scepticism. Handy can be much more subtle and discerning in his treatment of
works of art.
A somewhat quotidian rhetorical ploy is used by Handy to support his desire to
see business and the workplace becoming more like theatre. Handy cites the admi-
ration of a corporate manager following a performance by Cirque Plume: ‘“Why
do we have to bribe our people with so much money to work as well as this. Are we
missing something?”’ (Handy 1996: 72). Many management gurus, as Gibson
Burrell notes, use a similar rhetorical trope to identify with the desire of upper
management to channel and retain enthusiasm, skill, and adrenalin in the work-
place; it is about seeking pleasure in the organization as a means to control produc-
ers (Burrell 1992: 69).
What is behind the current experiment in business education with corporate
managers learning from the arts? The past few years have seen the growth of slick,
multimedia shows, such as Cirque Plume, Cirque de Soleil, De La Guarda, and the
Shaolin Wheel of Fire, in which technology is matched with acrobatics to create a
new sophisticated form of circus, starring human beings instead of animals. But
does Handy idealize the teamwork of arts organizations, and the notion that artists
show great skill in the game of life? Two points are raised when one looks below
the surface. First, is the principle of the performance fundamentally sound? This is
essentially an issue of authenticity and a commitment to aesthetic integrity.
Handy’s corporate manager may well have made his comments in reference to the
Shaolin Wheel of Fire: members of the troupe also perform extraordinary feats
with flair and precision. Yet concern has been raised about what is perceived to be
an uneasy mixture of ancient tradition and contemporary spectacle. Is there more
to the Shaolin monks than circus tricks? Second, participation in making decisions
has been challenged as a facet of all arts organizations: ‘An orchestra is not a
democracy but a dictatorship. The interpretation and presentation of this complex
repertoire cannot be pieced together as a kind of consensus among the musicians’,
according to Henry Mintzberg (1979: 370).
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