A Study of Implicit Leadership Theories Among Business & Management Undergraduate Students

This qualitative study explores the subjective experience of being led by investigating the impact of their Implicit Leadership Theories (ILTs) on followers’ cognitive processes, affective responses and behavioural intentions towards leadership-claimants. The study explores how such responses influence the quality of hierarchical work-place relationships using a framework based on Leader-Member Exchange (LMX) Theory. The research uses focus groups to elicit descriptions of ILTs held by forty final year undergraduate Business and Management students. The data was then analysed using an abductive process permitting an interpretative understanding of the meanings participants attach to their past experiences and future expectations. This research addresses a perceived gap by making a theoretical contribution to knowledge and understanding in this field, focusing on how emotional responses affect their behaviour, how this impacts on organisational outcomes, and what the implications are for HRD practitioners. The findings support previous research into the content and structure of ILTs but extend these by examining the impact of affect on workplace behaviour. Findings demonstrate that where follower ILT needs are met then positive outcomes ensued for participants, their superiors, and their organisations. Conversely, where follower ILT needs are not matched, various negative effects emerged ranging from poor performance and impaired well-being, to withdrawal behaviour and outright rebellion. The research findings suggest dynamic reciprocal links amongst outcomes, behaviours, and LMX, and demonstrate an alignment of cognitive, emotional and behavioural responses that correspond to either high-LMX or low-LMX relationships, with major impacts on job satisfaction, commitment and well-being. Copyright

The Search for the Operatic: Bridging the Gap Between the Spectatorial and Performer Positions Through Sketch-making and Embodiment Techniques

The exhibition was of sketches and a photograph from my PhD practice research. The practice-research was comprised of observing opera singers in rehearsal and sketching them as they moved. As well as records of body position, and to some degree dynamic flow, the exhibited sketches were regarded as kinaesthetic responses in and of themselves – responses to the environment of the rehearsal, in particular responding to the sounds of the orchestra. These sketches were, in part, generated through an embodiment of the music, which was occurring in the same moment as the singer was engaged in embodying the music. These sketches were then used as tools that therefore contained kinaesthetic information which could be unlocked through a process of Butoh derived embodiment techniques alongside reference to the sketched image. This ultimately allowed me to move from a spectatorial position to a performance maker position, bringing a sense of the operatic into the non-singing body, whether that was my own or the bodies of other performers. In this way, and combined with rigorous observation of the corporeal restrictions of singing operatically, choreographies were created that employed operatic ways of moving in non-singing bodies and the operatic was extracted from opera and employed in movement based practice. The aspect of the practice-research exhibited is the correspondence between sketched documentation of the singers in rehearsal and photographic documentation of the dancer (researcher) in performance.