A Canvas of Community: How Artists See Themselves as Community Leaders

The research question addressed in this thesis is: How do Wasatch Front artists see themselves as community leaders? After exploring the connection between leadership and art, I further researched how four visual artists from the Wasatch Front (a chain of cities from Nephi to Brigham City, Utah) see themselves as community leaders. I conducted this research by interviewing four visual artists associated with the Utah Arts Alliance. In addition to interviewing these artists, I filmed the processes and a project of one of the artists. I then analyzed the interviews and the film through coding and categorization, and then identifying emerging themes. In response to how Wasatch Front artists see themselves as community leaders, I discovered that these four artists do not recognize themselves as community leaders. However, each of the artists displayed qualities and characteristics of effective leaders. In addition, each artist exhibited the qualities and characteristics he used to define a leader. Therefore, I concluded that although these four Wasatch Front artists may not see themselves as community leaders, they have the qualities, characteristics, and potential to strengthen and lead their communities.

A CANVAS OF COMMUNITY: HOW ARTISTS SEE THEMSELVES AS COMMUNITY LEADERS by Troy Gulbrandsen A thesis submitted in partial fulfillment of the requirement for the degree of Master of Arts in Community Leadership Westminster College Salt Lake City, Utah April 2015 APPROVAL of a thesis/project submitted by Author's Name Troy Gulbrandsen School Department Education Title of Thesis/Project A Canvas of Community: How Artists See Themselves as Community Leaders The above named master's thesis/project has been read by each member of the supervisory committee and has been found to be satisfactory regarding content, English usage, format, citations, bibliographic style, and consistency, and is ready for submission to the Westminster College Library. April 19th, 2015 _______________________________________________ Date Chairperson, Supervisory Committee Approved for the School April 19th, 2015 _______________________________________________ Date Dean, School Abstract The research question addressed in this thesis is: How do Wasatch Front artists see themselves as community leaders? After exploring the connection between leadership and art, I further researched how four visual artists from the Wasatch Front (a chain of cities from Nephi to Brigham City, Utah) see themselves as community leaders. I conducted this research by interviewing four visual artists associated with the Utah Arts Alliance. In addition to interviewing these artists, I filmed the processes and a project of one of the artists. I then analyzed the interviews and the film through coding and categorization, and then identifying emerging themes. In response to how Wasatch Front artists see themselves as community leaders, I discovered that these four artists do not recognize themselves as community leaders. However, each of the artists displayed qualities and characteristics of effective leaders. In addition, each artist exhibited the qualities and characteristics he used to define a leader. Therefore, I concluded that although these four Wasatch Front artists may not see themselves as community leaders, they have the qualities, characteristics, and potential to strengthen and lead their communities. Keywords: Artist, Community, Leaders, and Leadership Acknowledgements Peggy Cain Michael Christensen Shelley Erickson Cory Gurney Amir Jackson Jamie Joanou Shae Petersen Prajit Ravindran STATEMENT OF PERMISSION TO DUPLICATE THESIS & DEPOSIT/DISPLAY IN THE INSTITUTIONAL REPOSITORY Name of Author(s) Troy Gulbrandsen School/Department Education Title of Thesis A Canvas of Community: How Artists See Themselves as Community Leaders With permission from the author(s), on the basis of an occasional and individual request, the staff of the Giovale Library of Westminster College has the right to make a copy of the above named thesis. The Giovale Library staff also has the right to mail or otherwise disseminate a copy to the requesting party and to be reimbursed by the requesting party for the cost of duplicating and mailing the thesis. I hereby give my permission to the staff of the Giovale Library of Westminster College to duplicate as described the above named thesis. Signature of Author(s) Date With permission from the author(s), the staff of the Giovale Library of Westminster College has the right to deposit and display an electronic copy of the above named thesis in its Institutional Repository for educational purposes only. I hereby give my permission to the staff of the Giovale Library of Westminster College to deposit and display as described the above named thesis. I retain ownership rights to my work, including the right to use it in future works such as articles or a book. Signature of Author(s) Date The above duplication and deposit rights may be terminated by the author(s) at any time by notifying the Director of the Giovale Library in writing that permission is withdrawn. Table of Contents Chapter I: Introduction…………………………………………………………………….1 Introduction………………………………………………………………………..1 Project……………………………………………………………………………..2 Purpose and Significance………………………………………………………….2 Research Question………………………………………………...………………4 Root Causes……………………………………………………………………….5 Limitations………………………………………………………………………...7 Delimitations………………………………………………………………………8 Community Organization.………………………………………………………...9 Conclusion………………………………………………………………………...9 Chapter II: Literature Review……………………………………………………………11 Art and Leadership…………………………………………………………….…11 Leadership………………………………………………………………………..12 Leadership in History.……………………………………………………12 Leadership Today...………………………………………………………14 Community Leadership..…………………………………………………17 Leadership and Art.………………………………………………………18 Art as a Metaphor for Leading...…………………………………………19 Practicing Leadership like an Art…………………….….………………20 Dance Metaphor………………………………………………………….20 Symphony Metaphor..……………………………………………………21 Comparing Art to Leadership……………………………………………23 Art in Leadership Development.…………………………………………23 Gaps in Current Literature.………………………………………………25 Conclusion.………………………………………………………………27 Chapter III: Methods and Analysis………………………………………………………29 Introduction………………………………………………………………………29 Population.……………………………………………………………………….29 Participants………………………………………………………………………30 Access……………………………………………………………………………30 Recruitment...………….…………………………………………………………31 Ethical Issues.……………………………………………………………………32 Methods………………………………………………………………………….34 Interviewing……………………………………………………………...34 Observation and Filming…………………………………………………35 Member Checking………………………………………………………..36 Analysis…………………………………………………………………………..37 Validity…………………………………………….……………....………...…..40 Challenges………………………………………………………………………..41 Conclusion……………………………………………………………………….42 Chapter IV: Findings……………………………………………………………………..43 Introduction……………………………………………………………………....43 Leadership Qualities……………………………………………………………..44 Learning………………………………………………………………….44 Self-Awareness and Humility……………………………………………48 Motivation…………….…………………………………...……………..54 Passion…………………………………………………………...55 Seek Challenges………………………………………………….56 Progression………………………………………………………58 Leadership Identification: The Disconnect………………………………………61 Cory Gurney……………………………………………………………..62 Prajit Ravindran………………………………………………………….63 Shae Petersen…………………………………………………………….64 Amir Jackson…………………………………………………………….65 Encouragement and Recognition………………………...……………….……...67 Definitions……………………………………………………….………………72 Chapter V: Reflection……………………………………………………………………74 Introduction………………………………………………………………………74 Implications and Recommendations……………………………………………..74 Limitations……………………………………………………………………….76 Future Research………………………………………………………………….77 Learning Objectives……………………………………………………………...77 Personal Reflection………………………………………………………………79 References………………………………………………………………………………..80 Appendix A………………………………………………………………………………85 Appendix B………………………………………………………………………………87 Appendix C………………………………………………………………………………89 Appendix D………………………………………………………………………………92 Running Head: A CANVAS OF COMMUNITY 1 Chapter I: Introduction Introduction Art has always been an important part of my life. My mother, my father, and both of my grandfathers are artists. One of my grandfathers pursued a career as a visual artist while the other was a professor of vocal performance. Although my parents are not professional artists, they instilled in me a love for art from the day I was born. My particular experiences with various art forms make me feel and understand human emotions in unique and particular ways. More than anything, art brings me joy and happiness while helping me to understand and see the world from a different viewpoint. It connects me to the experiences of other individuals, spanning across distance and time. Engaging with art has benefitted my life; it can also greatly benefit communities. I have personally experienced a connection to my community by participating in the arts. For most of my life I have lived in Park City, Utah, which is part of the Wasatch Front community (a chain of cities in Northern Utah from Nephi to Brigham City). As I have grown up, the arts have played an important role in connecting me to this community. Every summer, free community concerts bring me together with community members with whom I would otherwise never interact. At monthly gallery strolls I have met fascinating individuals who share similar interests. Some of these people have become good friends who enrich my life by sharing with me their personal stories as well as their own unique insights on various life topics. My friends and I are deeply grateful for the art displays and events that bring community members together and enrich our lives. In my experience, the focus of community art is centered on events and actual works of art. While participating in these events and engaging with the art, I have seldom considered the experience, intention, and role of the actual artists that create these Running Head: A CANVAS OF COMMUNITY 2 opportunities for community members to come together. At many of the events I have attended, these artists have been recognized and appreciated for their work. However, I wanted to know how the artists view their experiences. I wanted to know if the artists see themselves as leaders who bring community members together and inspire them through their art. Therefore, I posed the following question: how do the Wasatch Front artists see themselves as community leaders? Project Throughout the first year of the Master of Arts in Community Leadership (MACL) program, I focused my studies on the important roles that artists play in community, business, science, and education. I discovered that through their ability to see and express things in creative ways, artists can significantly contribute to many different disciplines outside of the arts. As this degree is particularly focused on community leadership, I specifically focused my research on the roles that artists play in the Wasatch Front community, and particularly as community leaders. By interviewing local artists from the Wasatch Front, I have explored how artists view themselves as community leaders. Purpose and Significance This project has a close connection to my personal life and career. As an instructor in the College of Humanities at the University of Utah, I have noticed a steady decrease in students who pursue degrees in the arts and humanities. Each year, we continue to lose more students to science and business programs. Why is this? According to Eliza Kent (2012), Running Head: A CANVAS OF COMMUNITY 3 The humanities, once regarded as the essential core of higher education, are now often seen as a luxury item, a ‘frivolous' indulgence that one consumes only when all other basic needs have been met. Indicators such as student enrollments, new faculty lines and grant funding in the humanities have pointed to a decades-long decline in our disciplines. (p. 273) Although students might want to pursue an education in arts and humanities, many do not trust that their degree will lead them to opportunities for secure employment. They are right to feel this way. It is difficult for me to encourage students to dedicate their time and education to the arts and humanities when I myself fear the future of my discipline. I cannot guarantee that by pursuing a degree in the arts and humanities my students will be able obtain financial security to meet their basic needs. Kent (2012) argues that the most important way to build strength and value around the arts and humanities is to teach students to have their own voice, something that arts and humanities particularly offer. In pursuing a career, the grades, the degrees, and the social connections will not "work very well unless a person can present him or herself authentically, using her hard won individual voice to articulate who she is, what she believes in and why" (p. 283). This is exactly what artists do. They use creative means to articulate who they are, what they believe in, and why. By empowering the voice of artists, learning about their experiences, and discovering how they see themselves as community leaders, I hope to show students and the community members of the Wasatch Front that there is great value and opportunity in pursuing a life dedicated to the arts and humanities. Running Head: A CANVAS OF COMMUNITY 4 The purpose of this project is to share the voice of artists with their communities and raise an awareness of the value of artists and their ability to lead. Another purpose is to help inform leaders of communities, organizations, education, and businesses as to how artists can benefit them. This will also bring awareness to the roles that artists play in society. The artist's audience tends to see, hear, or observe his or her work, but often does not understand the motivations and intentions that lie behind the creation of a piece. By better understanding the intention of the artist, audiences can gain a greater appreciation for the art and its message. This project intends to help artists find greater success and recognition as community leaders. As a society we tend to respect our leaders, and therefore I hope this project will help increase the respect and appreciation given to artists. By learning about the role that artists play as leaders in the Wasatch Front community, community members may be able to more fully recognize the important contributions they make. In addition, this