I have been thinking a lot about this project, about how it has evolved and changed throughout this past months, about how every time it has become harder and harder to work on, I have become unmotivated, stressed, and even sad when thinking about it. I have had many tutorials where honestly I have just ended up more confused than I was in the beginning, I have changed things and thought it was right even though my gut was telling me it wasn’t.
I think I have been very unfair with myself. At some point I stopped listening to me and what I wanted and started to listen to everyone else and everything they said I applied into this project and now I am looking at it and I don’t see myself in it at all. It makes me feel insecure, it makes me feel weak and dumb when it should be making me feel confident and powerful. How did this happen? But most importantly, what can I do now to fix it?
I love my idea and my project, it is honestly incredible and it has such a noble and positive objective, however I’m not sure I am the right person to do it right now, at least not in the way I had been planning on. I don’t feel I have the knowledge nor the skills to fully develop it and give it the life it deserves, maybe some day I will be but I think it is important to be able to admit it to yourself when you might be in over your head.
So the next step is simple I’m changing my approach. That doesn’t mean that the work that I have done during all of this past months is for nothing, on the contrary, it actually was all this work and research that brought me to this point today. Through my intervention I remembered I connect deeply to stories and storytelling, I already knew this but I think I forgot for a little while. The connection and community people get from telling and listening to stories is something very vulnerable. And I’m good at doing that, at telling stories, at listening at creating an environment where people feel safe enough to be vulnerable and share with others.
I had also forgotten that I wanted to create a community of creatives, I started focusing too much in Latin America and got a little lost there. I actually realized that all the research I had been doing was more related to this focus on storytelling and community than in Latin American artists, so I’m just pivoting my question a little bit because my original question “How can I help give exposure to Latin American creatives in the UK?” wasn’t correctly reflecting what I was working on.
For my reframing process I went back to my original project proposal and reviewed everything that I had researched, my intervention and the conclusions that I arrived at and the feedback I had received both from tutors, peers and stakeholders. My main discovery was that storytelling was all over my project in different ways, my second discovery was that the reason why I was feeling so unmotivated and insecure was because I didn’t feel that I had any experience to actually do what I wanted to do and I didn’t know where to start. While going back through my feedback I came back to something that Cai had told which was not to ignore my own creative skills and my experience, so I decided to reframe my approach by taking into account that I have a background in Communications and Journalism and 6 years of experience working in editorial teams at magazines. Also, I started remembering that people have asked me to help them with creative a narrative around something, helping them to tell a story about themselves, a project or even a business. Through this process is how I arrived at my new question: How can developing a compelling narrative help creative individuals get closer to their goals?
Last Monday I had a tutorial with Zuleika in which I wanted to hear what her opinions and feedbacks were. For some reason I get very confused and overwhelmed during tutorials because I think it’s hard for me to explain what I want to do.
I presented my “new question” which was How can Latin American creatives be supported by multicultural communication? I came up with this question as a result of my first intervention where it became a multicultural sharing space which I thought was a very satisfying result and I thought I could probably use that to apply to my objective of helping out Latin American creatives. During the tutorial we came to the conclusion that this wasn’t the right path and that I should go back to my original question. From which Z gave me a few important recommendations:
Find out it LA creative need support and what kind of support?
Test a few assumptions that you have made
what is it about you that can facilitate their exposure?
what is your unique selling point?
you need to have your credentials lined up so that people trust you
do market research
research some statistics
All in all Zuleika’s feedback and advice were very helpful to me and my research. I feel very behind in my process but this tutorial gave me a lot of clarity of what to do next and how to actually approach my research.
I have not been the best in organizing all the feedback from my tutorials, I have it all written down, but not in an organized way, so I’m just going to go through it in disorder.
One of the main questions I was asked in my tutorial was What exactly is it that I want to find out? The honest answer to this question is I don’t know. I probably should know by now, but I actually think this is one of the hardest questions to answer.
