Organizational creativity

Özet
Bu çalışmada, örgütsel yaratıcılık modelinin oluşmasında bireysel yaratıcılık ve örgüt ikliminin muhtemel etkilerinin incelenmesi hedeflenmektedir. Çalışmanın örneklemini Aksaray ilinde bulunan 15 adet ilkokulda görev yapan sınıf öğretmenleri oluşturmaktadır. Çalışmaya katılmayı kabul eden öğretmenlerden e-posta adresleri istenmiş ve Google Docs adlı online yazılım aracılığıyla önceden hazırlanmış olan anket formunun bağlantısı elde edilen e-posta adreslerine gönderilerek öğretmenlerden bu anketi doldurmaları rica edilmiştir. Araştırmada kullanılan örgütsel yaratıcılık ölçeği Akkanat’ın (2014) tez çalışmasından, bireysel yaratıcılık ölçeği Ürü’nün (2009) tez çalışmasından, örgüt iklimi ölçeği Erdoğan’ın (2013) tez çalışmasından faydalanılarak oluşturulmuştur. Veriler IBM SPSS Statistics 20 yazılımı kullanılarak analiz edilmiştir. Yapılan analizler sonucunda, hem bireysel yaratıcılığın hem de örgüt ikliminin örgütsel yaratıcılık üzerinde pozitif yönlü ve anlamlı etkisi olduğu tespit edilmiştir. Ayrıca, örgütsel yaratıcılık düzeyinin işgörenlerin cinsiyetlerine göre farklılaştığı da çalışmanın bulguları arasındadır.

Anahtar Kelimeler: Örgütsel Yaratıcılık, Bireysel Yaratıcılık, Örgüt İklimi

Abstract
The aim of this study is to analyse the effect of individual creativity and organizational climate on the emergence of organizational creativity. The sample of the study consists of primary school teachers from 15 primary schools in Aksaray. The e-mail addresses of the participants were taken and the link of the online questionnaire prepared beforehand via Google Docs program was sent to all the participants via e-mail. The organizational creativity scale was taken from Akkanat’s (2014) study, individual creativity scale was taken from Ürü’s (2009) study and organizational climate scale was taken from Erdoğan’s (2013) study. The data were analysed through IBM SPSS Statistics 20 software. As a consequence of the analyses, it was found out that both individual creativity and organizational climate has a positive and meaningful effect on organizational creativity. Besides, it was revealed that there is a meaningful difference between male and female teachers in terms of their organizational creativity levels.

Keywords: Organizational Creativity, Individual Creativity, Organizational Climate

