Who has never reflected about an artist or a creative person thinking why this person is not recognized and famous? Why so much talent for nobody?Who has never reflected, why this singer sings or this actor plays or this fashion designer draws? And secretly thinks that he or she should not.Finding a talented and a creative leader is a real challenge for the company. Finding the good one, we mean. Indeed, the creative leader is the key of improvement and success for creative organizations such as the theater, cinema, cuisine, music and fashion… Once the company found him or her, it has to keep him or her, to give to him or her all the freedom and power he or she needs because he is the one that is able to create great products, to draw out the creativity of the team and to build a clear vision for the company.However, the company also has to deal with constraints. There are financial, material, humans…This thesis try to understand how creative companies work and what are the characteristics of a creative leader. But we do not let the financial part be a taboo. Creative companies build a bridge between their talented leader and their financial restrictions. This paradox involves the question of whether to control or to let the creativity be completely free. The duality between leading creativity and leading rationality is the matter of this thesis.We illustrate the dichotomy with the business of fashion, in particular with Haute Couture Houses. The study case is a way to go inside a real creative organization and to understand how the leadership is implemented.

FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgico / O presente trabalho tem como objetivo geral analisar as concepÃÃes de aprendizagem em companhias cearenses de danÃa. Para isto, estabeleceram -se os seguintes objetivos especÃficos: 1) investigar a referÃncia de aprendizagem em companhias cearenses de danÃa; 2) analisar o processo de aprendizagem em companhias cearenses de danÃa; 3) descrever os contextos de aprendizagem em companhias cearenses de danÃa; e, 4) identificar os fatores influenciadores da aprendizagem em companhias cearenses de danÃa. Foram utilizadas como referÃncia teÃrica as concepÃÃes de aprendizagem proposto por Basto (2013) e fatores influenciadores da aprendizagem por Caldeira e Godoy (2011). Quanto aos aspectos metodolÃgicos, o estudo apresenta natureza mista; exploratÃrio-descritivo; documental e de campo por meio do estudo de caso mÃltiplos em quatro companhias cearenses de danÃa, a saber: Companhia Dita e Companhia VatÃ, em Fortaleza; Paracuru Companhia de danÃa, em Paracuru; e, a Companhia Balà BaiÃo de danÃa contemporÃnea, em Itapipoca. Foram realizadas entrevistas semi-estruturadas com nove profissionais de danÃa e questionÃrio construÃdo em escala de Likert com 24 respondentes. A anÃlise dos dados seguiu as etapas da anÃlise de conteÃdo para os dados qualitativos e a utilizaÃÃo do software SPSS versÃo 21 para tratamento dos dados quantitativos. Os resultados indicaram que a referÃncia de aprendizagem converge com a concepÃÃo teÃrica de Senge (1990;2003) ao relacionar aprendizagem com ao desenvolvimento pessoal, à influÃncia de modelos mentais de cada indivÃduo, ao compartilhamento de objetivos, ao trabalho grupal e pensamento sistÃmico; e a de Kolb (1984) por relacionar a geraÃÃo do conhecimento atravÃs da experiÃncia. Quanto ao processo de aprendizagem verificou-se a sequÃncia de seis etapas: identificaÃÃo; observaÃÃo; reflexÃo; memorizaÃÃo; execuÃÃo e compartilhamento. Confirmou-se que os contextos de aprendizagem em companhias cearenses de danÃa se iniciam ainda na infÃncia, sendo aprimorado em instituiÃÃes de ensino em danÃa a partir da integraÃÃo com bailarinos profissionais. Por fim, os questionÃrios evidenciaram alto nÃvel de concordÃncia com os seguintes fatores que influenciam a aprendizagem: tolerÃncia aos erros (66,7%); igualdade de poder e responsabilidade (83,3%); comprometimento (95,8%); incentivo à mudanÃa e inovaÃÃo (75%); visÃo sistÃmica que inclui compartilhamento (58,3%) e interaÃÃo externa (87,5%); comunicaÃÃo eficaz (75%), estrutura organizacional descentralizada (54,2%) e lideranÃa eficaz (62,5%). Desse modo, conclui-se que o presente estudo se constitui como um contributo para o desenvolvimento de conhecimentos sobre as concepÃÃes de aprendizagem em organizaÃÃes criativas. / This work has as main objective to analyze the learning concepts in dance companies in CearÃ. For this, the following specific objectives were established: 1) to investigate the learning reference in dance companies in CearÃ; 2) to analyze the learning process in dance companies in CearÃ; 3) to describe the learning