Another thing I was asked in my tutorial was to explain what my question means in a way that is clear and focused on what it is that I want to change.
My question is “How can I give exposure to Latin American creatives in the UK?” I have a complicated relationship with my question, ever since I came up with it I’ve wanted to change it. And every time I’ve changed it I’ve returned to the original question, so I will keep this question now.
Explanation of question: By Latin American creatives I mean people that were born in Latin America that practice a creative discipline, however I have decided to focus on three main disciplines visual art, literature and film. By giving them exposure in the UK I mean bringing their work to London so that they get viewed by a different audience, they get more opportunities which will hopefully lead to them creating more projects.
Some more feedback and advice I was given was to read about diaspora, about what it means to be a Latin American creative, and themes around my main topic, as well as analyzing case studies of organizations that are already doing this.
To keep going on the feedback I received in tutorials was to research methodologies, to analyze how this helps me develop my ideas.
How to use academic literature:
Find the key points
summarize in my own words
do they conflict with your own ideas?
does the research make you see anything differently or give you new ideas?
Thoughts on “Manifestos and Polemics in Latin American Modern Art” by Patrick Frank
While reading “Manifestos and Polemics in Latin American Modern Art” Edited and Translated by Patrick Frank I was curious of this idea that many Latin American artists accompany their work with some written work in the form of a manifestos or declarations of some kind.
“(…) most movements and styles emerge accompanied by debates and discussion. Paying attention to these polemics widens our perspective on the meanings of art in culture, because most movements, and many artists’ careers, have been accompanied by pronouncements, manifestos, assertions, or declarations, But in Latin America, many of the relevant documents are still difficult to access.” (p.xi-xii)
While reading through all of the Latin American artists words I couldn’t help thinking about the importance of the written word, how it helps give meaning and focus to something that by itself may be to abstract. I kept thinking how these artists where so eager to say something and to transmit something specific that they couldn’t only rely on their art to talk for itself, they couldn’t trust the viewer with their message, they needed to make it clear, to make their intentions known.
And, although I believe that art by itself is quite powerful and can definitely impact you in many ways, I also think that a little guidance by the incredible mind behind the piece makes the impact much more powerful. If we look particularly at Latin America where art has been used as a voice of revolution, as a form of activism, as a way to show the world the reality of that region it was definitely imperative for this artists that the audience understood what they were seeing.
Another interesting element that I noticed throughout the different manifestos was the generalized sense of nationalism that the authors had for their country and region, and the anger they had towards Europe more specifically towards colonialism. In many manifestos the authors urge their readers to cut all ties with European ways or art and go back to their own traditions, however in some cases the messages are quite confusing on one side condemning cosmopolitanism, colonialism etc., and on the other admiring different of aspects of the European culture. An important element to know many of these were written during the 1920’s, some even from the painter’s studio in Europe.
For my intervention I organized a creative Tertulia which in Spanish means a gathering with artistic connotations, I invited people from different backgrounds all within the creative sector. The idea was to talk about Latin American art and literature to see what people from different nationalities here in the UK knew about these topics.
I created a poster illustrating the event at what would be talked about. (See below)
It started as a social gathering with people having a drink some food and talking with each other, when most of the guests had arrived I began with a small talk that I had prepared about Latin American art and artists, I also prepared a presentation with visual aid that I passed around so people could see some of the paintings and people I was talking about. Then went on to talk about Latin American literature where I ended up reading some poetry by two great Latin American writers Mario Benedetti and Octavio Paz. (See below for text read in event)
Thank you so much to all of you for coming! I’m so excited to share with all of you a little bit about Latin America and to hear what all of you already know about my region’s arts and literature.
Disclaimer: I am in no way an art historian or expert I have just been cursed with this terrible thing called curiosity and admiration for that which we call the arts. Also, I will mainly be talking about the XX and XXI centuries.