In this thesis, I sought to contribute to organizational creativity research by empirically studying the collective production of Contemporary Dance Theater (CDT). I began with suggesting that the literature domain of organizational creativity, while a burgeoning academic field, is perpetuating paradigmatic and ideological assumptions that often separate creativity from practice. It is the prevailing ontological and methodological individualism of most organizational creativity research that brings about conceptual and methodological quandaries when seeking to account for (a) organizational creativity as a relational, processual and thoroughly embodied and affective affair, and (b) the basic question of how novelty and creativity are possible.
The overall aim of this thesis was therefore to reclaim creativity as a prolific category of social and organizational thought by exploring it within the holistic process of actual work. For this, I studied creativity as a form of practice and enactive sensemaking within the richness of the moment-to-moment, affective engagement of experienced bodies with culturally meaningful materials. From a perspective of creative practice, this meant turning creativity into a problematic modality of attachment and thus a matter of taste. Framing creativity in terms of a pragmatic conception of taste-making then allowed me to account for the performativity of relational becomings that conserve as well as refine and transform sensibilities and materials. This meant granting the materials of practice their own agencies, as well as endowing the practitioner with "passion," a specific skill set of active sensibilities that allows one to follow and intervene in the flow of materials.
Seeking to enact these conceptual formations through an empirical study of CDT production, I based this study on a multi-sited and focused organizational video-ethnography within a comparative, embedded case design. I thereby developed a methodology that attempted to "follow forward" the creative process and sought to produce rich and suggestive descriptions of the creative practice and its processes within CDT while developing theoretical propositions alongside the empirical material.
First, the empirical study detailed creative practice in terms of its ecology. I distinguished between (a) the actual material of creative practice, which consists of incorporated motion repertoires as well as biographical and cultural proficiency; (b) the various practice carriers (plug-ins) - from social techniques, over performative theories, devices, and the conduit of "taste talk" to the enactment of material in productive articulations - that enable creative practice through forging skilled bodies; and (c) the affective and "normaesthetic" milieu of creative practice that is constituted by the community of practitioners. Together, these elements were described as forming an experimental apparatus, or a collective set-up of a performance and event ecology that harbors poetic practices and their occasions. Second, this study specified the process of CDT production as an incremental qualification of a performance. Marked by a peculiar "fever curve" of attachments and detachments, CDT production was described as being affected within the formats of researching, assembling and scaffolding. A detailed analysis of the various practices of these formats revealed a nexus of experimental and codifying modes of taste-making. The findings were integrated within propositional models that specified the modes of taste-making as revolving around three central reciprocal relationships: (a) between immanent and explicit, (b) between prospective and retrospective and (c) between inventive and restorative forms of taste-making.
Overall, this study expands our understanding of organizational creativity by showing that creativity is 1) temporalized and processualized, 2) spatialized and collectivized, 3) grounded in affect and 4) politicized. It demonstrates the prolificacy of a practice-based framework of organizational creativity that is rooted in a pragmatic conception of taste-making and suggests that such a framing could open up creativity-as-practice as a stimulating research agenda. On a more general level, this study develops a framework of creative practice that concerns the status of its elements. It provides an "infra-language" or theory that seeks not to represent, systematically and from the outside, but to provide the sensibilities to explore organizational creativity from up-close - which can, as this study suggests, bear remarkable surprises.

Most organizational creativity research can be regarded as torn between partial vantage points (Kallio, Barry, Visscher, & de Weerd-Nederhof, 2011), the 4 P’s of creativity research – person, process, press and product (Rhodes, 1961). This approach must be seen in regard to two basic assumptions, methodological individualism inherited from psychology and economy, and organization theory’s in most parts entitative and static view of organization. Relating these assumptions to the dominant tradition of ‘creativity as creation’, in this paper I then propose a ‘forward’ reading of creativity (Ingold & Hallam, 2007) resting on alternative, processual and relational assumptions tied to the minor tradition of ‘creativity as creating’ (Hope Mason, 2003). This paper then aims at a specific practice-based account of organizational creativity, which allows theorizing organizational creativity in its non-teleological openness, its aesthetic and affective aspects and its collectivity. Opening up organizational creativity to the performativity of its practice then is the basic conceptual move allowing for an understanding of organizational creativity as ‘making events work’. As part of my ongoing PhD project, I draw on these concepts to analyze first material from my video-based, micro ethnographic studies of the performance- making processes in two different contemporary dance and movement theatre companies. The production of contemporary dance and movement theatre then is portrayed as a performative practice; sensing, attending and surrendering to a broad movement of materialities – the work of making events – and then consuming its own work, evaluating and channeling movement to practice’s evolving purpose – the work of making events work.

In today's era, the most important investments of an organization are the knowledge, creativity and organizational performance of its employees. Power plants, also similar to other organizations, need knowledge-oriented, creative and innovative staff to survive and progress. The purpose of the present study was to investigate the relationship between knowledge management and organizational creativity with staff productivity at the Iranshahr steam power plant. The statistical population of this study involves all employees of Iranshahr steam power plant. The sample size was estimated to be 183 people, according to Morgan table with maintaining safety margin, and it was selected by using random sampling method. Finally, data taken from a number of 183 questionnaires have been used. In order to collecting data, the questionnaires of Conrad and Neumann Knowledge Management, Helalian Motlagh & Hasan Zadeh's Creativity questionnaire, and Hershey and Gold Smith's Productivity questionnaire, this had acceptable validity and reliability. SPSS software was used for statistical analysis. The results obtained from data analysis showed that there is a positive and significant relationship between knowledge management variables and organizational creativity with employee productivity. Among the dimensions of knowledge management, the knowledge save dimension, and among the dimensions of organizational creativity, the Competence of human resources dimensions have the most relationship with employee productivity.