project can help artists understand the roles they can play as leaders in influencing and inspiring community members. Research Question The research question I posed is this: How do Wasatch Front artists see themselves as community leaders? In conducting this research, I interviewed four visual artists from the Wasatch Front community: two street artists and two photographers. The purpose of these interviews was to focus on the experiences and opinions of these artists. In addition to conducting interviews, I created a video that highlights one of the photographer's most recent projects. This video displays how this particular artist has used art to impact members of his community. By exploring how these artists see Running Head: A CANVAS OF COMMUNITY 5 themselves as community leaders, I discovered how they view the purpose of their art and the impact it can have on communities. Community members can benefit as they hear the voices of the artists and better understand the ways that they search to influence communities. Root Causes Throughout history, society has created a specific image of what a leader is. As mentioned by Stephen Preskill and Stephen Brookfield (2008) in their book, Learning as a Way of Leading: Lessons from the Struggle of Social Injustice, there exists a typical, predetermined perception of what a leader is, which may include being dominant, male, and holding a notable title or position. When one thinks of a leader, he or she may think of the president of a country or the CEO of a company. Another common image that may come to mind is that of an individual who led a movement, such as Martin Luther King Jr. Perhaps in the current day and age of thriving technology and business, the image of a leader is associated with wealth and prestige. All of these images may be correct in their depiction of what a leader is; however, this does not mean that individuals who do not align with these images are not leaders. One of the root causes for why society does not recognize artists as leaders is the existence of traditional views and images of what a leader is. As I will further discuss in Chapter II, leadership has been a prevalent topic of study throughout history. The typical authors of history were those who were dominant figures in society and those who were wealthy and educated (Grint, 2011). Therefore, our views of leadership have been influenced by factors such as politics, religion, wealth, and power. In relation to artists and leadership, throughout history artists were not recognized Running Head: A CANVAS OF COMMUNITY 6 as prestigious, noble, or powerful. Their art was recognized as a skill, and they were regarded simply as artisans and workers. One example in particular that stands out is that of Michelangelo Buonarotti. Despite his great fame and recognition today for works such as the David, the Pietà, and his painting of the Sistine Chapel, many may not know that Michelangelo was strongly discouraged from pursuing a career as an artist. In fact, his father, Lodovico Buonarotti, who was a political man and worked for the Florentine government, believed that a career as an artist was below the family's social status and sent him to school to study grammar (Rolland, 1962). Despite great reluctance by his father and uncle and cases of abusive discouragement, Michelangelo left school and began an apprenticeship to become a sculptor. At the time Michelangelo was commissioned to create art pieces as a worker, and not as a famous artist. Now he is recognized as one of the "greatest artistic geniuses who ever lived" (Coughlan, 1966, p. 10). Was he ever a political or religious leader? No. Does his art still impact communities throughout the world, even to this day, more than 500 years later? Yes. Although we see Michelangelo as a community leader, at the time when he was alive he was only seen as an artist and laborer. History has a great influence on our image of what a leader is. Society, family, and peers also have an influence on how we perceive leadership. Much like history, current leaders in our society and communities, as well as parents, may have a strong influence on our current perception of leadership. Often titles are used to define leadership. Such examples include: President, CEO, and even Professor. These titles are used as tools to define and recognize leaders in certain positions. Society creates roles and then identifies these roles by titles. In addition, society and parents do the same thing Running Head: A CANVAS OF COMMUNITY 7 to individuals. In his speech, "Personal Renewal," John Gardner (1990) says, "...I've concluded that our parents and society have a hand in building our prisons. They create roles for us -- and self-images -- that hold us captive for a long time" (para. 6). These roles created for us may have a substantial influence on how artists see themselves and whether they see themselves as community leaders or not. In addition, these roles reflect in the way we view others, and particularly the titles with which we associate leadership. This presents a disconnect between the way society views an artist and the way society views a leader. The role for which we identify an artist is different from the role for which we identify a leader. We may therefore conclude that history and society have a strong influence on why we do not always see and recognize artists as community leaders. I address this root cause by exploring how artists see themselves as community leaders and also by showing community members how artists are community leaders. Limitations The greatest limitation that I encountered in this study was my access to artists. In our community there are many artists, and I did not have the time nor the capability to interview all of them. Therefore I had to be selective in who I interviewed. I was also limited to who I was able to interview based on the availability of artists. As I chose to collaborate with the Utah Arts Alliances, I agreed to work only with artists associated with the organization. Many artists that are connected with the Utah Art Alliance were excited about my research, but did not have the time to participate. I was also limited in my ability to generalize my findings to a larger population since I explored the research question with only four particular participants. Running Head: A CANVAS OF COMMUNITY 8 Delimitations I chose to focus on artists because of their ability to lead through creativity. However, artists are not the only individuals who use creativity in leading and strengthening communities. There are certainly individuals in many different fields that may see themselves as community leaders and whose narratives would be beneficial to this study. I chose to focus on artists because of their ability to connect with diverse community members through art. I love nothing more than going to the symphony and seeing a wealthy board member in black tie attire sitting a few rows in front of a group of Hispanic kids in their jeans and tee shirts. Although they are socially divided, their interest in music brings them together to participate in the same experience. Perhaps they will never talk and never relate. However, for a couple hours they are both enjoying the same form of art. I find this to be a powerful step towards bridging the gaps in society that augment the social problems that exist. Therefore, I chose to focus specifically on artists, even though I know that there are several other examples of leading communities with creativity. As I chose to focus on artists, I realized there are many different types of artists. In order to keep this project from getting too big, I only focused on two types of artists, photographers and visual artists. I was therefore able to explore the different ways similar types of artists see themselves as community leaders. In addition to selecting specific artists, I also chose to work only with artists associated with the Utah Arts Alliance, while realizing there are several art organizations as well as artists I could have included in my study. Running Head: A CANVAS OF COMMUNITY 9 Community Organization The community organization that I collaborated with was the Utah Arts Alliance. The Utah Arts Alliance works to foster all forms of art in order to create an "aware, empowered, and connected community" ("What Does Utah Arts Alliance Do," 2014). By researching how Wasatch Front artists see themselves as community leaders, I was able to support the Utah Arts Alliance in its attempts to use art to create a community that is aware, empowered, and connected. My research creates an awareness of the roles artists hold as community leaders, empowers artists to find ways to become more engaged in their communities, and connects community members to artists. The most notable part of my project that benefitted the Utah Arts Alliance was the production of an artist profile video. This profile video was shared on the Utah Arts Alliance website and at their Connect events. The intention of this profile video was to demonstrate the findings of my research question by showing how one particular Wasatch Front artist sees himself as a community leader. In carrying out my research, I worked with artists who utilized the resources offered by the Utah Arts Alliance; by doing so I also represented its service to artists and the entire Utah community. Conclusion In order to discover how Wasatch Front artists see themselves as community leaders, I interviewed four visual artists and created a film profiling one of their projects. This research focused on gaining insight as to how artists connect with leadership. By better understanding this connection between artists and leaderships, I, along with the Utah Arts Alliance, am able to explore new ways that artists can connect with their communities and have a larger impact. In conducting this research it was important to Running Head: A CANVAS OF COMMUNITY 10 understand the various literature that discusses the connection between art and leadership. I will now review that literature in the next chapter and explain how it connects to this research project. Running Head: A CANVAS OF COMMUNITY 11 Chapter II: Literature Review Art and Leadership Leadership scholars use the way artists create art to explain how leaders can lead. By using art as a metaphor for leadership, leadership qualities, attributes, strengths, and approaches are defined in new and creative ways. Common phrases found in the discussion of leadership include, "the art of leadership" or "leading is an art" (see DePree, 1989). The metaphor created by comparing art and leadership can be effective in discussing successful leadership qualities as shown by the literature that I will discuss. There are several other connections between leadership and art. Not only is art used as a metaphor for leadership, but art is also applied to represent leadership, develop leadership skills, and stand as an example for leaders. The metaphor used to relate leadership to art is effective in exploring leadership; however, the question I would like to pose takes a step back from this metaphor and focuses specifically on artists. How do artists act as leaders in art, and furthermore as leaders in communities? Do these artists see themselves as leaders? Through my research I have explored how Utah artists in the Wasatch Front envision themselves as community leaders. In addition, I examined the leadership qualities that these artists possess. This study is important because of the positive impact it can have on both artists and communities. Through this study community members can see artists as not only creative figures, but also as individuals who help motivate and influence others for good. This may lead to an increased recognition and appreciation for art in communities. I also intend for this study to have a positive impact on the way artists see themselves and the valuable roles they can play in communities. I chose to explore the question: how do Running Head: A CANVAS OF COMMUNITY 12 artists see themselves as community leaders? According to the Community Tool Box, a public service of the University of Kansas that partners with community organizations around the world, community leaders are individuals who "take responsibility for the well-being and improvement of their communities" ("Learning to be a Community Leader," 2014). I have chosen to use this definition of a community leader in my research. The types of artists I interviewed include photographers and visual artists that have displayed their art in galleries throughout the Wasatch Front. If artists recognize their leadership capabilities, perhaps they will have a greater ability to use their art to positively influence and inspire individuals to improve communities. Leadership Leadership in history. Historically, leadership has been an important focus of study. "Concepts of leadership, ideas about leadership, and leadership practices are the subject of much thought, discussion, writing, teaching, and learning" (De Pree, 1989, p. 11). The study of leadership is not new. Ancient Greek philosophers such as Plato explored the concept in many different degrees (Takal, 1998). For example, Plato suggested that in establishing leadership, one must recognize strengths and skills according to expertise. A farmer would not be fit to build a boat. He suggested the same for political and community leaders (Grint, 2011). Niccolò Machiavelli (1469-1527), an Italian historian, philosopher, politician, and humanist, extensively discussed leadership and ethics (Harris, 2010). His book, The Prince, discusses different types of leaders as well as the different characteristics and behaviors of leaders. Of course, his focus is on princes and principalities, but the philosophical nature of his work extends to the general Running Head: A CANVAS OF COMMUNITY 13 field of leadership. These are just two of many historical philosophers and academics that studied and explored leadership. Beyond philosophers, politicians, and historians, there were periods in time that influenced changes in leadership trends. One historical period in particular that changed the nature of leadership was the Industrial Revolution. During the Industrial Revolution there was a shift from an agricultural-based economy to an industrial-based economy. This shift brought about a change in leadership in which common people gained power based on their skills (Clawson, 1999). German sociologist Max Weber suggests that the mechanical and industrial processes developed during the Industrial Revolution directly influenced the