• · Demonstrate an understanding of key perspectives, theories and concepts that inform contemporary notions of creativity
• · Analyse the historical emergence of creativity as a crucial organisational phenomenon and understand the social, economic and political embeddedness of creativity
• · Critically evaluate the wider implications of utilising creativity techniques in an organisational context
• · Analyse the interrelation between theory and practice in a creative and independent manner
• Develop critical thinking for evaluating a variety of texts (judgement skills)

The overarching objective of the module is to engage the students with state of the art knowledge production in the field of creativity management. By offering an intensive course where both practical methods and in-depth theoretical analysis are presented, the module will help students develop their own understanding of the field and supply them with conceptual and practical tools. Particular attention will be paid to the development of transferable skills – students will apply various creativity tools and techniques and critically reflect on these, thus enabling them to work effectively in creative problem solving teams.

The concept of Creativity has very much re-established itself on the corporate radar since its heyday of the 1950s and 1960s. In fact, the discourse of creativity is rife within society at large (Thrift, 2002), with the necessity for creativity now seemingly elevated above many other aspects of traditional management discourse. Not only is the discourse of creativity familiar, it is instantly recognisable: we know the language of creativity; we know how to identify and classify creativity; we are told how to be creative; and sometimes we are even asked ‘what do you want to create?’ Creativity has become ‘normalised’; our understanding has become framed by the language of creativity, our ‘being creative’ prescribed both substantively and instrumentally. The literature (and language) of creativity is, of course, evolving. We are re-classifying, finding new methods, working on our understanding of the ‘essence’ of creativity. Creativity has become the modern mantra. We have creative industries, creative partnerships and creative approaches of which individuals, businesses and even governments are trying to harness the potential. Creativity is seen as essential for our survival, economically and socially. Hence the need to challenge clichéd representations of ‘creativity’, the typical “creativity is wonderful and we need a lot more of it...” type arguments, and assist students to become more creative (or at least more reflective) in their own practice.

Students are not allowed to use litterature from other courses. Especially CMP students.

De Cock, C. (2016). ‘From Creativity to Imagination with Cornelius Castoriadis’ in T. Beyes, C. Steyaert and M. Parker (eds.). Routledge Companion to Reinventing Management Education. Oxford: Routledge. p. 234-248

Drazin, R., Glynn, M. A., & Kazanjian, R. K. (1999). Multilevel Theorizing about Creativity in Organizations: A Sensemaking Perspective. Academy of Management Review, 24(2): 286-307.

George, J.M. (2007) Creativity in Organizations, The Academy of Management Annals, 1(1). 439-477.

Rehn, A. & De Cock, C. (2009). ‘Deconstructing Creativity’ in T. Rickards, M. Runco & S. Moger (eds.), Routledge Companion of Creativity. London: Routledge. p.222-231.

Rehn, A., De Cock C. & Berry, D. (2013). ‘For a Critical Creativity Studies’ in J. Chan & K. Thomas (eds.), Handbook of Research on Creativity. London: Edward Elgar. p. 150-161.

Rickards, T. & De Cock, C. (2012). ‘Understanding Organizational Creativity: Toward a Multiparadigmatic Approach’. In M. Runco (ed.), The Creativity Research Handbook Vol.2, New York: Hampton Press. p.1-31.