In today’s society, creativity, in close collaboration with innovation, is considered key to the success of many businesses. On the one hand, organizations need to organize people’s efforts and to control the outcomes of work, while on the other, creativity and innovation require the space for play and freedom. It is this contradiction, between the need to organize employees efficiently and the need to be creative, that forms the starting point for this study. Much previous research has focused on various ways to solve or manage this tension. This study takes a different, approach, viewing creativity as something that people construct through their actions. The aim here is to understand how efforts to organize creativity unfold in practice. The study is based on fieldwork conducted at an international high-tech company in Sweden. How people within that company try to organize and perform (i.e. achieve, manage or control) creativity has been followed by means of observations and interviews conducted between 2014 and 2016. Two different frameworks, Orders of Worth and Boundary Work, have been used for the analysis. The framework of Orders of Worth helps us to understand how different competing, or conflicting, rationalities are managed in practice in an organization, while Boundary Work provides a dynamic way to understand what is going on in an organization. The analysis describes how the relationships between organizing and creative work are worked out in different ways: i.e. through the creation of spaces, change initiatives, structures, and activities. The findings show how the inspirational order is instrumentalised in the service of the market order of worth, and how the industrial and fame orders play a part in this process as well. Further, it is also shown how inspirationally and industrially worthy boundary drawing and crossing takes place during efforts to organize creativity in the company. Creativity unfolds in practice through two interconnected processes: organizing creativity and creative organizing. Organizing creativity entails organizing spaces for creativity but also harnessing it so that it fits with current organizational goals and strategies. This is what management does. The second process, creative organizing, was the employees’ reaction to this way of organizing creativity. By means of a resistance movement, they introduced a series of dirty objects and unconventional work practices into the organization, in order to stir up and arouse creativity. They worked in the opposite direction to management and tried to integrate creative work into regular work. In conclusion, the initial tension between organizing work and being creative is reformulated.

Purpose – Presenting empirical findings from an ethnography on the making of contemporary dance and movement theatre, this paper aims to deepen our understanding of organizational creativity as practice driven by the nexus of idea generation and evaluation. From a practice-based perspective situated in a sociology of attachment (Hennion, 2004; 2007), the concept of ‘taste-making’ (Gherardi, 2009) is thereby introduced as a central, performative practice (Hennion, 2004) elucidating the intricate interlacing of idea generation and evaluation.
Design/methodology/approach – The paper draws on empirical data from a multisited video ethnographic fieldwork on the making of contemporary dance and movement theatre (CDMT), which has been part of my ongoing PhD project. The data has been analyzed according to the following research question: How is the making of contemporary dance and movement theatre realized by choreographic practices that interweave idea generation and evaluation in different forms of taste-making?
Findings – The paper suggests that in different phases of a creative process taste-making is central to distinctive ‘tactics’ (Certeau, 1984) of dance making. Three rehearsal tactics are presented in depth: ‘collective improvisation as assessocratic performance’, ‘employing ‘le regard exterieur by turns’ and ‘postponing closure – deferring taste-making to future assemblages’. These tactics are presented as pertaining to two dominant aesthetics of the chosen context, namely an ‘aesthetic of im/perfection’ and a twofold aesthetic of ‘capitulation & closure’.
Originality/value – The paper seeks to discuss organizational creativity from a practice-based approach based on process philosophy, distinguishing the various configurations of the idea generation and evaluation nexus, yet emphasizing their co-constitution in creative practice. By developing a conceptual framework around the performativity of practice and its inherent taste-making, the basic concept of practice is further opened up to the non-teleological openness, the collective (relational) aspects and the aesthetic aspects of a creative development process. The study thereby addresses a gap between creativity literature, mainly focusing on idea generation, and innovation literature, which mainly focuses on idea evaluation and implementation (Kijkuit & Van Den Ende, 2007). The paper is further contributing to the development of an aesthetics of organizational creativity as practice and therefore also draws on videographic data.