Latin America as you surely know includes all the countries located from Mexico down on the American contintent. For this reason it would be completely impossible for anyone to be able to accurately describe the myriad of voices and visions of the artists from this location in a simple way.
However, there are a few common elements that we see appear within the different creative pieces from Latin American artists, as well as similar behaviours, patterns and perspectives that allow as to then generalize it as “from Latin America”.
Anyway, so I’m going to give the most brief overview I can for you to get a generalized idea of what can be identified as Latin American art, literature and film. What are the common threads that unite these creatives? And, what are the main issues faced by creatives wanting to develop their creative practice here.
I would like to quote a text from “Veo” an Argentinian magazine which describes how LA is generally viewed: “We are seen as this exotic territory, folkloric and innocent, of constant revolutions and social agitations, with political instability that distracts us from thinking about our own utopias. However, reality demonstrates that in this vast territory different cultures coexist, each of them with singular characteristics, they merge together without becoming a singular identity.”
Historically Latin America has been known for two main artistic movements: magical realism which has elements of popular traditions in an attempt to reclaim them from the forced oblivion imposed by the colonizers. We see symbols belonging pre-colombian, Afro-American, Amerindian mythologies as well as religious and mystical figures, represented metaphorically. This movement is not to be confused with surrealism which tries to portray a dream world that results absurd or illogical, magical realism shows the common daily life with fantastical elements. Demonstrating the magical side of simply existing.
And the other movement can be seen clearly represented in Mexican muralism, a completely revolutionary movement in which art took the streets; it’s art at the service of education, to create social class consciousness, a medium of social transformation. Diego Rivera, José Clemente Orozco and José Alfaro Siqueiros are the main artists belonging to this movement. In their murals we can see clear influence of pre-hispanic art as well as expressionism and realism from Germany which greatly influenced these painters.
The Latin American artists that are more well known mostly had the opportunity to travel around the world, to the US, Europe even Africa, and many of their works are influenced by that which they came in contact with. Also, this gave them the opportunity of making connections with other creative circles around the world which most likely contributed to their works becoming more well-known than others.
I’m pretty sure most of you have heard at least one of these names: Frida Kahlo, Leonora Carrington, Rufino Tamayo, Siqueiros,
But there’s also other artists whose names didn’t become household names but hold an important place in the Latin America’s art history. For example, one of my personal favorites Wilfredo Lam who is originally Cuban and in whose paintings, we see a clear Picasso influence mixed with his own Caribbean culture.
Luz Donoso from Chile, Tony Capellán from Dominican Republic, Lygia Clark, Brazil, Margarita Azurdia, Guatemala,
Tied in very closely to painting is literature and also very hard to define as a whole. Once again, we see some similar topics behind the captivating prose and poems of these Latin American writers. Social injustice, political instability, and social class and economic issues and Mestizaje cultural which is the mixture of indigenous and European elements. Magical realism plays a protagonist role in the literature brought to life by Gabriel García Márquez, Carlos Fuentes, Juan Rulfo, Isabel Allende and Laura Esquivel. The Latin American boom was a defining moment in literature not only for this region but it became a world phenomenon, starting in the 60s and officially ending in the 70s, however these authors kept on writing until they died most of them in the XXI century.
Some interesting elements related to the boom author’s texts are for example that time isn’t linear, usually they use different perspectives and neologisms (which is the creation of new words or phrases).
I cannot move on from literature without mentioning Octavio Paz who is probably one of the most if not the most influential Mexican writer. As Latin America itself Octavio Paz’s poetry is impossible to describe as one, he tackled as many topics as genres. He looked out into the world instead of staying within he’s own context. Through his poetry you are able to experience beautiful imagery, explore an era of worrying about the social issues, an existential moment where you reflect on loneliness and lack of communication, and question time through his self-denominated spacial poetry which could almost be described as metaphysical.
I would now like to share some of my favorite poetry.
