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business
organizational communication

Questions and Answers of Organizational Communication

can you do it
4. Can you express your answer to question 3 above in a drawing, as a poem, a story and/or as a piece of theatre?
3. How would you describe your motives for, or attraction to, creative methods in management or organizational research?
2. How can the idea of ‘dissonance’ help us understand how creative methods may enable different forms of knowing about organizational experience to emerge that were previously hidden from view?
1. What arguments would you put forward to demonstrate that creative methods can constitute legitimate management or organizational research?
Presentational knowing emerges from experiential knowing, and provides its first expression through forms of imagery such as poetry and stories, drawing, sculpture, movement, dance and so on.
Experiential knowing is through direct face-to-face encounter with a person, place or thing; it is knowing through empathy and resonance; and precedes any form of expression or communication.
4. What are the special ethical matters to be considered when using masks and theatre in organizational research?
3. How do the notions or metaphors of costume, mask, role, stage, script, performance apply to your role and/or organization?
2. What are the theatrical origins of the concept of role?
1. ‘Man is least himself when he talks in his own person. Give him a mask and he will tell the truth.’ (Oscar Wilde).How may masks enable research participants to voice their feelings and
3. For staff, the experience contributed to the development of thinking around leadership in the public sector (Kirk, 2003; Kirk and Shutte, 2004)
2. Some took the learning back into their workplace and were able to implement changes as a result.
1. Students were able to reflect individually on the exercise in their assignments for the module. Many chose to do so – and some also used it subsequently as the basis for the design of their
•‘When I spoke from behind the mask, all I could hear was my own voice.Everyone was quiet, listening. I could hear the sound of my voice getting stronger – it was empowering!’‘It was as if
How should we analyse the results? What do the observations tell us about the culture of this organization – or rather the organization in its context, with the entrance being at the boundary
When to observe? Maybe an exercise such as this is ideal for a group project.Each person can then record whatever they want and see what each has seen in the same place and time, but perhaps from
How should we collect the data? And what would it look like? The architecture of the building is clearly one aspect, which could be described in a written account or with photographs, but is hard to
would apply differently for any organization observed.
Which organization? We will assume here that access has been negotiated and agreed. However, where is the entrance? The company may have a number of entrances. What is the cultural message in this
9. Because masks have been used in so many different ways around the world, they might offer a particularly suitable method for investigating cultural differences.In some cultures
8. Ask a work group to write and perform a pantomime with a title such as: ‘This year in 10 minutes’.
7. Ask your research participant(s) to review their day: to think about the interactions they had with people. What masks could they have been using in each exchange? Why? What does it say about the
6. Print off the day’s email correspondence and analyse the ‘scripts’ to see what roles the person played in those email conversations.
5. Research into team dynamics: ask a ‘team’ to create three masks, representing past, present, future. They can then talk about the process. Or, once the masks have been prepared, ask the
that the group can hear the sounds of this office at work. The recording can then be analysed like a radio play.
4. Make a brief audio-tape (say 30 minutes) of an office or other workplace, so
3. Show a group a video of an episode of a programme such as ‘The Office’, which is set in a workplace. Question: How is your office like/unlike this?
2. Observe a location: the reception area, the atrium, a working office, a shop.
1. Observe an organizational event: a work meeting, a company’s annual general meeting, a retirement presentation, a selection interview, an appraisal interview.
3. Alternatively, as the researcher, provide research participants with a range of published poems, and ask them to choose one that holds significance. Carry out similar processes to the one
2. What is your favourite poem? Similarly, ask participants to choose their favourite poem, one that speaks powerfully to them – about life in general or in relation to the research topic, for
1. Can you think of rap or hip-hop as a poetic form, a means of selfexpression facilitated by a highly rhythmic and ‘funky’ beat? Conduct a workshop as a form of karaoke, as a ‘fun’ event.
5. What are the main challenges involved in interpreting and analysing the data that emerge from stories?
4. What problems might you encounter when working with a group to elicit stories? In your preparation for the first meeting, what could you do that might help to ameliorate these potential
3. How would you prepare differently for a ‘facts-as information’ interview and a ‘facts-as-experience’ interview?
2. How would you determine whether the story being told was true or not?What are the implications for your research if you discover that the story was not factually true?
1. What are the important differences between stories that are told and retold within an organisation, and those that are told to you, the research interviewer, perhaps for the first time?
3. clear objectives are articulated that are of value in relation to both of the aims –and therefore of interest to both participants and researcher(s);
2. the dual aims are outlined, in this case providing an opportunity for participants to ‘explore and learn’ (probably of greatest interest to the participants) and to conduct a research project
