and probing how to teach complex skills like innovative thinking and creativity. Research on new roles and uses for the arts provide a foundation for a creative revisiting of 21st-century management education and training.
Michael D. Mumford, Robert Martin, and Samantha N. Elliott
Creative thinking is the basis for innovation in firms. And the need for strategy-relevant innovations has generated a new concern with how people go about solving the kinds of problems that call for creative thought. Although many variables influence people’s ability to provide creative problem solutions, it is assumed the ways in which people work with or process knowledge provides the basis for successful creative problem-solving efforts. Additionally, there has been evidence bearing on the processing activities that contribute to creative problem solving. It is noted that at least eight distinct processing activities are involved in most incidents of creative problem solving: (1) problem definition, (2) information gathering, (3) concept selection, (4) conceptual combination, (5) idea generation, (6) idea evaluation, (7) implementation planning, and (8) adaptive monitoring. There are strategies people employ in effective execution of each of these processes, along with contextual variables that contribute to, or inhibit, effective process execution. Subsequently, there are key variables that operate in the workplace that contribute to, or inhibit, effective execution of these processing operations. These observations, of course, lead to implications for management of innovative efforts in firms.
Likoebe Maruping and Yukun Yang
Open innovation is defined as an approach to innovation that encourages a broad range of participants to engage in the process of identifying, creating, and deploying novel products or services. It is open in the sense that there is little to no restriction on who can participate in the innovation process. Open innovation has attracted a substantial amount of research and widespread adoption by individuals and commercial, nonprofit, and government organizations. This is attributable to three main factors. First, open innovation does not restrict who can participate in the innovation process, which broadens the access to participants and expertise. Second, to realize participants’ ideas, open innovation harnesses the power of crowds who are normally users of the product or service, which enhances the quality of innovative output. Third, open innovation often leverages digital platforms as a supporting technology, which helps entities scale up their business.
Recent years have witnessed a rise in the emergence of a number of digital platforms to support various open innovation activities. Some platforms achieve notable success in continuously generating innovations (e.g., InnoCentive.com, GitHub), while others fail or experience a mass exodus of participants (e.g., MyStarbucksIdea.com, Sidecar). Prior commentaries have conducted postmortems to diagnose the failures, identifying possible reasons, such as overcharging one side of the market, failing to develop trust with users, and inappropriate timing of market entry. At the root of these and other challenges that digital platforms face in open innovation is the issue of governance. In the article, governance is conceptualized as the structures determining how rigidly authority is exerted and who has authority to make decisions and craft rules for orchestrating key activities. Unfortunately, there is no comprehensive framework for understanding governance as applied to open innovation that takes place on digital platforms. A governance perspective can lend insight on the structure of how open innovation activities on digital platforms are governed in creating and capturing value from these activities, attracting and matching participants with problems or solutions, and monitoring and controlling the innovation process.
To unpack the mystery of open innovation governance, we propose a framework by synthesizing and integrating accreted knowledge from the platform governance literature that has been published in prominent journals over the past 10 years. Our framework is built around four key considerations for governance in open innovation: platform model (firm-owned, market, or community), innovation output ownership (platform-owned, pass-through, or shared), innovation engagement model (transactional, collaborative, or embedded), and nature of innovation output (idea or artifact). Further, we reveal promising research avenues on the governance of digital open innovation platforms.
John Bryson and Lauren Hamilton Edwards
Strategic planning has become a fairly routine and common practice at all levels of government in the United States and elsewhere. It can be part of the broader practice of strategic management that links planning with implementation. Strategic planning can be applied to organizations, collaborations, functions (e.g., transportation or health), and to places ranging from local to national to transnational. Research results are somewhat mixed, but they generally show a positive relationship between strategic planning and improved organizational performance. Much has been learned about public-sector strategic planning over the past several decades but there is much that is not known.
There are a variety of approaches to strategic planning. Some are comprehensive process-oriented approaches (i.e., public-sector variants of the Harvard Policy Model, logical incrementalism, stakeholder management, and strategic management systems). Others are more narrowly focused process approaches that are in effect strategies (i.e., strategic negotiations, strategic issues management, and strategic planning as a framework for innovation). Finally, there are content-oriented approaches (i.e., portfolio analyses and competitive forces analysis).
The research on public-sector strategic planning has pursued a number of themes. The first concerns what strategic planning “is” theoretically and practically. The approaches mentioned above may be thought of as generic—their ostensive aspect—but they must be applied contingently and sensitively in practice—their performative aspect. Scholars vary in whether they conceptualize strategic planning in a generic or performative way. A second theme concerns attempts to understand whether and how strategic planning “works.” Not surprisingly, how strategic planning is conceptualized and operationalized affects the answers. A third theme focuses on outcomes of strategic planning. The outcomes studied typically have been performance-related, such as efficiency and effectiveness, but some studies focus on intermediate outcomes, such as participation and learning, and a small number focus on a broader range of public values, such as transparency or equity. A final theme looks at what contributes to strategic planning success. Factors related to success include effective leadership, organizational capacity and resources, and participation, among others.
A substantial research agenda remains. Public-sector strategic planning is not a single thing, but many things, and can be conceptualized in a variety of ways. Useful findings have come from each of these different conceptualizations through use of a variety of methodologies. This more open approach to research should continue. Given the increasing ubiquity of strategic planning across the globe, the additional insights this research approach can yield into exactly what works best, in which situations, and why, is likely to be helpful for advancing public purposes.
Nikolaus Franke and Christian Lüthje
Users of products and services, be they user firms or consumers, frequently develop innovations for their own benefit. Such user innovation is a long-existing phenomenon, but it has gained much momentum in the new millennium. The Internet has greatly facilitated connections between creative users, and at the same time cost-effective design and prototyping technologies are making it increasingly feasible for users to develop their own products and services.
Users have been found to innovate mainly because they want solutions that best serve their own needs. In general, their innovation activities involve no expectations of monetary profit, being motivated rather by self-rewards (such as fun, positive feelings of altruism, signaling of competence to the community of peers). This explains why users are typically willing to share their innovations without requiring payment. A problem of user innovation is that, since the benefit that others could gain is an externality for users, they lack strong incentives to invest in the active diffusion of their innovations. The consequence of this “diffusion shortfall” is social welfare losses.
There are several ways in which producers and service providers can help overcome these problems and benefit from the innovation potential of users at the same time. They can apply the lead user method to actively search for a small group of particularly highly motivated and qualified users, they can outsource product design work to their users via user design toolkits, and they can broadcast innovation challenges to an appropriate crowd of external problem solvers.