Thank you all so much for listening, first of all does anyone have any questions or thoughts?
When I finished I asked my guests what they thought about what I had just talked about: What was your idea previously of Latin American art and literature? What had you guys heard before? Did what I share today make you curious to learn more? Did it change something in your perception? What would you want to see more about?
“A thing that would be interesting in the future would be to invite different artists and hear from them”.
When I asked if they would like to do a gathering like this where they talked about their cultures the general answer was “Yes, but with relevance.”
After talking for a while about these topics people started to feel very comfortable and talked about their own cultures and the art and literature in their countries, as well as their own creative endeavors and we decided to start sharing. It was amazing how people started to sing traditional songs from their countries, recite poems in their own languages and then translated them to English, share their own writings and take over the playlist to share music. It became a multicultural sharing gathering where everyone felt safe and comfortable enough to share things that they might’ve not in other instances. Overall, I felt very satisfied with the result.
During my tutorial with Cai we talked about the reasons behind my project, the WHY. I was asked to think about where I was coming from? Why did I want to build a community for Latin American creatives? What was in it for me?
I was also asked to think about what makes my project different and what is its uniqueness?
Cai also mentioned a few other pathways that could be interesting to think about.
A community of Latin American women together in a problem-solving sort of workshop working on issues that Latin American women face. (it could be maybe within the creative industries)
Another option, to help women from Latin America to get ahead.
Cai also told me not to discard my creative skills, but to integrate my writing into my project in some way. (In some kind of storytelling or writing workshops)
Finally, she said to research compassion to others but also to oneself.
This tutorial felt both like some weight was taken of my shoulders and like a bucket of cold water over my head. It made me very confused but at the same time excited, the thing was that I didn’t understand what I was excited about.
After, I talked to two of my classmates (Tia and Andrei) and they helped me unpack what I felt and thought about this tutorial. Tia did a fun self-reflective test on me where she asked a few questions that she timed. Some relevant ones were:
What makes you excited? Learning about new things, places, stories behind people / places
What makes you sad or angry? Injustice, abuse of power, animal mistreatment
What do you care about most? Justices, literature, women’s rights
She said it was interesting to watch me because when she asked what makes me sad or angry my face became very focused and I knew what I was going to write immediately but when she asked what do I care about most I became very confused and didn’t really know what to write.
All of these got me thinking if my project was really something that I cared about profoundly, if I was going at it in the wrong way, how I could make it better, and mainly, it got me thinking about what I care about most.
At the beginning of this week I had an interview with a former colleague of mine from Mexico. After she left the magazine where we used to work she started her own graphic design business which turned out to be very successful and continues to be. I thought she would be a very interesting interview to understand if I could really focus myself in all types of creatives as I have been stubborn about from the beginning.
During our 10 minute interview I asked her what was the main issue that she was facing, and she said “Finding a space where I can look for graphic designers that are looking for a job, that is not as big as LinkedIn or other Facebook groups, where I could go through their portfolio and experience”. She confirmed my statement that her work as a graphic designer is very underpaid and undervalued, she said that working with clients that don’t value her work makes her sacrifice her creative visions most of the time.
It was a very revealing interview as well as a short one because I realized as I started listening to her answers that the more “practical” creatives within the creative industries, in this case a graphic designer which works solely on client projects, were not the stakeholders that I wanted for my project. Even though they are having mostly the same troubles of the rest of the creative industries their work (or at least from what I have learned) is more client based, more commercial and mainstream.
I believe I will be focusing mostly on visual artists, filmmakers and writers in the coming months and see what they have to say.
WHAT: What is the subject or area that you intend to research? What is the precise question that you will be addressing?
How can I give exposure and create opportunities for Latin American creatives to give them the possibility of bringing their ideas to life?
WHY: Why will this research be of value to you – and the world?