development of the bureaucratic form of organization. This bureaucratic form had a similar influence on administration as machines did on production (Morgan, 1997). Just as Weber analyzed leadership during the Industrial Revolution, similar ways of studying leadership can be applied to other historical periods. In studying the history of leadership, Robert Taormina (2010) analyzes eight different archaeological periods and discovers the dominant leadership skills and characteristics within each period. Starting with the Stone Age and ending with present day, Taormina explores the evolution of leadership. He concludes that some leadership characteristics remained essential throughout each period, while others existed only to meet the demands and context of a particular period. In particular, Taormina determines that "skills" are at the foundation of leadership as it exists throughout each archeological period. However, these "skills" changed over time as humans and society progressed. For example, in the Stone Age physical strength was a dominant skill associated with leadership. It continued to be an essential skill throughout some of the successive periods, Running Head: A CANVAS OF COMMUNITY 14 but eventually other skills took precedence, such as the administrative skill of managing resources. This skill of administration was particularly important for a leader during the First Farming Period. The individuals who had the strongest relevant leadership skills were those who led communities and societies. This discussion of leadership throughout history emphasizes the important role that leadership has always played. One important thing to consider is that the current knowledge, views, and understanding of historical leadership come from historical writings. Keith Grint (2011) explains that the most powerful and prestigious individuals, who are most identifiable as the winners, typically write history. He therefore states, "Thus, a preliminary warning in reading any account of classical leadership - and indeed any account of contemporary leadership - is to be wary of the sources" (Grint, 2011, p. 3). In reviewing literature on leadership, that of the past and the present, I will take into consideration Grint's warning and pay close attention to the sources I incorporate. Leadership today. Today there is a more contemporary approach to leadership studies. Doctorate programs in leadership are growing throughout the nation in popularity and size. For example, Harvard has placed a strong focus on executive development and leadership within their business school programs while schools like Columbia emphasize leadership in education. "Leadership is one of the most observed and least understood phenomena on earth" (Burns, 1978, p. 4). This might explain the continual and expansive exploration of it. The extensive research done on leadership at an academic level has made it a prevalent and significant field of study. In many cases, the discussion of leadership is moving away from the traditional views that frequently surround it. Ian Sutherland (2013) mentions, "Management and Running Head: A CANVAS OF COMMUNITY 15 leadership educators and practitioners are increasingly disenchanted with traditional (rational, instrumental, economically dominated, realist oriented, and ‘objectively' analytical) means of development and practice" (p. 25). Several of these educators and practitioners include popular scholars who take new and unique approaches to explore leadership in untraditional ways. In their studies, George, Sims, McLean, and Mayer (2007) have moved away from traditional means of discussing leadership by studying and developing the theory of "authentic leadership." Authentic leadership focuses on the personal element of leadership and emphasizes that a leader must be his or her self and not try to imitate someone else. One must develop his or her personal leadership strengths in order to be an effective leader. Artists express themselves through creative means. In exploring how artists see themselves as community leaders, I was able to identify elements of their authentic leadership that are found in their artistic approaches. I identified how these artists are true to who they are, to their style, and how they do not try to imitate others. These findings will be presented and explained in Chapter IV. Effective leadership is also discussed by Peter Drucker, one of the more well-known present day leadership scholars. Drucker (2004) explains that leaders do not have to fall under today's commonly used definition and view of the term "leader." Instead, Drucker says that leaders "differ widely in their personalities, strengths, weaknesses, values, and beliefs" (p. 36). Leaders are not defined by their roles and positions, but rather by who they are and what they do. Drucker applies his personal experiences of working with leaders over the course of 65 years to explain what effective leaders do. Among others, Drucker claims that effective leaders do the following: ask questions, Running Head: A CANVAS OF COMMUNITY 16 develop action plans, take responsibility for decisions and communicating with others, and focus on opportunities rather than problems. Another untraditional idea expressed by Drucker (2004) is that leaders of businesses and organizations should learn from voluntary organizations about intrinsic motivation, instead of relying on their typical extrinsic motivations (Adler, 2006). Intrinsic motivation refers to when an individual is motivated to do something based on internal rewards rather than external rewards (extrinsic motivation). For example, many people who work for nonprofit organizations are intrinsically motivated because of the personal reward they receive by doing good and bettering the lives of others. They are motivated by the personal satisfaction of helping others. People who are extrinsically motivated typically work for an external reward such as money (Adler, 2006). It was important to discover if the artists I worked with are intrinsically or extrinsically motivated, and what specifically motivates them. I did in fact discover that these artists are intrinsically motivated; this will be further discussed in Chapter IV. In researching their roles as community leaders, I specifically focused on their intrinsic motivations as they relate to improving their communities. Another area of study that floods the field of leadership is emotional intelligence. Dan Goleman (1996) explains that emotional intelligence is what distinguishes great leaders from good leaders. His discussion of emotional intelligence consists of five different components: self-awareness, self-regulation, motivation, empathy, and social skill. These components all focus on the individual leader and contribute to his or her effectiveness. Emotional intelligence brings a very personal element to the field of leadership, emphasizing personal characteristics and attributes that an individual leader Running Head: A CANVAS OF COMMUNITY 17 must possess in order to be successful. Goleman, and the other scholars I have mentioned, all step away from the traditional views of leadership and explore new theories that place a focus on the leader as an individual who needs to develop his or her self. Community leadership. The United States of America is a democratic nation founded by individuals who achieved success in wealth or military accomplishments. In a similar fashion, many of its cities and towns were established and led by small circles of local business owners. Easterling and Millesen (2012) explain, "At the same time that they were building up corporations and amassing personal wealth, these ‘town fathers' (and they were almost invariably men) assumed major civic roles and responsibilities" (p. 20). Although this created stable communities during the major part of this country's history, today communities face new social and economic challenges that require new types of leaders. These challenges, combined with new technologies and business structures, require new community structures and approaches. "This shift in the business model requires a different brand of community leadership, one that engages an expanded and diverse group of leaders" (Easterling & Millesen, 2012, p. 20). Today community leaders are no longer just the political figures, policy makers, and business corporations that establish and sustain the economic stability of a community. The definition of a community leader has expanded far beyond its original establishment. Today there is a need for diversity among community leaders. Within this need, the definition of a community leader has expanded as well. The Community Foundation Leadership Team (2008) claims that a foundation becomes a community leader when it acts as Running Head: A CANVAS OF COMMUNITY 18 a catalyzing force that creates a better future for all by addressing the community's most critical or persistent challenges, inclusively uniting people, institutions and resources, and producing significant, widely shared and lasting results. (p. 2) This statement offers the idea that a community leader is not a position to fill, but a role to play. Further presenting the opportunity for anyone to be a community leader, as long as he or she is doing something to better the community. Easterling (2012) makes a call for community leaders when he says, "Prospering in these turbulent times requires strong civic leadership, defined here as ‘local residents stepping forward to solve community-level problems or to promote action that advances the community's overall wellbeing'" (p. 51). Within this call for local residents lies the opportunity for artists to step forward and use their art to solve community-level problems and promote action that improves the wellbeing of their community. What I explored was how artists see themselves as community leaders in this way. Leadership and Art After discussing the history of leadership as well as some of the more contemporary leadership views, I will now specifically explore the ways scholars compare leadership to art. Scholars such as Nancy Adler (2006), Charlie Murphy and Peggy Taylor (2014), Ian Sutherland (2013), Donna Ladkin and Steven Taylor (2010), and Max De Pree (1989) focus on the use of art as a way of exploring and describing leadership, such as comparing examples of art to leadership that share similar characteristics and principles. Through these comparisons, these scholars have sought to show leadership through a new lens. For example, they discuss how artists exhibit Running Head: A CANVAS OF COMMUNITY 19 leadership characteristics and attributes while creating art. Art also uses creativity and imagination to portray messages and explore new concepts and ideas. In a similar fashion, scholars can creatively explore aspects of leadership in ways that are otherwise hard to define and explain. By seeing leadership as an art, it opens up the possibility of defining leadership attributes, qualities, and strengths through creative examples found in day-to-day life. I will now discuss such examples. Art as a metaphor for leading. "Leadership as an art" is a commonly used phrase in the field of leadership that compares the two separate disciplines of leadership and art. Taormina (2010) explores leadership as a skill that is acquired through knowledge or practice, similar to artistic skill. De Pree (1989) explains that leadership must be felt, experienced, and created - just like art. Both scholars refer to art in their discussion of leadership development. In a similar fashion, Ladkin and Taylor (2010) express that viewing leadership as art is an important process that will become essential to businesses and organizations in the future. They explain in the following how the foundation of artistic methods and approaches will be important in confronting the difficulties and dilemmas of the future: The difficulties and dilemmas of our times call for answers drawn from sources beyond our technological ones. They call for the exercise of judgment (something the arts have a lot to say about), the ability to hold conflicting priorities and difficult emotional responses (something artists have practiced throughout time), and they require the ability to connect in a meaningful way with people who are often dispersed across geographical distances and cultural milieus (without such connectivity, art's purpose is lost). (p. 239-240) Running Head: A CANVAS OF COMMUNITY 20 This application of artistic approaches and characteristics to the discussion of leadership places a strong emphasis on the crucial lessons that leaders learn from art and artists. I will now discuss how practicing leadership is like an art, how specific forms of art can be used as a metaphor for leadership, how art is compared to leadership, and how art is used in developing and strengthening leaders. This will exhibit the various connections that are made between art and leadership. Practicing leadership like an art. Other sources praise leadership as it is practiced like an art, requiring passion, discipline, and creativity. Nancy Adler (2006) mentions, "the very essence of 21st-century leadership increasingly demands the passionate creativity of artists" (p. 493). She develops this idea by emphasizing that "similar to great artists whose passion moves them beyond mastered techniques to meaningful statement, 21st-century leaders also require passion and courage" (p. 494). Here we not only see how leaders can benefit from the example of artists, but we also see how leaders need to exhibit more of the characteristics that artists possess and exhibit. Another example of the need for leaders to gain artist-like qualities is Adler's support of Peter Drucker's ideas that intrinsic motivation is important to leaders and organizations. She explains that artists understand intrinsic motivation and that all leaders need to learn to do the same. I not only explored the motivations of the artists I worked with, but also sought to discover the elements of creativity and passion that connect their art to leadership. I learned about the roles that passion and courage play in both creating art and being leaders. Dance metaphor. In expanding on the idea of leadership as an art, several individuals compare leadership directly to specific forms of art. Scholars like Arja Ropo Running Head: A CANVAS OF COMMUNITY 21 and Erika Sauer (2008), as well as Robert and Janet Denhardt (2006), compare leadership to dance. Comparing leadership to dance places the discussion of leadership in a visual frame, that of a dancer or dance performance. One can