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strategic management
Strategic Management Awareness And Change 5th Edition John L. Thompson , Frank Martin - Solutions
=+• Analyse MT Space’s vision, purpose and guiding principles.
=+• Outline the main reasons why MT Space elaborated a strategic plan for 2012–2017.
=+• Discuss how the museum’s innovative features could be better implemented in its strategies and further programmes. Elaborate concrete suggestions.
=+• Discuss the influence and importance of the regional cultural policy for the museum’s future strategy.
=+• Analyse the interactions between external and internal factors in a matrix way. Draw conclusions.
=+• Elaborate a stakeholder analysis for the museum, and discuss why it is important for the museum’s current and future programming.
=+• Outline the main issues in the museum’s overall strategic management. In your analysis, elaborate the driving and restraining forces influencing the museum, as well as the risks and limitations.
=+• What do we do best?
=+• Who are other important groups and key persons from the micro-external environment? How could we involve them in our programmes and projects? These questions will assist the elaboration of your communication strategies.
=+• Is there any support for arts organisations that have an intrapreneurial profile?
=+• How is it possible to foster artistic creativity through policy decisions?
=+• Is arts education well balanced with the demands of the labour market in the arts and cultural field, and how do policies help with that?
=+• What is the form of direct state funding: provision of part of the budget of arts organisations, or subsidies based on project submissions, or support for individual artists?
=+• How are the state subsidies distributed between well-established arts organisations with a long history of existence and emerging artistic organisations?
=+• Is state support directed only to traditional and classical art forms, or are contemporary arts organisations also eligible for state funding?
=+• How is state funding distributed between the centre and the periphery—between larger cities and provinces, as well as isolated regions or towns?
=+• Are policy instruments targeting national-level (and federal-level) arts organisations or also highquality and innovative nonprofit and commercial art forms through project subsidies?
=+• Is the emphasis on direct or indirect government support for the arts or both?
=+• What are the economic conditions facilitating (or preventing) innovations in the arts?
=+• What is the branch of the creative (cultural) or entertainment industries to which your organisation belongs?
=+• Are there databases, statistical sources or media coverage at the national, regional and local levels in your country that can provide data and trends for this industry branch?
=+• What are the general trends in the development of this industry branch in the next years?
=+• Who are our main suppliers, and what is their importance in our organisation’s programmes and activities? This question is related to all the technical and ‘backstage’ parts of your activities.
=+• Who is our potential audience, and what are their consumer-behaviour trends, especially related to their free time and leisure activities? This question will help you to target your creative programming, to estimate your potential revenues, and to elaborate appropriate marketing strategies.
=+• Who are our main competitors (direct and indirect)? What are their unique features, strengths and weaknesses?
=+• What might be the restraining forces for your arts organisation to function effectively?
=+which your arts organisation can benefit from?
=+• What are the main driving forces in the development of the creative industry in the next few years
=+• What is the level of current innovations and knowledge conditions in the industry branch?
=+• Is the industry structure capital-intensive? Does it require a relatively high level of capital investment compared to the labour cost? This is especially important for start-up projects.
=+• What is the level of concentration of companies and businesses in the industry? Mind that small organisations perform worse in highly concentrated industries and much better in fragmented industries.
=+• What is the stage in the life cycle of development of this industry branch? Is it in the early stages, growth, maturity or decline?
=+• What are the economic conditions facilitating (or preventing) international cultural cooperation, export and import of cultural goods and services or mobility of artists?
=+5. Explain the main terminology used in the strategic management process.
=+• Trust your consultant and work with him/her in a collaborative manner. Discuss complicated issues carefully.
=+• Inform your consultant promptly about changes, when they occur.
=+• Do not try to manipulate the opinion of your consultant by imposing your viewpoint. His/her role is to provide an objective view of the long-term development of your organisation and the problems you might face, as well as giving you alternative solutions and options.
=+• If your organisation has members or subscribers, convey to them the importance of the overall strategic planning process and help the consultant to get their feedback.
=+• What? What are we going to do? What are our aims and objectives? What kind of activities are we planning? What kind of programmes and services shall we offer?
=+• How much, at what quality level and quantity? What is our capacity to create and produce?
=+How do we set up quality standards and according to whose criteria—those of the management, decision-makers, internal teams, board members or stakeholders? Which of our programmes and projects have innovative characteristics and are unique? Which can bring additional revenues?
=+• Why? What is the reason and the rationale for choosing these concrete projects and activities?
=+What are the competitive advantages and uniqueness of our programmes and working methods?
=+Would our programmes fit to the expectations of diverse shareholders? What kind of social problems would our projects solve, if any?
=+• For whom? Who are our direct and indirect target groups? Do we know our audiences, communities and stakeholders well? What is our relationship with each of them, and how will they be influenced by our activities?
=+• How? What are the concrete processes which we plan? How do we coordinate and synchronize activities and programmes in a smooth way?
=+• With what means? What kind of resources do we need—material, human, financial, nonmaterial, informational?
=+5. Realize what intrapreneurial and collaborative projects in the arts are about.
=+• How do we communicate our differences through all forms of promotion?
=+• Provide your consultant as much information as possible. Do not forget to share key documents and issues related to the organisation’s past and current performance.
=+• Prepare well for the first meeting with the consultant. The ‘kick-off’ phase is very important for the success of elaborating the strategic plan.
