Dance and Organisation is the first comprehensive work to integrate dance theory and methods into the study of management, which have developed an interest in the arts and the humanities. Dance represents dynamics and change and puts the moving body at the centre, which has been ignored and oppressed by traditional management theory. 'Being' a leader however also means to 'move' like one, and critical lessons can be learned from ballerinas and modern dancers. Leadership is a dialogue, as in the work of musicians, conductors and DJs who manage groups without words. Movement in organisational space, in a museum or a techno club can be understood as a choreography and site-specific performance. Movement also is practically used for leadership and employee development workshops and can be deployed as an organisational research method. By taking a firm interdisciplinary stance in dance studies and organisational research to explore management topics, reflecting on practitioner accounts and research projects, the book seeks to make an innovative contribution to our understanding of the moving body, generating new insights on teamwork, leadership, gender in management, organisational space, training and research methods. It comprises an important contribution to the organizational behaviour and critical management studies disciplines, and looks to push the boundaries of the academic literature.

Dance and Organisation is the first comprehensive work to integrate dance theory and methods into the study of management, which have developed an interest in the arts and the humanities. Dance represents dynamics and change and puts the moving body at the centre, which has been ignored and oppressed by traditional management theory. 'Being' a leader however also means to 'move' like one, and critical lessons can be learned from ballerinas and modern dancers. Leadership is a dialogue, as in the work of musicians, conductors and DJs who manage groups without words. Movement in organisational space, in a museum or a techno club can be understood as a choreography and site-specific performance. Movement also is practically used for leadership and employee development workshops and can be deployed as an organisational research method. By taking a firm interdisciplinary stance in dance studies and organisational research to explore management topics, reflecting on practitioner accounts and research projects, the book seeks to make an innovative contribution to our understanding of the moving body, generating new insights on teamwork, leadership, gender in management, organisational space, training and research methods. It comprises an important contribution to the organizational behaviour and critical management studies disciplines, and looks to push the boundaries of the academic literature.

Wer an eine Führungskraft denkt, denkt (noch) an einen Mann. Frauen sind in wichtigen Managementpositionen nach wie vor unterrepräsentiert. Dieses Buch zeigt auf, welche (unsichtbaren) Barrieren Frauen benachteiligen und dass diese ebenso für nicht-binäre Menschen und Männer, die sich in traditionellen Vorstellungen von Führung nicht wiederfinden, gelten. Es leistet einen Beitrag zum 5. Nachhaltigkeitsziel der UN (SDG 5, Geschlechtergleichheit), indem es auf Ungleichheiten hinweist und neue Wege aufzeigt.  So diskutiert Brigitte Biehl Geschlechterstereotype und Rollenbilder sowie deren Auswirkungen auf die Karriere. Da Führung nicht nur von der Position der Vorgesetzen abhängt, sondern auch von der Bereitschaft anderer Menschen, diesen zu folgen, betrachtet die Autorin auch die Wahrnehmung von Führungsstilen und Körpern sowie die Macht der Sprache. Basierend auf Erkenntnissen aus der internationalen Managementforschung zeigt Brigitte Biehl Möglichkeiten für Führung jenseits der etablierten Klischees auf und eröffnet Perspektiven für solidarisches und gemeinschaftliches Handeln.

Winning power in Westeros is hard, but holding power is much harder. The book analyzes strategies of leadership in the popular television series as an inspiration for today's uncertain times and our corporate world, bringing together research on TV series with management studies. The medieval fantasy world presents emotional and larger-than-life leadership archetypes: charismatic, authentic, privileged, masculine, female, motherly, lonely, romantic and disabled leaders. They are constructed and deconstructed. Hands, penises, and heads are chopped off. In this way, the series also celebrates the power of those who follow or resist, and always influence their leaders. Dr. Brigitte Biehl (Biehl-Missal) is Professor for Media and Communication Management at the SRH Berlin University of Applied Sciences, School of Popular Arts in Berlin, acting as Head of Studies B.A. Creative Industries Management, M.A. International Management Focus on Creative Leadership, and director of the Institute for Professional Development (IWK). Her background is in theater, film and media studies and business studies; she has published widely on art, aesthetics and management. This book is a translation of the original German 1st edition Leadership in Game of Throne by Brigitte Biehl, published by Springer Fachmedien Wiesbaden GmbH, part of Springer Nature in 2020. The translation was done with the help of artificial intelligence (machine translation by the service DeepL.com). A subsequent human revision was done primarily in terms of content, so that the book will read stylistically differently from a conventional translation. Springer Nature works continuously to further the development of tools for the production of books and on the related technologies to support the authors.

Dieses erste deutsche Standardwerk zur Wirtschaftsasthetik" analysiert, wie Unternehmen Asthetik und Kunst als Inspirationsquelle nutzen und als Werkzeug zur Wertschopfung einsetzen. Im globalen Zeitalter hilft Kunst, Produkte und Manager zu inszenieren, Mitarbeiter zu motivieren und Kunden anzulocken. Sie unterstutzt die Entwicklung von Fuhrungskraften, Mitarbeitern und Strategien.
Das Buch geht Fragen nach wie: Was haben Manager und Kunstler gemeinsam? Warum werden Unternehmen als Theater oder Jazzband verstanden? Wie wird Kunst, von der Bildersammlung uber die Firmenhymne bis zum Theaterworkshop, in Unternehmen eingesetzt? Wie wirken Managerauftritte und Firmenarchitektur? Und schliesslich: Wie reagieren kritische Kunstler auf diesen Trend?
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