visually see a dancer and dance performance and then compare those visual images to the invisible principles of leadership. Ropo and Sauer focus on two types of dance, the waltz and rave dancing. They describe how the waltz is a dance that requires a leader and a follower. In contrast, rave dancing takes place in a chaotic environment that thrives on spontaneity and improvisation, much like the business world today. Denhardt and Denhardt (2006) take a different approach and identify various elements of dance that compare to similar elements of leadership. Denhardt and Denhardt use art to discuss leadership in ways that cannot be measured. Moving outside of the traditional leadership research approaches, they interviewed traditional leaders in business and government and also spoke with artists, musicians, and dancers. In comparing the interviews, they found similar themes that overlapped. They then used elements of dance to explain these themes. These themes include having an awareness of space, time, and energy; recognizing and coordinating rhythm; making connections through images, symbols, and metaphors; improvising with creativity; and learning by doing (Denhardt & Denhardt, 2006). The importance of these themes in dance is compared to their importance in leadership. The way they are used in dance is also applied to teach how they can be implemented in leadership. These examples help identify similarities across two completely different disciplines. Symphony metaphor. In continuing the comparison between leadership and a specific form of art, Rosamund and Benjamin Zander (2002) use the example of a Running Head: A CANVAS OF COMMUNITY 22 symphony conductor to explain important leadership approaches. In explaining these approaches, Zander and Zander show examples of how a conductor demonstrates particular leadership approaches and then explain how leaders can implement them. They also uses music terminology to emphasize particular points. They refer to "the habit of thinking you make no difference" as "second fiddle-itis" (Zander & Zander, 2002, p. 40). If anyone has ever played a musical instrument in a band, orchestra, or symphony, he or she might clearly understand the feeling of not being first chair, and therefore not feeling like he or she matters. But one can begin to understand that every musician is an important part of the symphony and that it would not function as a whole without all its pieces. As this is compared to leadership, an individual may see more clearly how he or she can act as a leader, even if he or she does not hold an authoritative title. These clear and practical ways of comparing leadership to art demonstrate leadership in ways that are easy to conceptualize. The principles of leadership explained through the example of a symphony become a powerful way to help others see leadership in new and creative ways. The use of art as a metaphor of leadership is an example of how the fields of art and leadership are connected. Although I will not be addressing the use of art as a metaphor of leadership in my research and findings, it is important to see that often the connection between art and leadership leans more towards leadership. Rather than showing how leadership can benefit art, most of the literature I have explored focuses on how art can benefit or enlighten the field of leadership. This supports the gap I am exploring of how leadership can have a presence in the field of art. Running Head: A CANVAS OF COMMUNITY 23 Comparing art to leadership. There are many different examples that show how specific forms of art can be compared to leadership. Photographers, musicians, painters, filmmakers, sculptors, and all types of artists possess qualities and attributes that one may find in a leader. For example, an artist's ability to dedicate time to learn how to use and guide a medium is similar to the way a leader dedicates time to guide and mold the individuals he or she is leading. Another example is the element of creativity and courage that artists exhibit. This has become an important focus in the study of leadership. The very essence of 21st century leadership demands the passionate creativity of artists. Leaders need courage to see reality as it actually is, the courage to envision previously unimagined and unimaginable possibilities, and the courage to inspire others to bring possibility back to reality. (Alder, 2006, p. 493) As society, technology, and the world we live in change, there is an increased need for creativity and courage. It is no longer enough to be organized, responsible, and understanding. As the world has changed, so has leadership. The leadership approaches that one generation may have responded to might not be effective with another generation. The creative approaches that artists take have become an important example for leadership. In order to succeed in an ever-progressing world and rapidly advancing industries, leaders must be creative. Art in leadership development. The attributes exhibited by artists are important in the field of leadership. In addition to artists' attributes is the use of actual art within leadership. By combining the two fields, there is potential for advancement in each. Using art as a leadership tool can become very effective. Leonardo Da Vinci emphasized the connection between experience and perception (Gelb, 2004). When art becomes an Running Head: A CANVAS OF COMMUNITY 24 experience, it also connects to perception. For instance, one might typically consider data as numbers, charts, and graphs. However, one can also collect data by analyzing and interpreting visual images (Latham, 2014). In extension of this idea, the dry and boring language of management and leadership can be enhanced through art. In discussing leadership, art can serve as a vehicle for interesting and effective communication. The idea behind using art in leadership builds upon the idea of comparing leadership to art. Instead of using art as an example, art becomes a mode for creating experiences. "Experiencing art and imagery is an activity which generates emotion" (Vouchilas, 2013, p. 81). By creating emotion, leaders can more effectively influence and connect with others. Leaders can use art as more than an example, but as a way of creating experiences that help influence and direct others. Scholars like Charlie Murphy and Peggy Taylor (2014) and Ian Sutherland (2013) also discuss ways that art can teach and inform leadership. Murphy and Taylor (2014) suggest over a hundred arts-based activities that can strengthen individuals and help develop leadership skills. These activities typically consist of group activities that bring art into classrooms or work environments. For example, Murphy and Taylor worked with some youth at a Power of Hope camp to create an art piece portraying the hopes and dreams of the participants. This art piece was displayed at the Hollyhock Retreat Center. As adults came to visit the Hollyhock campus and saw the piece of art, they began to inquire as to who created it. When they further learned that it was created by youth and represented their hopes and dreams, they were amazed that youth really cared about the future and improving the world so much. This particular activity served many purposes. It engaged the youth in conversation about their hopes and dreams while introducing Running Head: A CANVAS OF COMMUNITY 25 adults to the "depth of passion young people hold for the future (Murphy & Taylor, 2014, p. 166). Through this experience, these youth became leaders of the Hollyhock community as they improved the way that adults perceived youth in general. This use of art in developing leadership is something that can be used in all fields, including education and the private sector. On the other hand, Ian Sutherland explains that art-based methods can play an important role in leadership development as it gives participants the opportunity to interact with and create art that further helps them remember what they learn by visual and experiential association. In both cases, these scholars demonstrate how the actual use of art can contribute to leadership development. I furthered this demonstration by researching how artists use art to lead communities. I was able to discover other unique approaches that artists use to lead communities, as I will discuss in Chapter IV. Gaps in Current Literature Despite the important connections and comparisons between art and leadership, one question remains unanswered: how do the actual artists see themselves as leaders of individuals and communities? Throughout all the discussion of literature that explores art and leadership, there is little mention of the artist's experience as a leader outside of the realm of art. This does not imply that all artists are leaders of communities. However, it raises the question as to how artists can lead others. If artists exhibit the very leadership principles, attributes, qualities, and strengths that are used to discuss, explore, and define leadership, then it seems logical that these artists themselves can be influential leaders. It would be interesting to research how many individuals who find themselves in leadership roles are actually artists. The traditional view of a leader tends to be the dominating Running Head: A CANVAS OF COMMUNITY 26 image in society; however, we members of society are starting to see more and more leaders who are breaking the traditional mold of leadership. We see leaders who wear tennis shoes instead of dress shoes, shorts instead of slacks, tee shirts instead of button-ups (Steve Jobs, former co-founder, chairman, and CEO of Apple is one of the many examples that come to mind). In the past, leaders were typically male, and now we see more and more females who are prominent leaders. The image of leadership is changing and I believe that the demographic of leadership can change too. It can include individuals from varied backgrounds with diverse skill sets: artists, athletes, writers, and poets instead of just financial gurus and business executives. The purpose of this study is to explore these possibilities. One artist in particular who has taken her skills and applied them to community leadership is Frances Whitehead. The skills that Whitehead has developed as an artist have crossed over to help her become an important leader in a large-scale community improvement project in Chicago (Hart, 2014). Whitehead talks about her skills and the processes she utilized as an artist that helped her become a leader in this project. This is a great example of an artist who recognizes how her artistic skills cross over to her ability to be a community leader. Another great example is Tyree Guyton, an artist who has used his art to transform an urban community on Detroit's Eastside for the past 28 years. Guyton is the creator and founder of the Heidelberg Project that uses art to bring color, imagination, and creativity to improve the lives of community members. Guyton says, I strive to be part of the solution. I see and understand how order is needed in the world and in our individual lives. My experiences have granted me knowledge of Running Head: A CANVAS OF COMMUNITY 27 how to create art and how to see beauty in everything that exists. ("The Heidelberg Project is art, energy, and community," Photo Caption, 2014). Guyton has also found a way to be a community leader by using art to improve his community by bettering the lives of its members. These two examples are a great foundation for the research I have done, specifically as I focused on artists in the Wasatch Front community. They support the idea of artists seeing themselves as community leaders and begin to introduce the "how." My research sought to understand how artists see themselves as community leaders and what they do to improve communities, whether it is socially, morally, politically, or economically. It identified their leadership approaches, attributes, and qualities, as well as their motivations. By understanding how these artists see themselves as community leaders, I explored ways that they can more effectively use their art to create experiences that address social problems and lead community members. Artists have the ability to powerfully influence their audience through creativity and imagination. Perhaps if they understand their potential as leaders, they could use their art to make a substantial impact in addressing social problems, improving individual lives, and strengthening communities. Conclusion An initial example of using art as a metaphor for leadership begins with the idea that leadership is an art that can be improved and refined through practice and knowledge. Similar to art, some say that leading is not just something that someone does, but it is something that someone feels, experiences, and creates (De Pree, 1989). A more specific approach to comparing art and leadership focuses on specific forms of art. These Running Head: A CANVAS OF COMMUNITY 28 forms of art, such as dance, music, painting, and sculpting, can teach effective leadership practices and principles. Art can also be used within leadership, as a way of creating experiences and influencing individuals by connecting to their senses and emotions. There is also the idea that art can actually represent a leader (Vouchilas, 2013). There are many ways that leadership connects to art. As a result, art can be a powerful tool in exploring and understanding the field of leadership. In addition to connecting leadership to art is the opportunity to understand leadership through the eyes of the artist. This is a field of research that has not been extensively explored: therefore, I have worked to discover how artists do see themselves as community leaders. Throughout history, the field of leadership has changed. The definition of leadership is progressive. In the past, leaders were those who were superior to others in their survival skills, militant skills, political skills, or education. The transition of leadership then moved into more of an administrative and organizing approach. In today's world, leadership can be defined in broad terms that include anyone from the president of a country to a CEO of a major corporation, a child in a classroom, or even an artist in a community. As the field of leadership grows, so do the opportunities for each and every person to become a community leader. Running Head: A CANVAS OF COMMUNITY 29 Chapter III: Methods and Analysis Introduction In order to understand how Utah artists see themselves as community leaders, I interviewed four artists from different parts of the Wasatch Front. In