Latin America has been a hub of creativity always but only a select few have had the chance to get their work out there in an international level. Their creative work is constantly underpaid and undervalued. As a creative myself having worked in the creative industries I have experienced this first hand and I would like to do something to change that.
HOW: How will you accomplish your project in practical terms? What will be your methodology, management strategy, and schedule?
Through a digital platform. I have thought to start it initally on an Instagram account this would hopefully turn into a web page through wich creatives could access valuable information, connect with each other and share their work.
The first step is talking to experts and stakeholders. I have calls set up this week with a few and will probably get more in the coming weeks.
I think I might have to narrow my choice of industry to only one field but I haven’t decided yet.
I need to understand what will be useful for them to have in a platform and adapt from there.
WHAT IF: What are the positive implications and potential if you achieve this mastery? How will this position you (and your stakeholders) at the end of the Course?
If I achieve this Latin American creatives will be able to succeed locally and also get the chance to show their work internationally. More Latin American ideas will come to life.
Common issues and problemtics faced by this creatives will start to be talked about and could fuel the process of change within the creative workplace.
Intervention
My first intervention will be the Instagram account created with the content and information I get from my interviews with experts and stakeholders.
I want to understand if through a digital platform I can actually give them exposure and create community that’s why I need to test it.
It will also be a tangible place where I can be testing things out continually to se what works and what doesn’t.
Is it possible to give effective support through a digital platform?
Also, as I understand more about the creatives needs and wants I would like to create a substack Newsletter.
observing myself, observing my peers, my friends, social media. I started seeing different patterns of topics and problems that bothered me. I also started listening and noticing what were the common issues that creatives around me continually complained or talked about. Through this process I started to identify the main problems:
A significant underpayment of creative work, which leads to the creatives having to take on too many projects to be able to earn a decent living.
Compromising a sacrificing beliefs and creativity in exchange for the security that working for a bigger company provides, which leads to overall disatisfaction, frustration and dis motivation.
Difficulty of access both locally and internationally.
As I have mentioned before throughout this process my idea has evolved and changed so much. I originally was looking at “solving” this problems through offering a service where I could get some monetary gain. however I felt myself losing the purpose and the motivation when trying to think of it as a business, so I decided to let that go (for now).
Going back and forth with this idea ended up confusing me so much that I couldn’t go forward anymore so I decided to go back to the beginning again. I asked myself:
What is it that I want to do?
What is the ACTUAL CHANGE I want to see?
Why is this important to me?
Asking myself this questions led to me realizing that what I wanted to create was a community for creatives where I could offer something that would help them in their journeys. Help give them exposure, help them create connections and collaborations with other creatives, provide advice and information about resources that could be of use to them. I also realized that I wanted to focus particularly in helping Latin American creatives because that is where I’m from.
The area or professional arena where you would like to introduce change
The area I have chosen to create my change in are the Creative Industries in general, though I think as I go through this project it will be narrowed down to only a few of them. I am particularly interested in film, visual arts, fashion, literature/poetry (for now).
The Creative Industries are an important part of the world’s economy and have become more so each year that passes. However, big companies continue to gatekeep access to creatives choosing projects that in most cases benefit only a commercial objective, ignoring other talented creatives wishing to share their visions and stories with the world. Industries like Film, Art, Editorial and Fashion are limited to just a few visions selected by the companies who run the Creative Industries.
There are a number of journal papers dedicated to researching the importance of the Creative Industries in the economy of the different countries. For example, Jo Foord in his paper Strategies for creative industries: an international review states that: “The proliferation of designated creative places in recent years is testi- mony to policy practitioners’ (and politicians’) belief that almost regardless of local conditions they too can mobilize creativity to transform their economies
and communities. “ In the paper it is also mentioned that “creative firms and employment are growing faster than those in any other sector. Measured in terms of employment change and gross domestic product (GDP)/gross value added (GVA) growth rates, creative industries were presented as important both in absolute terms and as a rising proportion of national and regional economies. Creative employment was identified as most significant at city level, indicating not only the high concentration of creative enterprise in cities but also the competitive importance of particu- lar creative cities (cities with higher than national levels of creative employment).”
