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Year 4 Block 6: Leadership Aesthetics Block Author Owain Smolovic Jones,…

- - - - Leadership aesthetics; ‘you are making sense of your feelings when participating in leadership practice’:
        
        Language - some ‘more aesthetically engaging than others’; two ways of engaging, one through telling stories engaging feelings and appealing to something critical – second is conversation which you have to feel, ‘conversing effectively can open up possibilities for leadership and conversing poorly can close down opportunities for leadership…they can feel free or flowing if you are trying to generate ideas, or restrictive and brisk if your intention is to get through business speedily and efficiently’
        
        Bodies - body language, tone of voice, positioning in a room…’asserting a presence that cannot be ignored and that forces a change in the power dynamics of a group or organisation’.
        
        Spaces and objects – ‘can reconfigure and redesign the spaces and objects so that the possibilities for leadership are maximised’.
        
        Developing leadership - alternatively ‘arts-based methods of leadership development’; ‘engaging with a ready-made or ready-written form of art (a painting, a model, a video, a poem) to stimulate discussion and reflection on leadership concepts or experience; or they involve participants making an artwork of some kind…[stimulating] creative thinking and to deepen appreciation of leadership concepts’
    - - Musical Leadership
        
        Music can be urgent, evoking a sense of an organisation that deals in tight timeframes, high pressure or emergency situations
        
        Music can be relaxing and down-tempo, evoking a sense of an organisation that likes space to think, to reflect and deliberate
        
        Music can be improvisational, evoking a sense of an organisation that likes to think on its feet and be responsive to events
        
        Music can be shapeless and confusing, evoking, on the one hand, a sense of possibility, with the leadership participant forced to interpret and take responsibility for the mess of information (and sounds); but, on the other hand, such organisational music can be disorientating, frustrating and confusing
        
        Music can be banal and empty, evoking a sense of an organisation without much purpose, one that simply drifts
        
        Music can be highly ordered and predictable, evoking a sense of organisation that is more concerned with administration or management, rather than leadership. Music can be technically challenging for the player or performer, evoking a sense of organisation that is built and reliant upon technical expertise
        
        Music can be aggressive and confrontational. Such musical organisations might be energetic places to work, where colleagues challenge one another to be better, or oppressive places full of inappropriate behaviour or bullying
  - - - Communicating aesthetic this way involves:
        
        language used (emotional story telling)
        
        appearance (confident or relaxed)
        
        objects (shared offices, open door policy, security guards)
    - - Communicating aesthetic this way is limited due to the restrictions of technology such as email for example.