addition to interviewing these artists, I spent time with one of them in his workspace filming his processes. The purpose of using these research methods was to both hear and see each artist's perspective and personal narrative on being a community leader. The recording of interviews captured their personal narratives while filming one of the artists captured the actual art he has created. Both aspects contributed to understanding the elements of community leadership that these artists implement. I then analyzed the audio and visual recordings, identified themes, and explored my research question in greater depth. After I analyzed the audio and visual recording, I combined them and created a 3-minute profile video of one of the artists that summarized and presented my findings. This video enlarges the overall understanding of an artist's first person experience with who he is as a community leader, which has not been explored in much depth. Population The population that I researched consisted of artists who have publicly displayed their art throughout the Wasatch Front community (a chain of cities in Northern Utah from Nephi to Brigham City). I chose to work with artists in this community because I grew up in a part of the Wasatch Front and from a young age art has played a strong role in connecting me to my community. In order to understand different perspectives of how similar artists see themselves as community leaders, I worked with artists from a similar discipline. This discipline was visual art, including street art and photography. Restricting Running Head: A CANVAS OF COMMUNITY 30 the types of artists I interviewed allowed me to narrow my research to see how similar disciplines exemplified different and similar leadership approaches. In particular, interviewing these artists not only gave me the opportunity to work with artists who are recognized throughout the community, but also benefitted the artists in their pursuits of becoming full time artists as my research helped them see how they can better impact their communities. Participants The artists who participated in my research both work and live in the Wasatch Front. The reason for limiting the participants to this area is because with the given time I had to conduct my research, I needed to work with artists who were within a close proximity to me. A strong arts presence is growing in the Wasatch Front; therefore, it was interesting to learn more about the artists, their motivations, and their community contributions. I selected participants from the disciplines of visual art and photography as mentioned before. Both of these disciplines has a value and presence in the Wasatch Front and its communities, and therefore it was valuable to explore the role that varying artists play as community leaders. Although I was interested in working with artists of any gender, race, and ethnicity, I ended up only working with male artists: two Caucasians, one Indian, and one African American. These artists are Cory Gurney, Prajit Ravindran, Shae Petersen, and Amir Jackson (see Appendix C). The demographics of these artists were not by selection, but rather by who was willing to participate. Access. I relied on the Utah Arts Alliance in gaining access to participants. In conducting this research, I chose to partner with this organization because my project aligns well with its mission: "To foster the arts in all forms in order to create an Running Head: A CANVAS OF COMMUNITY 31 empowered, aware, and connected community" ("About Us, History, and Future," 2014). Therefore, in order to benefit the organization through my research, I represented them by working with their associated artists. In gaining access to these artists I collaborated with my supervisor, Michael Christensen, the Programming Director of the Utah Arts Alliance. Michael invited me to attend an awards event in December that highlighted and honored several artists. This event was a social gallery event that gave individuals an opportunity to meet with artists and learn more about their work. I attended this event and identified artists with whom I wanted to work. Michael then put me in contact with these artists. Michael also gave me a list of other artists that did not attend this event that he believed would be valuable participants. Recruitment. The first step in recruiting the artists was to attend the December Utah Arts Alliance Connect event. At this event I identified three artists that I wanted to interview by looking at all the art pieces displayed and selecting those that stood out to me the most. My selections were mainly based on the connection I made with the content of each piece. I emailed Michael shortly after the event and gave him the names of the artists I was interested in working with. Michael then contacted the artists, explained my project, and asked them if they would be interested in participating. Upon hearing back from two of the artists who expressed interest, he gave me their numbers and I contacted both of them by text, as Michael indicated that this would be the most effective way. These artists were Cory Gurney, a visual artist, and Prajit Ravindran, a photographer. Both artists responded to me within the same day of contacting them and we set up a time to meet; however, the time changed a couple times for both artists, and all communication was done via text and email. I then met with Michael later on and Running Head: A CANVAS OF COMMUNITY 32 discussed other artists I could work with. We discussed a few names, and Michael agreed to contact them to see who would be interested. He immediately heard back from Shae Petersen, a street artist, and Amir Jackson, a poet, writer, and photographer. He then gave me their contact information and I contacted both of the artists via email and set up times to meet with them. Both were quick to respond and easy to coordinate with. The research I conducted required me to spend time interviewing these four artists as well as spend time filming a project of one of them. I made this clear from the beginning and all four artists agreed to participate. Ethical Issues The first thing I did to address any ethical issue was to receive IRB approval from Westminster College before starting my research (See Appendix D). In addressing any ethical issues, it was important to anticipate the ethical problems that may arise and then come up with a plan to address them. Walsh, Hewson, Shier, and Morales (2008) say, "Ethical issues unique to participatory action methodologies must be anticipated and identified and solutions must be developed prior to engaging in research in the community" (p. 384). Therefore, according to the participatory action methodologies I engaged in, I addressed the anticipated ethical issues and the solutions and then implemented them to maintain research that was ethical. After receiving IRB approval, the next step I took was to make sure each research participant fully understood the extent of his involvement in my research project. In order to maintain respect for the participants, I made sure that each of the artists referred to me by Michael were notified that I would be contacting them. I made certain that they were willing to discuss my project and knew that I would be contacting them. After receiving Running Head: A CANVAS OF COMMUNITY 33 permission and contacting these individuals, I discussed the extent to which each wanted to be involved. I told them what I was researching and explained to them that I wanted to explore how Wasatch Front artists see themselves as community leaders. I explained to them that I needed to interview them, record the interview, and possibly spend time observing and visually recording their work processes. The audio and visual recording processes were such a foundational part of my project and research that it was necessary to ask the participant chosen for the video profile to agree to sign a consent form (See Appendix A). This consent form disclosed that I would be using the audio and visual recordings to create a video profile that would be shared publicly on the Utah Arts Alliance website. This participant had the opportunity to disagree and choose not to participate. If during the research process a participant had felt uncomfortable or chose to no longer participate, that individual knew that he could withdraw at any time and that I would destroy all audio and visual recordings associated with him. The particular artists I interviewed and recorded did not have to use their real names if they chose not to; however, they did know that if they were willing to participate their voices and any film footage of their physical appearance could possibly be used. All of this was covered in the consent form in order to assure that each participant was fully aware of his involvement. Each artist agreed to let me use his real name. Maximizing benefits for the participants also falls under the ethical issues that I addressed. I worked closely with the participant chosen for the video profile to assure that he was comfortable with all the recordings I chose to use. I showed him exactly what I intended to use and then requested his approval of the material. If there was any material Running Head: A CANVAS OF COMMUNITY 34 that he did not want me to use, then he knew I would not use it. By working closely with the participants, I ensured each of them that I would portray them in a manner with which they agreed. The chosen participant for the video portion was given a copy of the profile video I created. This video was given to him as a thank you for his participation in my project and research, for his own personal records, and to use as a promotional video. Methods I used action research to carry out my project by implementing the four elements that Berg (2004) mentions: identify a research question, gather information, analyze and interpret the information, and share results with the participants. Since I researched how artists see themselves as community leaders, recording their narratives, visually recording their processes, and then giving them the opportunity to review the results was important to ensure that I accurately portrayed their views. Interviewing. The primary method I used in gathering data was interviewing. I used semi-structured interviewing by following an interview guide, but at the same time I kept the interview open to "changes in sequence and forms of questions in order to follow up the answers given and the stories told by the subjects" (Kvale, 1996, p. 124). I intended for each interview to be "a conversations with a purpose" (Kahn & Cannell, 1957, p. 147). Therefore, I created a casual atmosphere and allowed the interview to develop based on natural conversation (See Appendix B). Marshall and Rossman (2006) explain, "Qualitative, in-depth interviews typically are much more like conversations than formal events with predetermined response categories" (p. 101). I intended to create this type of conversation as a way of gathering sincere and honest information from the participants. Running Head: A CANVAS OF COMMUNITY 35 First, I interviewed each artist individually. These interviews took place in the artists' workspaces and were no longer than an hour. While conducting the interview, I took field notes and recorded our conversation using a Zoom H2 Handy Recorder, which I already owned. I also recorded the interview with my iPhone as a backup recording. The field notes I took included the use of observational research (Marshall & Rossman, 2006) as I took note of their body language and physical reactions to my questions (see Appendix C). The audio files were kept securely, protected under password, on my computer as well as in my Dropbox. I then transcribed one of the interviews within a week of conducting the interview and matched it with my field notes. For the remaining three interviews, I outsourced the transcriptions, sending them each out within a week of conducting the interview and receiving the transcriptions within the following week. I then matched each of these interviews with their appropriate field notes. Observation and filming. For the second method, I employed participant observation (Marshall & Rossman, 2006) by using film to visually record the process of one of the artists, as film can be "especially valuable for discovery and validation" (p. 121). I selected a single artist based on his story and the depth in which it fully supported and represented my research question. I used a Panasonic AVCCAM HD video camera, a Nikon DSLR camera, two small lighting kits, and two tripods to film the artist in his workspaces. Along with this equipment, I carried an extra memory card, two extra batteries, and a battery charger. In addition, I had my iPhone as a backup camera in case any of the equipment failed. For the editing process I used Final Cut Pro. In implementing this method, I combined opportunity, programmed, and digestive filming (Marshall & Rossman, 2006). Opportunity filming involved the undetermined and Running Head: A CANVAS OF COMMUNITY 36 unknown experience of filming each of the artist's processes. I employed programmed filming by determining with the artist an exact time and location that filming would take place. Digestive filming, which takes a more focused approach, applied to my specific focus on filming the artist's processes and looking for ways that it connected to my research question. I kept the footage of the artist securely protected by password on my computer and my Dropbox. An important part of this participant observation included my immersion in the workspace of the artist. "Immersion in the setting permits the researcher to hear, to see, and to begin to experience reality as the participants do" (Marshall & Rossman, 2006, p. 100). It was my intention to understand the experiences of the participants in the fullest way possible. This process of filming the artist as he created art in his workspaces allowed me to not only observe, but also to physically experience the reality of the artist. Immediately following this experience, I wrote down all my observations and thoughts in a field notes journal. Member checking. The final method I used in carrying out my project and conducting research was to share my results with the artist who participated in the film profile. In doing this, I created a video profile of this particular artist, combining the video footage with the audio recordings from his interview. I selected specific quotes from the interview and combined them with specific parts of the film, visually demonstrating how this artist