It is interesting to see this definition of the Creative Industries mentioned by John Montgomery (2007) in his paper Creative industry business incubators and managed workspaces: A review of best practice: “Since 1998, the creative industries have been recognized in UK government official data as ‘those industries which have their origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the generation and exploitation of intellectual property’ (DCMS, 1998).” Notice particularly the word exploitation which has been a trend within the Creative Industries and more so in recent years, where creatives are immensley underpaid even when working for a big company. In many cases a creative has to have more than one job or projects at the same time just to be able to pay bills.
However, the Creative Industries not only contribute to the world’s economy but also in a more cultural level they influence the minds of people, create trends and communicates messages (possitive or negative), they are extemeley powerful and used negatively they han do a lot of harm.
In my personal experience the Creative Industries have helped me form many opinions, they have shaped my style, in ways even my personality. They have made me aware of different issues and made me feel some kind
of way toward this issues. They have helped me learn about so many different things from history, to feminism, to arquitecture or even religion. And generally there is some kind of emotion attached to this learning, which is one hundred percent done consciously by whoever is doing the creative product.
This is the reason why I have chosen this particular area for my project. I believe that if we put more effort to put out there meaninful creative projects and stories of creatives that are interested in making some change the audiences can be influenced in a way that creates some possitive change in the world.
What kind of change is possible or desirable?
What I’m looking to change is a process within the creation of projects. I want to facilitate the process of getting financial funding for creative projects.
The Stakeholders
For this project there would be dual stakeholders The Creatives and The Investors. So, I am looking to partner creatives with meaningful projects with investors interested in getting involved in a creative endeavor. Helping the creatives avoid the tedious bureaucracy when applying for funding through the government or other organizations. And for the investors I would help them avoid the searching process of looking for a project or person they are interested in.
Would they welcome/oppose it?
Through both a survey and personal interviews I have been able to talk to a few creatives from different disciplines (film, writers, artists, designers) and the response to the idea has been very positive, they believe it would benefit them greatly, help keep them motivated as the process of getting funding can be very unmotivating and hopeless. For the investors I do need to do a little more research but from the ones I have talked to, who have been successful people working in finance, law and real estate that have previously funded creative projects and have an interest in doing so in the future. They have told me as well that this project could help them save time while looking for projects or people to help out, and that they would be very interested in trying it out.
The Project
I imagine it now as a sort of dating app where on one side creatives will upload their portfolios and ongoing projects and the investors will also upload their portfolios and their interests and maybe the level of involvement that they would like to have in a project. A personalized pairing will be made between creative and investor depending on the project and their particular interests resulting in hopefully a productive partnership for both stakeholders.
Why is this change desirable?
Through this change creatives will be able to focus more on actually creating and working with investors that are interested in their projects and what they have to say. They will be able to create without compromises and changes, it will create projects that are more pure and true, that hopefully will inspire to make the world better.
The Process
A compilation of pictures of the different notes I have taken throughout this process. (There are more…)
Throughout the past months when I have been analyzing and trying to bring this project from an idea in my head to the real world I have been talking to a lot of people. My tutors and professors at the CSM but also my colleagues in the MA trying to get their input, listen to the way this idea makes them feel, and the original idea has slowly evolved into something new.
During the break I travelled with some family on an amazing trip through Italy, visiting many museums, galleries and walking around different cities. Interestingly enough learning about these artists from the Renaissance and understanding the way they made their “creative projects” made me start thinking in the funding part of it all. Many groundbreaking artists didn’t have money throughout their lives and only became famous towards the end of their lives or after they died. Others where employed by rich and powerful families obligated to do what this families demanded of them. In this case, it was so interesting to see how they put in little elements as act of rebelliousness so even though they weren’t doing particularly what they wanted their creations still had some hidden twist that represented the artists.
