Davide Bizjak

Pratiche organizzative ed economia della cultura: uno studio su Mario Bertoncini

This paper is aimed to scrutinise a research experience made in the field of the art by organizational researcher. The composer Mario Bertoncini and his conception of music and sound have been deeply studied through a set of participant experiences, which suggest fruitful insights in some themes of economic and managerial research. The practice-based approach on the one hand and the entrepreneurial behavior on the other, have been evaluated through the lens of the Bertoncinis experience, suggesting new ideas for the inquiry of the theme. The main result reached by this paper is to propose new perspectives on the relationship between artists and the economic and managerial research, so trying to overcome an inner conceptual separation.

Going back to the roots of entrepreneurship

Purpose The purpose of this paper is to investigate the specific field of arts entrepreneurship by focussing on the practices of vertical dance; a language of contemporary dance where dancers act on a vertical axis, moving suspended on the surface of buildings and walls. The authors’ focus on vertical dance as a meaningful corporal practice to explore the particular combination of dance and human movement, going beyond its purely metaphoric dimension. Design/methodology/approach The authors’ adopt a micro-social perspective, observing the practices (Gherardi, 2012; Nicolini, 2012; Sicca, 2000), that took place from 2013 to 2015 in the daily work of Wanda Moretti, a Venetian choreographer and co-founder of the company “Il posto”, observed in different contexts of artistic practices (Zembylas, 2014). Research limitations/implications Deconstructing the overlapping dimensions that compose the space in our daily experience (force of gravity and the supporting surface), vertical dance clarifies how often we undervalue the complexity of the space and, at the same time, opens up the way for a better understanding and investigation of entrepreneurship in artistic fields. Originality/value The study sheds light on the way in which different categories, such as the human body, space, and movement, are a particular entanglement of elements, useful in highlighting some of the fundamental assumptions at the heart of the field of entrepreneurship. The heterogeneous complexity of space and bodies is emphasised, challenging its ordinary conceptualisation.

Going back to the roots of entrepreneurship: Empirical evidence from the practice of dance

Purpose The purpose of this paper is to investigate the specific field of arts entrepreneurship by focussing on the practices of vertical dance; a language of contemporary dance where dancers act on a vertical axis, moving suspended on the surface of buildings and walls. The authors’ focus on vertical dance as a meaningful corporal practice to explore the particular combination of dance and human movement, going beyond its purely metaphoric dimension. Design/methodology/approach The authors’ adopt a micro-social perspective, observing the practices (Gherardi, 2012; Nicolini, 2012; Sicca, 2000), that took place from 2013 to 2015 in the daily work of Wanda Moretti, a Venetian choreographer and co-founder of the company “Il posto”, observed in different contexts of artistic practices (Zembylas, 2014). Research limitations/implications Deconstructing the overlapping dimensions that compose the space in our daily experience (force of gravity and the supporting surface), vertical dance clarifies how often we undervalue the complexity of the space and, at the same time, opens up the way for a better understanding and investigation of entrepreneurship in artistic fields. Originality/value The study sheds light on the way in which different categories, such as the human body, space, and movement, are a particular entanglement of elements, useful in highlighting some of the fundamental assumptions at the heart of the field of entrepreneurship. The heterogeneous complexity of space and bodies is emphasised, challenging its ordinary conceptualisation.

Going back to the roots of entrepreneurship: empirical evidences from the practice of dance

Purpose The purpose of this paper is to investigate the specific field of arts entrepreneurship by focussing on the practices of vertical dance; a language of contemporary dance where dancers act on a vertical axis, moving suspended on the surface of buildings and walls. The authors’ focus on vertical dance as a meaningful corporal practice to explore the particular combination of dance and human movement, going beyond its purely metaphoric dimension. Design/methodology/approach The authors’ adopt a micro-social perspective, observing the practices (Gherardi, 2012; Nicolini, 2012; Sicca, 2000), that took place from 2013 to 2015 in the daily work of Wanda Moretti, a Venetian choreographer and co-founder of the company “Il posto”, observed in different contexts of artistic practices (Zembylas, 2014). Research limitations/implications Deconstructing the overlapping dimensions that compose the space in our daily experience (force of gravity and the supporting surface), vertical dance clarifies how often we undervalue the complexity of the space and, at the same time, opens up the way for a better understanding and investigation of entrepreneurship in artistic fields. Originality/value The study sheds light on the way in which different categories, such as the human body, space, and movement, are a particular entanglement of elements, useful in highlighting some of the fundamental assumptions at the heart of the field of entrepreneurship. The heterogeneous complexity of space and bodies is emphasised, challenging its ordinary conceptualisation.