1. the nature of the process (bringing ‘live’ case studies to be worked on by the group) and the theme of the research;
4. How would you represent your personal experience of, and the emotions generated in, the process of undertaking research in a drawing?
3. Why may the data emerging from art or drawings be seen as‘multifaceted’?
2. What ethical challenges are involved in the use of art and drawings as a method in organizational and management research?
1. How would you defend and explain the ‘qualitative power’ of drawings(Stiles, 2004) and similar arts-based research methods?
3. Whole-group work – showing and discussion of each drawing in turn –80 minutes, i.e. approximately 10 minutes per drawing
2. Inviting them to reflect individually on their drawings – 10 minutes
1. Asking research participants to produce a drawing – 10 minutes
4. Why would it be helpful for co-researchers’ initial ideas about creative dialogue to be mapped at an early stage in the research process using the three-stage procedure discussed in this chapter?
3. How do you see the differences between dialogue and other processes for working with different viewpoints such as mediation, conciliation and arbitration?
2. Why might participants in a creative dialogue resist the process?
1. What is the distinction between a ‘normal’ work meeting and a creative dialogue, and why not use the former as a research tool instead of dialogue?
Can we make it
Will it work in our own organizations, and, if so, where?What is dialogue?
Can we make it easy and simple to apply?
Dialogue requires people to work with their uncertainties. It is not about defending one’s certainties.
Dialogue attempts to bring about change at the source of our thoughts and feelings
Dialogue is a conversation with a centre – not sides
Dialogue is a conversation in which people think together. You relax your grip on certainty and listen to the possibilities that emerge
We seek to uncover shared meanings that can help align our actions with our values
The intention in dialogue is to reach new understanding and in doing so to form a new basis from which to think and act
Dialogue is the art of thinking together
Our ability to think and make good decisions is generally damaged by two things: false harmony and constant arguments. Both stop us thinking together
5. How may creative methods be seen as seductive?
4. What are the special ethical considerations involved in creative approaches to organizational research?
3. Is all qualitative research political?
2. Why is researcher reflexivity so important in the effective use of creative inquiry methods in organizational and management research?
1. Why is it important that the researcher has awareness of the philosophical (ontological and epistemological) bases of his or her proposed study?
The experience of women is not substantially different from that of their male counterparts, and therefore there were no issues to be studied
Because the power-holders in local authorities are largely male, the study could alienate them and produce a ‘male backlash’
Such a study ran the risk of making women’s experiences worse rather than better, by replacing old stereotypes with new ones
There was no need for the study: women were being appointed in greater numbers and, in fact, you were now more likely to be appointed if you were a woman
The politics involved in gaining access to organizations and developing a relationship with participants.
The researcher’s leadership of, and power in, the research process; and,
The aim is to see how people’s realities are socially produced
Key conceptions and understandings (theory) are worked out with the research participants who can ‘collaborate in displaying key features of their world’(Alvesson and Deetz, 2000, p. 34)
People are not considered to be objects, but rather active sense-makers along with the researcher
The organization is a social site – the emphasis is on the social rather than the economic
it may help the researcher to identify or create designs that may be outside his or her past experiences.
it helps the researcher to recognize which designs work or do not work;
an understanding can clarify research designs;
4. Why is a collaborative relationship between the researcher and the research participant one that is likely to be fruitful for experimentation with different methods of inquir
3. What is the case against using creative methods in organization and management research?
2. Why might the use of creative methods sit uneasily within a positivist/scientific research paradigm?
1. What forms of possible resistance to the use of creative research methods might the organizational and management researcher meet when seeking access to undertake a study?
Continuing prevalence of psychoanalytical approaches – the role that repressed thoughts, unconscious defences and fantasies play among people and groups in organizational life.
Growth of a social constructionist approach
A concern with aesthetics and emotion, the meaning that we sometimes invest in material objects at work
4. Collaborative approaches to inquiry are appropriate for the exploration of human experience
3. The data that are generated by creative methods often take on metaphorical forms, and metaphor offers insights into organizational experience.
2. The creative arts can enhance our capacity to find different expressive forms to inquire into human experience.
1. An appreciation of the rich and multifaceted dimensions of human experience can make an important contribution to our understanding of social systems.
Further reading
Discussion questions
Conclusion
The importance of a collaborative researcher/research participant relationship in the use of creative methods
The use of metaphor in organizational and management research
How creative methods can make it possible to find different expressive forms
Working with multifaceted dimensions of human experience
The challenges involved in researching social phenomena in organizations

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