sees himself as a community leader. I then took this video profile to the participant and asked him to review it while I observed and recorded his reactions in my field notes. In addition, his feedback on the video was essential to ensure that it portrayed the artist correctly. The video was about 3 minutes in length. Running Head: A CANVAS OF COMMUNITY 37 Analysis I analyzed the information I gathered from each method I implemented. After transcribing the interviews, I analyzed each interview and identified key themes that connect with how each of these artists sees himself as community leaders. Here in this section I will explain my coding process in depth. My analysis process mainly consisted of coding the transcriptions of each interview. In analyzing qualitative data, coding is a process that a researcher takes to sift through the data and extract key themes that lead to theory or conclusions. Miles and Huberman (1994) explain, "Coding is analysis. To review a set of field notes, transcribed or synthesized, and to dissect them meaningfully, while keeping the relations between the parts intact, is the stuff of analysis" (p. 56). In analyzing my data, I did what Miles and Huberman suggest and dissected my data meaningfully while maintaining relations between the parts. I started analyzing my data by printing out each transcription and conducting a pre-coding as suggested by Saldana (2012). This pre-coding involved doing an initial read-through of the transcripts and underlining words and phrases that could be potential codes. After conducting a pre-coding, I went through and manually coded each transcription. I agree with Saldana, "There is something about manipulating qualitative data on paper and writing codes in pencil that give you more control over and ownership of the work" (p. 22). I chose to use a pen and paper as it helped me feel a closer connection with my data. I went through each transcription and wrote down codes associated with words and phrases I found to be meaningful. Miles and Huberman (1994) define codes as "tags or labels for assigning units of meaning to the descriptive or Running Head: A CANVAS OF COMMUNITY 38 inferential information compiled during a study" (p. 56). A few examples of the initial codes I wrote down are these: time, challenge, inspire, create, community, learn, and enjoy. I went through and coded each transcription multiple times. Saldana (2012) suggests that "coding is a cyclical act," and data should be coded multiple times (p. 8). I then compiled all the codes into separate word documents divided by artist and counted how many times each code appeared. From this compilation of codes, I was able to generate categories in which the codes could be divided under. I took these codes and categorized them into separate word documents based on categories. For example, "Learning" became a category that incorporated different codes associated with learning. Another category that I created was "Challenges," that included codes associated with times each artist mentioned a challenge. After creating these category documents, I went through and took quotations from each transcription and placed them under the appropriate categories. Each category was divided into four sections, one for each artist. From analyzing the data within each category, I was able discover various themes. I then created word documents for each theme. An example of one of the themes I found was that each artist placed learning at the center of his work. This theme became: "Learning at the center of work." I went through and took quotations that supported this theme and placed them in the word document associated with it. In developing themes, I discovered that "a theme is an outcome of coding, categorization, and analytic reflection, not some-thing that is, in itself, coded" (Saldana, 2012, p. 13). By coding, then categorizing, then analyzing, I was able to identify the key themes associated with my research. I then took these themes and incorporated them in creating a conclusion. Running Head: A CANVAS OF COMMUNITY 39 I chose to use word documents to organize my data because I was familiar with the technology and I felt that it would connect best with how I organize things. Since I had a lot of data and would need a way to quickly access it, I determined that this would be the most effective way of organizing my data. Miles and Huberman (1994) explain, "The organizing part will entail some system for categorizing the various chunks, so the researcher can quickly find, pull out, and cluster the segments relating to a particular research questions, hypothesis, construct, or theme" (p. 57). By dividing codes, categories, and eventually themes into separate, titled word documents, I was able to quickly access specific sets of data and quotations. This system made it easy for me to reference my data while organizing and writing my findings. In analyzing the video I took a slightly different approach than I did with the interviews. Since themes had already emerged from the interviews, I analyzed the video looking for specific themes that connected with my data. After filming Amir in his workspace reciting a poem he wrote as an extension to one of his photography projects, I watched the footage, listened to the audio recording, and analyzed how the processes of the artist and the content of his poem connected with the content of his interview; in particular, how they connect to the way he sees himself as a community leader. Through analyzing the interviews and the film, I combined my findings and identified the key leadership themes that were associated with each artist. Since my research question focuses on the individual opinions and experiences of Wasatch Front artists, the use of interviewing and video recording was the most effective method in obtaining an answer. By interviewing artists, I was able to discover their views and understanding of art, community leadership, and their roles in combining the two. Running Head: A CANVAS OF COMMUNITY 40 The video portion contributed to my understanding of a single artist's processes in creating art. I found elements of leadership within these processes that coincided with the interviews. The personal stories, experiences, and views of each participant were key to answering my research question. Validity To determine validity in the conducting and use of qualitative research, I employed three of the validity procedures discussed by Creswell and Miller (2000): research reflexivity, member checking, and thick, rich description. Research reflexivity "is the process whereby researchers report on personal beliefs, values, and biases that may shape their inquiry" (p. 127). At the beginning of each interview I explained my personal motivation behind conducting my research. I discussed my research throughout the course of the Masters of Arts in Community Leadership program and expressed my belief that artists have a greater value in communities than is often recognized. This established an element of trust and created a connecting point between us, as they appreciated the value I placed on their work and shared a similar opinion to mine. Member checking "consists of taking data and interpretations back to the participants in the study so that they can confirm the credibility of the information and narrative account" (Creswell & Miller, 2000, p. 127). I took the video profile (interview scripts combined with video footage) back to the participating artist to get his feedback. This gave me the opportunity to see how this particular participant made sense of the results. I recorded everything the artist discovered that he did not previously know or realize about how he saw himself as a community leader. In applying member checking, the artist was able to recognize themes that I did not recognize while analyzing the data. Running Head: A CANVAS OF COMMUNITY 41 This use of member checking gave this particular participant an opportunity to agree or disagree with how the video profile portrayed him. Receiving his feedback on the data and the final presentation of it added credibility to my research. The final validity procedure that I employed was the use of thick, rich description. Each interview included a lot of detail and description as the artists discussed and described their artistic processes. In addition, I used video to visually show details of one of the artists, the settings he works in, his experiences, and one of his projects. The idea behind employing such detailed and rich descriptions is to give the viewer the feeling that he or she is right there with the artists, experiencing the art and the artist's experience. This connects the research question to my experience as the researcher, the artist's experience as the participant, and the viewer's experience as the audience. The final video profile shows the viewer how one artist sees himself as a community leader. Beyond this, it also gives the viewer the experience of seeing these artists as community leaders. The thick and rich detail that goes into the profile videos is a key element of validity in this project and research. Challenges There were a few challenges that arose with this project. The biggest challenge that I encountered was that of getting artists to work with me at the level I believed to be necessary. I originally intended to spend hours with each artist, not only interviewing them, but also observing and filming their processes. This not only would have required a major commitment from the artists, but also a great amount of time dedicated on my behalf. Unfortunately, due to the busy schedules of the artists and myself, I was only able Running Head: A CANVAS OF COMMUNITY 42 to create a video profile of one of the artists. Between working, taking other classes, and conducting this research and project, my availability was limited. In conjunction with the challenge of time commitment, there were also several artists who wanted to participate in the interview part of my project but were unable to due to an inability to coordinate schedules. Another challenge that arose in relation to timing was that of coordinating the artists' schedules with my own. Fortunately, my work schedule was rather flexible throughout the week, and I was therefore able to more easily accommodate odd times that the participating artists were able to meet. However, without a flexible schedule, coordinating schedules and meeting times would have been incredibly challenging, as each of the artists work full time jobs in addition to their full time pursuits as artist. The challenges I encountered did not make my project impossible to complete; however, it required a great deal of flexibility and accommodation in my behalf. Conclusion The methods I used to conduct and analyze my research were intended to address my research question and explore the ways Wasatch Front artists see themselves as community leaders. While conducting the research I ensured that each participant was protected and understood the intent of my project. I used interviews and video recording to collect data from the participants. By analyzing this data, creating a video profile that highlights the conclusions, and then taking them back to the video participant for review, I not only discovered, but also demonstrated to others how Wasatch Front artists see themselves as community leaders. Running Head: A CANVAS OF COMMUNITY 43 Chapter IV: Findings Introduction Peter Drucker (2004) declares that leaders "differ widely in their personalities, strengths, weaknesses, values, and beliefs" (p. 36). Anyone can be a leader. Historically a leader has been portrayed as a military or political leader who possesses strength, knowledge, wealth, and power. Today, leaders come in all different shapes and sizes and encompass diversity in age, gender, race, religion, and even social status. The traditional mold of leadership is being broken, and new opportunities are opening up for those who possess leadership qualities. Not only are there many new and great opportunities for leaders today, but there is also a great need for leaders, specifically community leaders. I reiterate the call made by Easterling (2012), "Prospering in these turbulent times requires strong civic leadership, defined here as ‘local residents stepping forward to solve community-level problems or to promote action that advances the community's overall wellbeing'" (p. 51). Communities do not need the powerful and wealthy members of society to step forward to solve problems; they need their very own community members. These members consist of local residents who are all different in "their personalities, strengths, weaknesses, values, and beliefs" (Drucker, 2004, p. 36). These individuals will be different in every community; however, as they work to solve problems and strengthen their communities, they will become leaders. I argue that one of the most valuable sources of local residents who can step forward to solve community problems, strengthen communities, and become community leaders are artists. Nancy Alder (2006) states, "the very essence of 21st-century leadership Running Head: A CANVAS OF COMMUNITY 44 increasingly demands the passionate creativity of artists" (p. 493). I take Alder's statement one-step further and pose the question: if 21st-century leadership demands the passionate creativity of artists, why then not turn to artists as leaders? In researching how Wasatch Front artist see themselves as community leaders, I was able to identify leadership qualities and attributes that four artists possess. I will discuss these qualities and attributes and then discuss how these artists see themselves as community leaders. Leadership Qualities By interviewing four artists from the Wasatch Front community, I was able to identify leadership qualities and characteristics that each one possessed. The three most dominant leadership qualities that these artists exhibit are focusing on learning, exercising self-awareness, and being highly motivated. I will discuss the importance of these qualities in being a leader as well as how these four artists exhibit them. Learning. A leader understands the importance of learning and helping others learn. In their book, Learning as a Way of Leading: Lessons from the Struggle of Social Justice, Preskill and Brookfield (2009) examine the different ways that learning is at the heart of leading. They declare, "we need leaders who strive to place learning at the center of their work" (p. 3). Cory Gurney, Prajit Ravindran, Shae Petersen, and Amir Jackson all put learning at the heart