Creating Sculpture - Stimulating Learning
a paper by Toby Rhodes and Vivien Whitaker for the
2002 Ashridge International Leadership Conference
In this paper we explore how sculpture can stimulate change and
deep learning for individuals and teams. We examine why
sculpture seems to be a powerful and engaging learning medium,
and explore its application to leadership development.
Sculpture is a kinaesthetic activity that can stimulate deep and
creative thinking and learning at individual, team and
organisational level. Our use of sculpture in a people
development context follows the tradition of art as exploration or
research, as pioneered by Picasso, rather than the Aristotelian
notion of art as something of beauty. For example, in Picasso’s
“Bulls Head”, he combines everyday objets trouvé to capture
meaning in a simple but powerful sculpture.
Picasso, “Bulls Head”, 1943
Each sculpture project is unique, and is specifically designed to suit the individuals,
organisation or occasion. The Ashridge sculpture project, incorporating a reflective walk, was
designed to:
‰ be inclusive, non-passive, engaging - to see / share
contributions from conference participants
‰ create reflective time and space to aid sense making, and
to explore and share the dilemmas of leadership and
visions of leadership in the future
‰ accelerate learning using both left & right sides of the brain
simultaneously
nd
‰ stimulate 2 level - 'changing the rules' learning
(McKergow 1994) as participants shared responsibility for
determining the outcome and choosing the materials
(scavenged vs. supplied)
‰ offer choice about sharing experiences and about working
alone or in groups
‰ connect to the conference theme metaphor - be outside
amongst the trees
What was missing, in our view, was a formal review of our shared experiences, and a linking of
these experiences back to the themes of the conference. We are aware that informal review
and discussion continued after the sculptures were completed. It would have been wonderful
to have gained feedback from each of the groups and individuals who created sculptures.
Sculpture and Leadership
There is an interesting connectivity between the processes
of creating improvised sculpture and the processes of
leadership. In each of these processes a person is
typically
‰ dealing with problems rather than puzzles (Casey
1985)
‰ given responsibility for defining the end point,
success criteria and quality standards (when is it
finished?)
‰ faced with choice about method and materials
‰ must explain the rationale underpinning decisions
(interpretation card)
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Creating Sculpture - Stimulating Learning
Toby Rhodes and Vivien Whitaker, August 2002
So why is Sculpture such a powerful medium?
Sculpture engages participants on many levels: it is practical,
creative, artistic, playful, not “macho” and collaborative. For
most people, creating meaningful sculpture is an unfamiliar
task that offers the opportunity to work in the stretch zone.
Sculpture projects empower learners to create something new
and original - they give responsibility for the outcome and
process to the learners.
Sculptures differ from objects in that they are designed to be
interesting from every angle, and, like a poem, incorporate
many layers of meaning.
We believe that creating improvised sculpture is a powerful
group process because it embodies depth, application to real
work issues, accessibility and flexibility.
Depth
For many participants accelerating their learning
through using both sides of their brain
simultaneously is an unfamiliar and demanding
process. Their typical work demands much of
the left logical side of their brain, which engages
in linear processes and language. Creating
sculpture engages the right creative side of the
brain, using metaphor, symbolism and thinking
holistically, using imagery.
Individual and group creativity is stimulated
through the responsibility to both determine the
outcome and to write an interpretation card.
Groups use a variety of brainstorming methods
which frequently lead to sharing of feelings and
values and to rapid group development.
Application to Real Work Issues
We have successfully applied this concept to many different business issues. This physical
metaphor analysis can expose current issues and represent how things could be different in
the future. The process also allows participants to experiment with assumptions & behaviours
that stimulate creativity within their organisation. By using “interpretation cards”, we ensure
that explicit links are made to workplace issues, grounding this creative approach in current
organisational dilemmas.
Due to the collaborative nature of the process it can be designed to be both within teams and
between teams. The task demands a multiplicity of team roles: generator of ideas, research,
design, resource seeker, construction, quality monitoring, time management and coordination. It is good for teams that are developing in that it assists trust, balances
contribution and increases co-operation. It is also a good test for established teams offering
them the stretch of an unfamiliar process and challenge – for example, if teams are used to
planning, a spontaneous task is set, or vice versa.
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Creating Sculpture - Stimulating Learning
Toby Rhodes and Vivien Whitaker, August 2002
Accessibility
Many participants have primarily cerebral jobs and really enjoy the
practical, hands on, kinaesthetic aspect of their challenge. It
particularly appeals to pragmatic realists who find it less
intimidating than other creative forms such as art/painting, & live
theatre.
It is more complex & subtle than some more traditional OMD
experiential activities and does not demand high levels of fitness or
endurance. Creating and projecting ideas on to inanimate objects is
experienced as less threatening than 'human sculpting' (Thomas
2000) where a team explores their dynamics using themselves as
models.
Flexibility
As practitioners, we find that sculpture projects are: portable, adaptable, can be indoors or
outdoors and work with both small and large groups (from 4 to about 100). Whilst requiring
careful thought and preparation, they can be useful in a variety of situations - we have used
sculpture with masters level students, with a board of directors, with operational management
and now, in a conference setting.
What are the implications for transfer back to work?
Sculpture projects provide a clear parallel to work and life. A simple instruction - build a
sculpture - is given and that turns out to be unclear / vague, and much more complex than it
first seems. Existing teams seem to quickly identify and use their strengths to rise to the
challenge. In doing so their realisation of preferred learning and problem solving styles are
enhanced. We have been delighted by the number of people who return to work committed to
using the right creative side of their brain more and making their work more kinaesthetic and
fun.
References
Casey, D. (1985) “When is a team not a team?”, Personnel Management, January 1985
McKergow, M. (1994) “What’s systemic thinking got to do with anything? Organisational
learning – a framework for managers”, Organisations & People, Vol 1 (1), pp16-20
Thomas, T. (2000) “the sculpture – an action method for team relations”, Organisations &
People, Vol 7 (3), pp24-30
Biographical Note
Toby Rhodes is a designer of experiential learning programmes with The Wizards Network, a
training consultant and a senior lecturer in applied HRM at Sheffield Hallam University. Toby
has researched into Transfer of Learning to the workplace.
Vivien Whitaker is a sculptor, an organisational development consultant and a senior lecturer
in organisational behaviour at Sheffield Hallam University. Vivien has published books and
articles on managing people, self development and organisational learning.
Toby and Vivien are both tutors on Sheffield Hallam University’s distance learning MSc
programme in Outdoor Management Development.
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The Wizards Network Ltd Binghams Park Farm Potten End Hill Hemel Hempstead Herts HP1 3BN
e: [email protected] w: www.thewizardsnetwork.com
t: +44 (0)1442 284600
f: +44 (0)1442 284601
England