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On-the-job management theory
When studying management theory and practice, which are often examined
by using case studies, it becomes apparent that many managers enter into the
practice of managing with virtually no theoretical background. Whether in the
arts or business, not having formal training has never been a barrier to running
an organization. For example, the late Katherine Graham, who once owned
the Washington Post, had no formal training in business management. The sud-
den death of her husband thrust her into the role of chief executive offi cer.
Nonetheless, she was able to successfully operate a major newspaper using her
personal abilities and adaptability. She was able to learn on the job and to fur-
ther develop her own operating theories and practices to maintain a success-
ful business. For every Katherine Graham there are many other people in the
workplace less successful at playing the role of manager. Your local bookstore
is stocked with readings about how employees should deal with the boss or
supervisor who does not seem to have mastered the art of managing. (For more
information about Katherine Graham go to: http://womenshistory.about.com/
od/journalists/p/katharinegraham.htm.)
In Chapter 2 we saw that Paul DiMaggio’s 1987 study for the National
Endowment for the Arts demonstrated more than 85 percent of the arts man-
agers in theaters, art museums, orchestras, and arts associations said that
they learned from on-the-job training.
1 The university-trained arts managers
surveyed claimed that their schooling did not adequately prepare them for
many of the demands of running an organization. The numbers of university-
trained arts managers has increased in the last few years, but it is still safe to
say that the experience of the workplace is required to complete the education
of any arts manager.
The effective manager
Regardless of how an individual learns the art and science of management,
an effective manager must eventually be able to analyze variables and pre-
dict outcomes based on experience. In other words, the manager must fi nd
a set of operating principles that can be used day to day. For example, an arts
manager might have to say to the Board, “If we raise prices, ticket orders will
decline based on discretionary spending patterns of our audiences. Or, if we
change our subscription plans, fewer people will order because any change
creates confusion. Or, if we perform nothing but concerts of modern music, a
signifi cant portion of our subscribers will stay home. ” These statements may
all be true and based on good scientifi c research, but that does not mean the
Board will follow the manager’s recommendation. It may be perfectly appro-
priate, given the mission, for an organization to make a decision that will
Management as an Art and a Social Science