of their work. All four of these artists place a strong emphasis on learning as an essential part of their artistic processes and success as artists. Their approaches to learning vary; however, learning is a foundational part of what they do. I will show how these artists place learning at the center of their work. Cory and Prajit are both self-taught artists who have learned through practice, research, and experimentation. When asked if he had any training at all in creating Running Head: A CANVAS OF COMMUNITY 45 stencils, Cory responded, "Nope, they were all just figured out." Cory learned how to paint and create stencils on his own by implementing a process of trial and error. Prajit took a similar approach as he explains, "I just got a camera and started shooting." Without any formal training, he pursued photography by buying a camera and taking photographs. He then combined practice with research: "I think initially it started with just like reading books online, reading books in the library and trying to get the basics of photography right and then it's been experimenting." Prajit learned through reading and studying and then followed this research and practice with experimentation. Prajit takes photographs, sees how they turn out, and then makes adjustments to improve. He experiments with locations, lighting, camera settings, and composition. This is an example of how he learns as a photographer. Prajit also mentioned the value of learning from others in his progression as an artist: "And once I moved to Utah I've been lucky to be networking with some good photographers around here… And we learn from each other. And I think that's my - My biggest learning experience has been interacting with them." Prajit places great value on the network of photographers that he works with. They work together and learn from each other. This interaction with other photographers has become his most valuable source of learning. He further explains this process of learning through others by saying, It's just like looking at other work and seeing what you can learn from it, what's the good things that you can learn from it and share it among each other and then go, just try to shoot different stuff. Prajit explains the process of learning from others. They observe each other's work, discuss their observations and findings, and then go out and apply what they have learned Running Head: A CANVAS OF COMMUNITY 46 to create new art. Prajit explains that through this learning process he has built strong relationships with these photographers. Preskill and Brookfield (2009) reiterate the importance of this learning process: Most significant of all outcomes, perhaps, are the long-term relationships that occur as a result of working together on learning projects. Such relationships not only increase one's willingness to learn and lessen one's vulnerability about admitting ignorance but also fuel future projects and public work. (p. 6) The process of learning from others that Prajit implements is perhaps more significant than he realizes. He is building important relationships as he works with other photographers. According to Preskill and Brookfield, as they work together and learn from each other, their willingness to learn and to communicate what they don't know will increase. Prajit's approach to learning closely aligns with that of a leader. Similar to Prajit, Amir Jackson values the importance of learning from others. He shares a story about how he starts every class he teaches with a poem called "Me, We." That is the whole poem: "Me, We." He then explains, "And then I would tell them what the meaning behind it was, which is, ‘I don't exist without you. You don't exist without me. We need each other.'" The purpose of this discussion is to emphasize that teachers and students learn from each other and essentially need each other. Amir wants to make sure the students understand that "everybody's just learning from each other" and "everybody's teaching each other." This lesson that Amir teaches his students has an important application to the field of leadership: that a leader, just like a teacher, both teaches and learns from others. Running Head: A CANVAS OF COMMUNITY 47 Another great example of an artist that is constantly learning is Shae Petersen. Shae places a great value on learning as a street artist. His role as an artist is parallel with his role as a learner. He explains, "But it's just a learning process. You kinda find one thing and hone in on it and keep working at it until you're happy with the results." His art is a process of learning that involves focus and dedication. Every moment that he creates art is a moment that he is also learning. Shae also explains that learning to use the tools is an essential part of learning how to paint: So for me, I started off doing letters and learning can control and learning how to use the tools. So once I got into doing portraits it wasn't so much learning how to paint, it was learning how to paint a face or how to paint with, you know, convincing lighting and things like that. Shae started out by learning the basics and building a foundation. He first learned how to use painting tools by practice and taking simple approaches. By building upon this foundation, he has been able to apply what he has learned to create more complex and detailed pieces of art. In a similar way, leaders have to learn foundational skills and then implement them on more complex levels. In addition to learning how to use tools, create new pieces, and improve his artistic skills, Shae views his entire experience as an artist as an important learning tool. He explains, But I think, in all honesty, the biggest thing that at least jumps out at me today, now, is the things I've learned. Not about art even at all but more about myself and life in general. I wouldn't have learned those things if it wasn't for art…if you pay attention, you can learn life lessons from it. Running Head: A CANVAS OF COMMUNITY 48 Similar to how Charlie Murphy and Peggy Taylor (2014) present art as a tool in leadership development, Shae uses art as a tool to learn about him-self and about life. Murphy and Taylor suggest over a hundred art-based activities that help build teamwork and develop individual leadership skills. They focus on the idea that art activities can be used to teach lessons, encourage personal awareness, and strengthen individuals outside of the discipline of art. Shae is a great example and support of the validity of Murphy and Taylor's approach as he has become more aware of him-self and learned personal life lessons through his art. This skill of learning to become an artist and then in return learning from the art is similar to a leader who learns to be a leader, but then in return finds greater value in learning from those he or she leads. Through his experiences as an artist, Shae has learned to work with others, handle conflict, and see the bigger picture in difficult situations. He values learning as a fundamental part of who he is as an artist and at the heart of everything he creates. He admits, "And without graffiti or this art form that I do, I don't know if I would've learned it." Shae attributes a substantial part of what he has learned as an individual to street art. In addition, he recognizes that learning is, and always will be, an important part of his life. He reiterates, "I'm still learning. I'm still learning with everything I do." One of Shae's greatest strengths is his ability to learn and his understanding that learning is a part of everything he does. Self-awareness and humility. In connection with learning, self-awareness is another important leadership quality (Goleman, 1996). Amir demonstrates this connection well when he says, "All of my knowledge has come from my ignorance. So acknowledging that, there's always something to learn." By admitting ignorance and Running Head: A CANVAS OF COMMUNITY 49 expressing humility, Amir understands that there is always something for him to learn. This recognition of ignorance is a great example of self-awareness. Each of the four artists that I interviewed exhibits the leadership quality of self-awareness. In discussing emotional intelligence, Daniel Goleman (1996) emphasizes the importance of self-awareness as a leadership quality. He explains self-awareness as "having a deep understanding of one's emotions, strengths, weaknesses, needs, and drives" (p. 7). Individuals who are self-aware are those who understand their capabilities and their weaknesses. They know enough about themselves to understand how their weaknesses and emotions will affect their work and how to direct their strengths to be effective. By being self-aware, a leader can work openly and honestly with others and establish a level of trust that is pertinent to success. Individuals trust leaders who are self-aware because they are transparent and communicate their strengths, weaknesses, needs, and motivations. "People with high self-awareness are able to speak accurately and openly… about their emotions and the impact they have on their work" (Goleman, 1996, p. 10). By speaking openly about emotions, as well as strengths and weaknesses, a leader can gain the trust and confidence of others through honesty and transparency. It takes great honesty and humility for one to recognize both his strengths and weaknesses. Amir Jackson is a great example of an artist who recognizes his strengths and weaknesses and can speak honestly and openly about them. Although Amir uses the word humility instead of self-awareness, he reiterates what Goleman says: I think humility is, like, the understanding of those things, understanding that you are talented, understanding that you do have gifts, understanding that you are strong. But appreciating, also, your weaknesses. And understanding that other Running Head: A CANVAS OF COMMUNITY 50 people might have abilities that you don't. And getting those individuals, surrounding yourself with those people. In his definition of humility, Amir frequently uses the word "understanding." He views humility as the ability to understand weaknesses and strengths as well as talents and gifts. Understanding them is more than just recognizing them; it is exploring what they are and discovering how to apply them. In addition, he mentions the importance of understanding and discovering the abilities and strengths of others. By understanding one's strengths and weaknesses, as well as those of others, an individual can create a strong team by surrounding him or herself with individuals that have strengths where he or she does not. Doug Guthrie (2013) supports this viewpoint when he says, "A humble leader is secure enough to recognize his or her weaknesses and to seek the input and talents of others" (para. 2). This process not only requires recognition of strengths and weaknesses, but also the understanding of them and the ability to speak about them openly. It also requires the willingness to ask others for help. Amir's experience as an artist has given him knowledge that coincides with Daniel Goleman's leadership theories. Amir does not only have an understanding of what self-awareness is, but he also practices it. Amir understands that his greatest strength is being a visionary. He says, "I see myself as a... I think above all, my greatest strength is vision." Amir recognizes that his greatest strength is vision, and therefore he knows how to apply it. He describes this strength by saying, "The moment it's a thought in my mind, it's already happened, I just have to figure out how to do it. But it's already there." Once Amir has an idea, he is determined to find a way to make it a reality. By identifying this strength, Amir has been able to play an important role in the development of the Ogden community. He explains Running Head: A CANVAS OF COMMUNITY 51 that leaders in the community used to doubt some of his ideas, claiming that if it were possible it would have already been done. As a visionary, Amir conceives an idea and then finds a way to make it a reality. He uses his quality of being a learner to discover ways to make his thoughts and ideas become realities through research, study, and the input of others. Through combining self-awareness and humility, Amir has been able to gain the trust of community leaders. He says that they now believe in him. "But I think that they believe in me enough to just follow it. If I say, ‘Hey, we're gonna build a community space and kids are gonna design it,' they're like, ‘Okay. Let's do it.'" Once Amir has an idea to do something, he is fully supported by his community. This shows how through self-awareness, Amir has become a leader in his community. He understands his strength as a visionary and speaks openly about it with those he works with. Amir also recognizes his weaknesses, another important part of self-awareness. He explains, I think, when it comes to, like, an organizational level, I think it's a gift and a curse, it's both a good thing and a bad thing; I don't allow anyone to outwork me in our organization… I always try to lead by example… But on the other end of that I have a hard time delegating. Amir recognizes that his desire and need to work hard is a strength and a weakness. It serves as a strength because it is part of what makes him so dedicated and allows him to be an example. It is also a weakness as it gets in the way of him relying on others and seeking help. This is one of many examples of how Amir and the other three artists I interviewed practice self-awareness. Running Head: A CANVAS OF COMMUNITY 52 Amir defines humility in the same way Goleman (1996) defines self-awareness. Humility is another powerful leadership quality. However, one might not easily see a strong connection between humility and power. Amir reiterates this by saying; "I think that it's very difficult for some people to see a person that's strong and humble at the same time." At times it is difficult for individuals to see a humble person as a strong person. Gadadhara Pandit Dasa (2014) expresses a common perception of humility as it connects to the field of leadership when he says, "Our gut response might be ‘humility and leadership can't possibly go hand-in-hand. They blend as well as oil and water'" (para. 1). Dasa presents a great imagery of oil and water, showing that people typically think of leadership and humility as two separate elements that do not blend. Perhaps some people may not associate leadership with humility; however, according to leadership scholar Jim Collins, the greatest leaders are humble leaders. Jim Collins (2001) explored