This made me think that the exploitation of creativity is definitely not a new thing. But isn’t it time it stopped? Specially since we have all this history as evidence that this is something that happens. Shouldn’t we change this?
Some of the booklets of exhibits I visited that contributed to my research. Also, some books that were used throughout the process.
Throughout the process of researching this process I read a lot about talent management, because I think that this project might have some elements of talent management that will be necessary. I found out some interesting things through these texts particularly that within the traditional business of talent management there is a point in which the artists and creatives become dehumanized they are no longer viewed as people with talents, and skills and feelings but their viewed as a kind of product that will give you money.
Final Comments
After the Dragon’s Den and doing more research and talking to other people I am now seriously questioning if this is the right path of action for my project. I hadn’t previously understood the implications of working with funding and the finance aspect of it all. Seeing it more clearly now I need to think about this a bit more and maybe redirect my project again. Unfortunately, the rest of the investigation had already been made but I believe this is all part of the process and learning and creating this project, especially since I am way out of my comfort and knowledge zone with this project.
I will of course take into account everything researched and learned throughout the last month and consider it for the evolution of my project. I’m sure it will help me give it structure and make it even more solid in the end.
Bibliography
Books and Articles
DeFillippi, Robert, and Patrik Wikström. International Perspectives on Business Innovation and Disruption in the Creative Industries: Film, Video and Photography. Edward Elgar Publishing, 2014.
Foord, Jo. “Strategies for Creative Industries: An International Review.” Creative Industries Journal, vol. 1, no. 2, 2009, pp. 91–113. Crossref, https://doi.org/10.1386/cij.1.2.91_1.
Hearn, Greg, et al. Creative Work Beyond the Creative Industries: Innovation, Employment and Education. Edward Elgar Publishing, 2014.
Henry, Colette. Entrepreneurship in the Creative Industries: An International Perspective. 1st ed., Edward Elgar Publishing, 2008.
Macdonald, Thea. Archives and Exhibitions in Fashion Businesses. Van Haren Publishing, 2019.
Montgomery, John. “Creative Industry Business Incubators and Managed Workspaces: A Review of Best Practice.” Planning Practice and Research, vol. 22, no. 4, 2007, pp. 601–17. Crossref, https://doi.org/10.1080/02697450701770126.
Morrow, Guy. Artist Management: Agility in the Creative and Cultural Industries (Discovering the Creative Industries). 1st ed., Routledge, 2018.
Raviola, Elena, and Peter Zackariasson. Arts and Business: Building a Common Ground for Understanding Society (Routledge Research in the Creative and Cultural Industries). 1st ed., Routledge, 2018.
Hill, Linda. Becoming a Manager: How New Managers Master the Challenges of Leadership. 1st ed., Harvard Business Review Press, 2019.
Siegler, Bonnie. Dear Client: This Book Will Teach You How to Get What You Want from Creative People. Artisan, 2018.
Brown, B. Dare to Lead: Brave Work. Tough Conversations. Whole Hearts. VERMILION, 2018.
Dries, Nicky. “The Psychology of Talent Management: A Review and Research Agenda.” Human Resource Management Review, vol. 23, no. 4, 2013, pp. 272– 85. Crossref, https://doi.org/10.1016/j.hrmr.2013.05.001.
Cappelli, Peter. (2008). Talent management for the twenty-first century. Harvard business review. 86. 74-81, 133.
Guin, K. Ursula Le, and Martín Schifino. CONTAR ES ESCUCHAR: Sobre La Escritura,La Lectura,La Imaginación (Spanish Edition). 1st ed., Círculo de Tiza, 2017.
Podcasts
Cowan, Katy. “The Creative Boom”. Apple Podcasts.
Tovey, Russell and Diament, Robert. “talk Art”. Apple Podcasts.
