Abstract
The contribution this paper makes to leadership studies is to advance leadership theory towards a process based perspective based on an appreciation of art. The article does this by using a narrative on art in Russia. The narrative forms the basis for discussing the role that symbolism and aesthetics play in (re)interpreting rebel leadership. The article also explores James Downton’s work alongside the narration to develop a socially constructed process based interpretation of rebel leadership. Building on this interpretation fundamental aspects of process-based leadership so far missing from the literature are highlighted. One such aspect is the ridicule (in this case through caricature) of existing leaders and leadership by the incumbent leader and/or leadership process – a pre-stage to the emergence of rebel leadership. Other aspects include stages of social and organizational liminality and introspection. From here suggestions are made for further theoretical and empirical enquiry and practical implications are highlighted.
Highlights
This paper explores leadership from the perspective of a sociologically constructed process through narrative
The paper uses the theory of rebel leadership (Downton, 1973) as an example of how art and aesthetics can be used as a means to reimage, rethink and reshape notions of leadership in organizations
Narrative from the second instalment of a documentary on art in Russia leading up to the revolution in 1917 is used as the central point for the analysis and critique of notions of rebel leadership
Summary
This paper explores leadership from the perspective of a sociologically constructed process through narrative. That Graham-Dixon’s interpretation is one of many possible, Valkenier (1983) highlights how the painting The Volga Boathaulers stimulated diametrically opposed political interpretations, Graham-Dixon appears to take but one of these interpretations Through this narrative it can be seen that art, aesthetics and symbolism reflect a socially based notion of rebel leadership, as would be expected from descriptions of revolutionary leadership from Downton (1973) and Gerth and Wright-Mills (1954). From the evidence a longitudinal socially constructed process linked to notions of rebel leadership within the time running up to the Russian revolution can be noted This is evidenced through the art of the time and highlighted by the narrative of Graham-Dixon’s television programme. A wider review of the revolution, revolt and rebel leadership literature would expand our knowledge of leadership and how this is translated into more mundane aspects of our lives through the performative discourse associated with these theories
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