Managing creativity has proven to be one of the most important drivers in software development and use. The continuous changing market environment drives companies like Google, SAS Institute and LEGO to focus on creativity as an increasing necessity when competing through sustained innovations.
However, creativity in the information systems (IS) environment is a challenge for most organizations that is primarily caused by not knowing how to strategize creative processes in relation to IS strategies, thus, causing companies to act ad hoc in their creative endeavors. In this paper, we address the organizational challenges of creativity in software organizations. Grounded in a previous literature review and a rigorous selection process, we identify and present a model of seven important factors
for creativity in software organizations. From these factors, we identify 21 challenges that software organizations experience when embarking on creative endeavors and transfer them into a comprehensive framework. Using an interpretive research study, we further study the framework by analyzing how the challenges are integrated in 27 software organizations. Practitioners can use this study to gain a deeper understanding of creativity in their own business while researchers can use the
framework to gain insight while conducting interpretive field studies of managing creativity.

We undertook a detailed ethnographic study of the dance creation process of a noted choreographer and his distinguished troupe. All choreographer dancer interactions were videoed, the choreographer and dancers were interviewed extensively each day, as well as other observations and tests performed. The choreographer used three main methods to produce high quality and novel content: showing, making-on, and tasking. We present, analyze and evaluate these methods, and show how these approaches allow the choreographer to increase the creative output of the dancers and him. His methods, although designed for dance, apply more generally to other creative endeavors, especially where brainstorming is involved, and where the creative process is distributed over many individuals. His approach is also a case study in multi-modal direction, owing to the range of mechanisms he uses to communicate and direct.

Göç unsuru ve teknolojik ilerlemeler gibi nedenlerle farklı özelliklere sahip bireylerin bir arada çalışması alışılageldik bir durum haline gelmiştir. Bu durum ise farklılıkların yönetilmesi gerekliliğini ortaya çıkarmıştır. Öte yandan örgütlerin üretkenliğinin göstergelerinden örgütsel yaratıcılık ve yenilik performansı kavramları rekabet avantajı sağlayan önemli unsurlardandır. Farklı grupların etkin yönetilmesi güçlü ekiplerin oluşumunu destekleyecek böylelikle yenilik ve yaratıcılığın gelişimine katkı sağlanabilecektir. Farklılıkların yönetimi algısının örgütsel yaratıcılık ve yenilik performansına olası etkisinin belirlenmesine yönelik yapılan bu araştırma Karaman ilinde faaliyet gösteren bir tekstil firmasının 100 işgöreni ile gerçekleştirilmiştir. Anket tekniği ile toplanan veriler doğrultusunda yapısal eşitlik modellemesi yol analizine göre, farlılıkların yönetimine ilişkin algının örgütsel yaratıcılık ve yenilik performansına pozitif yönde etki ettiği ve güçlendirdiği sonucuna ulaşılmıştır.

Due to the immigration and technological advances, it is common for individuals with different characteristics to work together. So, it has become a necessity to manage the diversity. On the other hand, the concepts of organizational creativity and innovation performance, which are the indicators of the productivity of the organizations, are important elements that provide competitive advantage. Effective management of different groups will support the formation of strong teams, and then it will contribute to the development of innovation and creativity. This research has been conducted to determine the possible effect of the perception of diversity management on organizational creativity and innovation performance with 100 employees of a textile company operating in Karaman province. The data has been collected by the survey technique after that the structural equation modeling (SEM) path analysis has been applied on the data. It has been concluded that the perception of diversity management is positive effective and powerment on organizational creativity and innovation performance according to the SEM path analysis.

