The dual functions of guiding artistic or educational activities and an organization’s administration—even in the best-run museums and performing arts companies fosters structural complexity, competing sets of goals, multiple stakeholder claims and values in some tension with one another. The distinct nature of cultural organizations arises not simply from their missions, but also from the complexity that multiple demands impose. As the authors put it, “…the strategic decision-making process encounters forces, especially those of an aesthetic nature, that conflict with the more rationalist orientation inherent in the managerialist approaches that (these) organizations are being urged to accept. Our aim, in both instances, is to draw heavily on the existing managerial literature to provide greater understanding of the range of roles that cultural organization managers must fill while acknowledging the distinct nature of the environments they face.”
The authors demonstrate how the major leadership styles (charismatic, transactional, transformational and participatory) play into these tensions. Each style has its unique advantages and disadvantages but many researchers now hold that successful leaders have their “default” style. In other words, they work to match personal styles with the culture of the organization and the demands of its environment. The size of the organization, diversity of programs, internal political arrangements, relationships with external stakeholders, financial stability, institutional image, age and stage of growth or decline will impact the fit between a leader’s style and organizational effectiveness.
The article concludes with a very practical section on strategic decision-making in cultural organizations, covering rational models, decision making as a political exercise, incremental decision making (small bets and experiments) and “the garbage can: strategy as a pattern in random events.” Again, the appropriate model to use ought to be reached situationally. One size never really fits all.