contexts in dance companies in CearÃ; and 4) to identify the factors that influence learning in dance companies in CearÃ. Were used as theoretical reference the learning concepts proposed by Basto (2013) and factors that influence learning by Caldeira and Godoy (2011). In the methodological aspects, the study of a mixed nature; exploratory-descriptive; documentary and field through the study of multiple case in four dance companies in CearÃ: Dita Company and Company Vata, in Fortaleza; Paracuru Company of Dance, in Paracuru; and, the Company Ballet BaiÃo of contemporary dance in Itapipoca. Semi-structured interviews were conducted with nine dance professionals and questionnaire built in Likert scale with 24 respondents. Data analysis followed the steps of content analysis for qualitative data and the use of SPSS version 21 for treatment of quantitative data. The results indicated that learning reference converges with the theoretical concept of Senge (1990; 2003) by linking learning with personal development, the influence of mental models of each individual, to share goals, the group work and systems thinking; and Kolb (1984) by relating the generation of knowledge through experience. As for the process of learning the sequence of six steps was found: identification; observation; reflection; memory; implementation and sharing. It was confirmed that the learning contexts in dance companies in Cearà will still begin in childhood, being improved in educational institutions in dance from the integration with professional dancers. Finally, the questionnaires showed high level of agreement with the following factors that influence learning: tolerance to errors (66.7%); equal power and responsibility (83.3%); involvement (95.8%); encouraging change and innovation (75%); systemic vision that includes sharing (58.3%) and external interaction (87.5%); effective communication (75%), decentralized organizational structure (54.2%) and effective leadership (62.5%). Thus, it is concluded that the present study is as a contribution to the development of knowledge about learning concepts in creative organizations.

For businesses that rely on creativity for their success, its effective and thought-out management is necessary for the entity to thrive. The field of creativity management has emerged as a result, highlighting the employment of a ‘creative climate,’ motivational tools, and an appropriate organizational structure as essentials for the asset’s optimization (Dubina, 2013, Sternberg and Lubart, 2004, Tonnquist, 2018, Csikszentmihalyi and Wolfe, 2014, Karambayya and Reid, 2009). However, the current literature fails to address how outside factors may influence the effectiveness of creativity management’s employment, such as the financial and organizational obligations of an operation (Knight and Harvey, 2015). Creative organizations, in particular, are affected by this issue, as the success of their end-product lies directly in their ability to harness creativity effectively (Jones et al., 2016). The aim of the study is therefore to understand how executives within creative organizations attempt to maximize creativity, while continuing to heed exterior business initiatives. The following investigation has attempted to tackle the subject by exploring it through the lens of the film production process. We pose the question: What are the conflicts that arise between an economic outlook and a creative outlook on a film, and how has this power struggle been managed? Semi-structured interviews were conducted with industry professionals, with producer and director pairs representing the two perspectives, respectively. We find that the two primary points of contention are the intrusive measures enforced by producers for ‘profitability’ and ‘scheduling & budget control,’ which often lie in direct contrast to a project’s creative vision (Bérubé & Demers, 2019, Knight and Harvey, 2015, Senge, 1990). We then identify three winning strategies employed by the consulted professionals to handle these conflicts: clear communication on financial and organizational boundaries from the planning phase, an established relationship of trust between the artistic and managerial leader, and a capacity for empathy with the competing perspective. These principles should support and contribute to the existing knowledge on creativity management, in identifying where it may be challenged, and suggesting methods for conflict minimization. It has laid the ground for future studies within this domain of creativity management, by opening up room for research in other creative industries that may share these same challenges, to confirm the findings.