Project overload is an unpleasant phenomenon which is happening for employees inside those organizations trying to make the most efficient use of their resources. AE project inside VolvoCE (VCE) is an Advanced Engineering project eager to be innovative suffering from project overload. This research aims to help VCE to move towards creative organizational climate. To do this, the author used the Agent-based modeling (ABM) approach to examine the current reality of VCE and AE projects, where the opportunities and challenges for reducing the risk of project overload and moving towards innovation were identified. The results of this research allowed the researcher to define the gaps inside AE project and create a list of some recommendations. From these results: project overload can damage the employees' focus and bring psychological stress reactions; Creative actions are less likely to be the result of a team with high level of project. On the other hand, motivation on proper challenging goal is more likely to help individual to alleviate the negative aspects of low level of project overload. Keywords: Innovation, Creativity, project overload, Agent-based modeling iii I would like to thanks the following people: Jenny Elfsberg from VCE because of all support she generously offered during my thesis work, Anthony Thompson for being my advisor and for all his support, Massimo Panarotto for being my advisor and Tobias Larsson my supervisor at Blekinge Institute of Technology.

Göç unsuru ve teknolojik ilerlemeler gibi nedenlerle farklı özelliklere sahip bireylerin bir arada çalışması alışılageldik bir durum haline gelmiştir. Bu durum ise farklılıkların yönetilmesi gerekliliğini ortaya çıkarmıştır. Öte yandan örgütlerin üretkenliğinin göstergelerinden örgütsel yaratıcılık ve yenilik performansı kavramları rekabet avantajı sağlayan önemli unsurlardandır. Farklı grupların etkin yönetilmesi güçlü ekiplerin oluşumunu destekleyecek böylelikle yenilik ve yaratıcılığın gelişimine katkı sağlanabilecektir. Farklılıkların yönetimi algısının örgütsel yaratıcılık ve yenilik performansına olası etkisinin belirlenmesine yönelik yapılan bu araştırma Karaman ilinde faaliyet gösteren bir tekstil firmasının 100 işgöreni ile gerçekleştirilmiştir. Anket tekniği ile toplanan veriler doğrultusunda yapısal eşitlik modellemesi yol analizine göre, farlılıkların yönetimine ilişkin algının örgütsel yaratıcılık ve yenilik performansına pozitif yönde etki ettiği ve güçlendirdiği sonucuna ulaşılmıştır.

A path model of organizational creativity was presented; it conceptualized the influences of information sharing, learning culture, motivation, and networking on creative climate. A structural equation model was fitted to data from the pharmaceutical industry to test the proposed model. The ...

We undertook a detailed ethnographic study of the dance creation process of a noted choreographer and his distinguished troupe. All choreographer dancer interactions were video'ed, the choreographer and dancers were interviewed extensively each day, as well as other observations and tests performed. The choreographer used three main methods to produce high quality and novel content: showing, making-on, and tasking. We present, analyze and evaluate these methods, and show how these approaches allow the ...

The aim of this research is to examine the relationship between organizational creativity levels and problem-solving abilities of senior and mid-level sports managers working in Istanbul Sports Activities and Business Trading Corporation. Relational screening model which is used to determine the relationship between variables is applied. In the direction of the aim of the research, target population of the study is composed of senior and mid-level managers working in İstanbul Sports Activities and Business Trading Corporation; the sample designed by simple random sampling method is composed of volunteer sports managers (n=98). Personal information form, organizational creativity scale and “Problem Solving Inventory” designed by Heppner and Petersen (1982), adapted to Turkish by Şahin and Heppner (1993) are applied to participants. The obtain data are recorded by "IBM SPSS 22" packaged software. As statistical processing, Pearson correlation analysis and regression analysis are used. As a result, it is determined that the organizational creativity of the sport managers is at a high level, problem solving abilities are inadequate, and there is a negative relationship between organizational creativity levels and problem-solving abilities, and organizational creativity level predicts problem solving abilities.

In today’s society, creativity, in close collaboration with innovation, is considered key to the success of many businesses. On the one hand, organizations need to organize people’s efforts and to control the outcomes of work, while on the other, creativity and innovation require the space for play and freedom. It is this contradiction, between the need to organize employees efficiently and the need to be creative, that forms the starting point for this study. Much previous research has focused on various ways to solve or manage this tension. This study takes a different, approach, viewing creativity as something that people construct through their actions. The aim here is to understand how efforts to organize creativity unfold in practice. The study is based on fieldwork conducted at an international high-tech company in Sweden. How people within that company try to organize and perform (i.e. achieve, manage or control) creativity has been followed by means of observations and inte...