=+• Assign only one person from the organisation to be the direct contact point for the external consultant.
=+• Where does the organisation want to be after a certain period of time (in most cases up to four years)?
=+• Where is the organisation now—what does it do, and why? Where is the starting point for the journey?
=+ What is its potential for innovation? What is the entrepreneurial climate within the organisation?
=+• What are the trends in the outside environment, and how is the organisation positioned with respect to its competitors, collaborators and stakeholders?
=+• What are the possible sources of innovation?
=+• What are the organisation’s internal capacity and resources? Where are the elements of innovation and entrepreneurship (if any)?
=+• How could the organisation change and reach the final destination?
=+1. Understand strategic planning as a key phase in the overall strategic management process.
=+2. Identify the main reasons for elaboration of strategic plans in the arts.
=+3. Articulate diverse approaches to and methods of strategic planning used in arts organisations.
=+4. Discuss the similarities and differences between various plans and projects.
=+6. Design the skeleton of a strategic plan for an arts organisation.
=+7. Understand the importance of the board and external consultants in the strategic planning process.
=+• Consider the value which a consultant might bring in elaboration of the strategic document versus the required resources (e.g., recruitment process and consultant’s fee).
=+• Elaborate well the terms and conditions of the assignment, expected deliverables and the time frame. Do not forget to include a confidentiality clause in the contract.
=+• Who? Who is responsible for what throughout the whole process? What are the capacities of people to perform the planned activities?
=+1. Describe the elements that make up an organisation’s identity.
=+6. Elaborate the section of the strategic plan related to the mission, vision and goals of an arts organisation.
=+5. Analyse the mission statements and objectives of diverse arts organisations.
=+4. Elaborate how organisational objectives can be set up using the SMART approach.
=+Are there any additional needs for personnel considering future programmes and growth?
=+How do we plan to recruit and to work with contractors and volunteers?
=+• When? What is the time frame, the internal phases, stages, schedules and deadlines?
=+• What results? What kind of qualitative and quantitative results would we like to achieve? How can we measure these results?
=+• The recommended structure in this book is a general framework, and you will need to adapt it to your organisation’s specificities and needs. There are no ready recopies, and strategic planning is situation specific.
=+• Keep in mind the nature and mission of your organisation and the reason you are developing the strategic plan. For example, a business or commercial organisation may aim to improve sales and marketing aspects, to provide evidence of economic viability, to ensure a return on investments and/or
=+• It is important to identify what kind of information you would need to elaborate the plan. Try to gather as much information as possible before beginning the planning process.
=+• Write the plan as a dynamic tool which can constantly adapt and change. Do not consider it as a static text.
=+• Have a clear scenario for how you think the final version of the strategic plan will be presented, understood, accepted and adopted by all those who have to implement it.
=+• Identify the internal work needed not only to elaborate the plan but also to implement it, monitor it and analyse the results. Remember that the ultimate goal of any strategic planning process is not the plan as a document but its implementation.
=+• Develop the strategic plan in a synchronized and coherent way. Make sure that there is a logical correlation between different aspects and that the aims, objectives, strategies, programmes and expected results are connected.
=+2. Understand and explain why defining an organisation’s mission (purpose) and vision is so important.
=+• Various online tools are available to facilitate the process of writing strategic plans. Evaluate how suitable they are for your organisation. Remember that it is better to invest time now and avoid wasting time learning to adapt to software that might be unsuitable later.
=+3. Understand the three-dimensional framework for formulating objectives.
=+5. How could Porter’s five forces model be applied to Camelot, the monopoly supplier of the UK’s lottery?On the one hand, Camelot operates under licence for a fixed period of years without any direct competition; on the other hand, it provides only one gambling opportunity amongst many. Why
=+■ McCarthy’s (or similar) Index (press cutting service for firms and industries).
=+■ Monopolies and Mergers Commission reports, and Competition Commission reports, which usually feature a comprehensive industry analysis
=+■ Annual Report of the Director General of Fair Trading (as a source of ideas)
=+■ Business Monitors (PA and PQ series)
=+4. Take an industry of your choice, perhaps the one you work for, and assess it in terms of(a) concentration(b) Porter’s model of five forces.From this analyse one or more of the major competitors in terms of their chosen competitive strategies.As well as the Internet he following library
=+3. From your own experience, and from newspaper and other articles you have read or seen, list examples of where monopoly power and restrictive practices have been investigated, and where proposed mergers have been considered by the Competition Commission (or its predecessor the Monopolies and
=+How has the company diversified, and what do you think the implications are?
=+2. How has Steve Pateman, owner of a family boot and shoe business in Northamptonshire, dealt with the pressures for change in this industry?
=+1. How have changes in competition from around the world affected the UK footwear industry? What are the strategies of the leading, remaining manufacturers?You may wish to use a leading manufacturer such as C&J Clark as a key reference point. You should also look at a specialist such as Grenson
=+What will they expect in terms of size, performance, and external and interior design?
=+4. Possibly in a group discussion, build a scenario relevant for the motor vehicle industry in ten years’time. How will people be using their cars?
=+3. One of the growth sectors in the UK economy has been in the area of call centres. Many thousands of people are employed in UK call centres. Many of these jobs are now being threatened with removal to India and other cheaper wage areas. How should the managers and workers of UK call centres
=+2. From this evaluation, develop a SWOT analysis and consider the strategic implications.
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