In today’s society, creativity, in close collaboration with innovation, is considered key to the success of many businesses. On the one hand, organizations need to organize people’s efforts and to control the outcomes of work, while on the other, creativity and innovation require the space for play and freedom. It is this contradiction, between the need to organize employees efficiently and the need to be creative, that forms the starting point for this study. Much previous research has focused on various ways to solve or manage this tension. This study takes a different, approach, viewing creativity as something that people construct through their actions. The aim here is to understand how efforts to organize creativity unfold in practice. The study is based on fieldwork conducted at an international high-tech company in Sweden. How people within that company try to organize and perform (i.e. achieve, manage or control) creativity has been followed by means of observations and inte...

W e examine the impact of key personnel's loss to competition on their former employers' creative performance. Using archival data on the career histories of designers and the creative performance of their fashion houses between 2000 and 2010, we find that a house's outward centrality in the network of personnel mobility-resulting from personnel departures-has an inverted U-shaped relationship with the house's creative performance. This relationship is moderated by the house's inward centrality in a network of personnel mobility stemming from hiring competitors' employees, the tenure of its creative directors, the accomplishments of these directors, and the house's status. Our results suggest that organizations can enhance their creativity by relying on ideas obtained through relationships with their former employees long after these employees left to work for the competition. However, this effect is contingent upon characteristics of the organization that may be associated with its capacity to absorb these ideas and its ability to signal legitimacy of the resulting output to the external audiences.

This research sets out to explore how dialogues in organizations can become the focal point for creativity and thereby a sustainable innovation platform for organizational employees and potentially their peers. This study argues for emerging approaches to navigate and co-create in paradoxical organizational environments, characterized by complexity, strategy, power and daily stakeholder demand and necessity to stay or become more innovative to keep up with fierce competition and potential disruption. To meet these conditions this study embrace improvisation defined as process [Sawyer, R. 2000] and as in jazz music [Berliner, 1994]. This research acknowledges the connection between the two concepts of creativity and innovation and the view that creativity is a prerequisite for innovation [Steiner, G. 2006] and this study's immediate focus is on creativity, which is why it at this point restrict it self not to investigate in testing potential ideas for their technical, conceptual or financial sustainability. This project acknowledges previous research using jazz as a metaphor, but argue the metaphor can become embodied in other domains by utilizing, translating, conditions, and attitudes, in other words, living values [Kirkeby, 2016] that inspire and enables jazz musicians to create, navigate and be in [Shaw, Stacey, 2006] on the spot collectively/individually. Dialogues [Shaw, 2002] are to be intertwined, synthesized with improvisation and in combination make up a lasting and sustainable creative platform for organizational members, inviting them to play their familiar instrument; their knowledge-using their voice and body in ensemble, performing conscious improvisational dialogues. The assumption of this research is that we as individuals possess knowledge that has not yet come into existence and therefore remains tacit and undiscovered-"unknown knowns"-things we don't know that we know [Zizek, Slavoj-2004]. This yet untapped knowledge can become explicit by focusing on dialogues, in ways that entails extended reflexive awareness, before, during and after engaging in the event of dialogue. The processes of communicating and state of Being represent an opportunity for a co-creative, communicative and engaging platform, figuratively speaking, come into being-inviting ideas to flourish, knowledge and assumptions to be challenged and tested, allowing for new knowledge to be created and come into existence for further exploitation. This research is about improvisation-improvisation as a reflexive process of being and co-creating-the origin of improvisation as phenomenon, in this context is rooted in the domain of jazz. The core of this project is to explore possibilities for the phenomenon of improvisation to occur, show it self and emerge in another domain-the spoken dialogue.

The main aim of the current study was to empirically analyse the validity of the relationships suggested by the Organisational Humour Model developed by Romero and Cruthirds (1). This theoretical model reported how use of different humour types by management could be associated with various workplace factors: creativity, stress, culture, social-distance, power, communication and group cohesion.

Creativity and innovation are very important to achieve successful performance results in the organizations. Even there is a common view about the effects of the environment to increase creativity; there are limited studies about the institutions how to use corporate tools for this purpose. This study aims to determine the factors behind organizational creativity and evaluate the effects of these factors on organizational creativity within a model demonstrating structural relations. The rapid development of information and communication technologies have been changing the organizational structure, business and work methods, manager and employee profile, and in general work life, and  have been bringing out new models particularly in communication in inside and outside the organization. Institutions aim to strengthen their employees with a positive approach by infusing them with concepts such as creativity, and flexibility and supporting them. In this study we examine the effects of these organizational predictors like knowledge management and self-organization on the employee creativity through innovativeness and communication. In our survey we used questionnaire method to the convenient sampled 227 employees in Turkey. Factor analysis towards findings and progressive intermediary variable tests are carried out by verifying different models. It was found that knowledge management and self-organization are effective on organizational creativity, but the most important factor determining organizational creativity is organizational communication followed by corporate innovativeness. We suggest the managers, in order to increase organizational creativity in their institutions; they should use knowledge management and corporate innovativeness effectively, so they can increase the efficiency of organizational communication.

Bu çalışma; işletmelerde çalışanların öz güven ve yaratıcılık düzeylerinin mutlulukları üzerindeki etkisini tespit etmeyi amaçlamaktadır. Bu çalışmada öz güven ve yaratıcılık düzeylerinin mutluluk üzerindeki etkisini belirlemeye yönelik bir model oluşturulmuş ve analizler gerçekleştirilmiştir. Araştırmanın bağımsız değişkenini öz güven kavramı, aracı değişkenini yaratıcılık kavramı, bağımlı değişkenini ise mutluluk kavramı oluşturmaktadır. Araştırmada veri toplamak için Akın (2007)
tarafından geliştirilen Öz Güven Ölçeğinden, Kaufman (2012) tarafından geliştirilen ve Şahin (2016) tarafından geçerlik/güvenirlik analizleri yapılan Kaufman Yaratıcılık Alanları Ölçeğinden, Hills ve Arygle (2002) tarafından geliştirilen ve Doğan ve Çötok (2011) tarafından geçerlik/güvenirlik analizleri yapılan Oxford Mutluluk Ölçeğinden yararlanılmıştır. Araştırmanın örneklemini, Türkiye’de savunma sanayi alanında faaliyet gösteren kamu ve özel sektördeki işletmelerde çalışan beyaz yakalı 212 kişi oluşturmaktadır. Araştırmadan elde edilen sonuçlara göre; öz güvenin alt boyutları olan iç öz güvenin ve dış öz güvenin, öz/günlük yaratıcılık üzerinden dolaylı olarak mutluluğu etkilediği sonucuna ulaşılmakla birlikte, dış öz güvenin mutluluk üzerinde doğrudan bir etkisinin de olduğu kanıtlanmıştır. Çalışmanın sonuçları doğrultusunda, çalışanların mutluluğunun sağlanması noktasında öz güven ve yaratıcılığın etkisinin olduğu, fakat öz güven ve yaratıcılık üzerinde ise, işletmelerdeki yönetim uygulamalarının dolaylı olarak etkisinin olduğu ifade edilebilir.

— Anchored on Teresa Amabile's componential theory of creativity, the organizational creativity model was investigated. The primary goal was to investigate the interrelationship of variables in the organizational creativity model such as domain-relevant skills, creative-relevant skills, intrinsic task motivation, work environment, and organizational creativity using 133 respondents from micro, small and medium-scale restaurants inside and outside the National Capital Region (NCR) in the Philippines. Results of the partial least squares-structural equation modeling revealed that only creative-relevant skills and work environment predicts significantly organizational creativity, while work environment significantly affects creative-relevant skills, intrinsic task motivation, and domain-relevant skills. Implications for work environments, as in the case of Micro, Small and Medium-Scale Enterprises (MSMEs) and directions for future research are provided.