the hierarchy of leadership, dividing it into five levels, the lowest level being a "highly capable individual," and the highest level being an "executive." Collins then researched what makes a leader a "level 5 leader," or in other words, the most successful and greatest of leaders. Collins surprisingly discovered that level 5 leaders are humble. Collins explains that as they interviewed successful leaders each one had a difficult time talking about him or herself. They would always deflect the conversation to discuss their company or organization. I had this same experience with Amir Jackson. Every time I asked him questions about himself, Amir would deflect the conversation and talk about his organization. At one point during the interview I had to stop him and ask him to talk directly about himself. His response was, "It's very difficult for me to talk about myself, first of all. It's a difficult place to be." The fact that Amir has Running Head: A CANVAS OF COMMUNITY 53 a hard time talking about himself was evident throughout the entire interview. This is similar to what Collins encountered and demonstrates Amir's humility. Shae Petersen also expressed a great amount of humility and had a hard time talking about himself. Whenever he discussed his work or his talent he always referred to the importance of being humble. Shae also demonstrates self-awareness as he recognizes and understands his strengths, his weaknesses, and also searches to stay humble. In discussing the progress of his art, he explains, When I first started this stuff and I started getting good-And I mean, you know. You can see, like, something's clicking here. Or you get other people that are like, "Damn. That's really good. How do you do that?" Immediately when that started happening I'm like, "Okay, I have to stay humble." As Shae began to recognize his strengths, he also began to recognize the importance of being humble. He realizes that he is constantly learning, and so he also admits, "I'll struggle on certain things." He recognizes his struggles as well as his strengths and contains the humility that helps him stay open to learning and continuing to progress. Shae repeats that humility is at the heart of his ability to progress. When asked if he would ever be a mentor, Shae says that the only way he could is if the mentorship was reciprocal; they would both have to be learning from and teaching each other. He does not consider himself a mentor because it would imply that he is better than someone else, and he feels like everyone has something to learn from another person. This is a great representation of Shae's humility. Humility is an important leadership characteristic, and as explained above, it is one that the four artists I worked with all possess. It is at the foundation of their progression as both artists and individuals. Running Head: A CANVAS OF COMMUNITY 54 Motivation. Leaders are motivated. In discussing motivation, it is important to distinguish between extrinsic and intrinsic motivation. To reiterate, extrinsic motivation is when one is motivated by external rewards such as praise or money, while intrinsic motivation is when one is motivated by personal rewards such as self satisfaction. Peter Drucker (2004) and Nancy Adler (2006) both discuss motivation as it relates to leadership. Peter Drucker suggests that leaders should be more like volunteers and be motivated intrinsically. Through my research I have discovered that the four artists I interviewed are all motivated intrinsically. I therefore build on Drucker's suggestion and argue that artists can actually make great leaders, as many are already intrinsically motivated. Daniel Goleman (1996) suggests that motivation is one trait that almost all effective leaders possess. He supports Drucker's (2004) idea that leaders should be intrinsically motivated when he says, "those with leadership potential are motivated by a deeply embedded desire to achieve for the sake of achievement" (Goleman, 1996, p. 14). This deep desire to achieve for the sake of achievement is driven by internal rewards rather than external rewards. Shae Petersen demonstrates his level of internal motivation when he talks about what motivates successful artists. Rather than working for popularity and recognition, Shae expresses, "So if you wanna progress and get good at something for the sake of literally getting good at something and having a skill, then I think you're better off." Shae explains that the greatest form of motivation is that of wanting to get better for the sake of getting better and not for external rewards. Getting better for the sake of getting better parallels with the idea of having a desire to achieve for the sake of achievement. Goleman further explains what being motivated by the drive to achieve Running Head: A CANVAS OF COMMUNITY 55 (intrinsic motivation) looks like: "The first sign is a passion for the work itself - such people seek out creative challenges, love to learn, and take great pride in a job well done. They also display an unflagging energy to do things better" (p. 14). Intrinsically motivated leaders are those who have a passion for their work, look for challenges, appreciate the importance of learning, and are always working to progress. My analysis shows how the four artists I interviewed all match this description. Passion. Goleman (1996) claims that passion is the first sign of being motivated by the drive to achieve. Cory, Prajit, Shae, and Amir all mentioned passion as a foundational part of what motivates them as artists. Although they did not always use the word "passion," they would often use words that expressed a similar meaning such as love and joy. For example, in discussing street art, Shae says, "But I still love it. I love the letters. I love the pieces." His love for street art drives him to not only work hard as a dedicated artist, but to also appreciate the actual art form. Cory explains that he creates art because it is fun: "I didn't really consider myself an artist. Like everybody else, I just do this for fun." Cory originally did not see himself as artist until his art got accepted into a gallery. He just enjoyed creating art and did it for fun. Prajit is a landscape photographer because he loves landscapes and has since he was young. "Yeah, I loved looking at landscapes. I think probably it was already there." This pre-existing passion has driven him to become a landscape photographer. Amir's passion for art and creativity has not only driven him to be an artist, but also to establish an organization and become an important part of the Ogden community. Amir refers to his passion as being something that others recognize him for. "But I think that anybody, whether it be the organization or in the community, knows how passionate I am." Amir is driven by passion for art, Running Head: A CANVAS OF COMMUNITY 56 creativity, and community development. He loves working with youth and encouraging them to discover their potential. He is motivated by his passion, and those around him see this. These artists are all motivated by their passion. Whether it is a love for the art they create or the joy they find in encouraging, inspiring, and influencing others, passion is at the heart of who they are and what they do. Seek challenges. According to Goleman (1996), leaders who are motivated by the desire to achieve seek out creative challenges. Each of the four artists I interviewed continually discussed the important role challenges play in their progression as artists. They are motivated and driven by their desire to confront a challenge and overcome it. Each of them understands that by encountering challenges and learning how to overcome them, they become better artists and stronger individuals. Shae Petersen clearly states that encountering challenges is a strong motivator for him. While discussing his progression as an artist he says, "And really pushing myself to paint things that I didn't think was possible at one point. And I think that's kinda been my motivator." Shae is motivated by his desire to accomplish what he considers impossible. For example, Shae talks about achieving realism in painting faces. In doing so he would like to add even more detail than he has, such as individual eyelashes and pores on the skin. He asks himself, "Can I do this consistently, get a likeness, get emotion, get the expression, capture all that with spray paint?" By working hard to do these things, he overcomes this challenge. However, in his field of art, trying to do the impossible is a continuous challenge that he always encounters. He mentions that he has never done a painting where he has not encountered a challenge. "I think there's - at least with the medium I use, right, there's always crazy challenges…I mean there's always a challenge Running Head: A CANVAS OF COMMUNITY 57 no matter what…But that's part of the appeal to me anyways is there's always a challenge." Whether it is snow causing the paint on the wall to drip, or people using the alleyway he is working in as a gun range, Shae always encounters challenges while painting. Shae is motivated and driven by the challenges he has to face in his field of art. He actually enjoys that there is always a challenge and looks forward to finding a way to overcome it and seeing how doing so will help him progress as an artist. Like Shae, Prajit enjoys the challenges he faces as a photographer. In photographing landscapes, Prajit tries to take new and creative approaches; however, this brings with it certain challenges. He explains in the following example, "And I do a lot of long exposures showing the movement of time in a single photo. And that's challenge to express that in a photo. I enjoy it." Prajit describes how he enjoys the challenge of expressing time, something that changes and moves, in a single, immovable image of a photograph. Although he enjoys these challenges, he also admits that they can become discouraging. Often his photographs do not come out how he wants nor expects them to. He explains, "It doesn't come out right the first time. So I think just the challenge of that struggle. I think that can be discouraging at times but I think continuously shooting, I've been able to overcome that." At times the challenge comes from the struggle that an artist faces when his processes do not work out. This can become discouraging. However, Prajit overcomes this challenge by not giving up and by being persistent and continuing to shoot. This is a great example of an individual who seeks out creative challenges by attempting to explore new approaches to his art. In recognizing and overcoming challenges, he exemplifies the important process a leader must take. Running Head: A CANVAS OF COMMUNITY 58 Amir gives us a different perspective of how artists are motivated by and must learn to overcome challenges. Taking a different approach, Amir discusses the process of failure that all artists must go through. It's really interesting because art is probably the most courageous field… that is because of the fact that you have to embrace failure. You must. No artist doesn't fail. Every single one of them does. The artists who continue kinda get, not necessarily used to failure, but used to overcoming it. And so that's a really great… that's a really great aspect of art is the courage that it takes to be an artist. Amir gives us great insight into the courage that artists possess. Facing challenges takes courage. Facing failure perhaps takes even more. Despite the challenges and failures that artists face, it is their ability to overcome that makes them successful. Leaders exhibit similar courage in the failure and challenges they face. Glenn Llopis (2012) suggests, "What makes you a stronger leader and provides you the perspective to cast a greater vision and help others achieve more? It is the wisdom embedded within your failures" (para. 1). The process of overcoming challenges provides leaders with wisdom, perspective, and vision. Most importantly, leaders learn to overcome challenges and failures and recognize them as an opportunity for progression, just as these four artists do. Progression. Goleman (1996) states that leaders who are motivated by a desire to achieve also "display an unflagging energy to do things better" (p. 14). In accordance with challenges comes progression. Prajit connects the two well when he says, "I think, with me as an artist, I always try to push myself to get more creative. And it's kind of a challenge also." Prajit is always trying to push himself to progress as an artist and become a better photographer. This process in itself can be a challenge. Another Running Head: A CANVAS OF COMMUNITY 59 approach is to view a challenge as an opportunity to progress. All four artists view challenges as opportunities to progress. They see the value of facing a challenge and learning how to overcome it. This process strengthens them as artists and as people. As Amir discussed the challenge of coming up with new projects he explains, And when you do a lot of projects you get to a point where it's kind of difficult to do something new. And so this was really cool because it stretched me as my own artistic mind - it was stretched. Amir views the challenge of coming up with new projects as an opportunity to stretch himself as an artist and grow, which leads to progression. Although each of the four artists I worked with view progression in different ways, they all mentioned the importance it has in regards to what motivates them as artists. Shae places progression at the heart of his motivation as an artist. Right now in Shae's career, his greatest focus is advancing and developing his talent. He states, "Just progress is the motivator for me. Trying to get more detail. Trying to paint larger. Trying to get, you know, difficult subject matter to actually work. That's my motivator, for sure." He is motivated by his desire to always take his art to a new level, whether that is with size, detail, or difficulty. When asked about where he gets his drive, he responds, "I think I'm definitely driven by progress. I probably said that a lot and I'll keep saying it, but I'm always trying to improve." Shae's desire to become a better artist is a great representation of intrinsic motivation, as he seeks personal rewards rather than external rewards. He reiterates this as he explains, "But for myself, I always wanna get better." Shae wants to get better for himself and not for anyone else. He continues by explaining a moment when he was able identify progress in his work: "I could see progress. And it Running Head: A CANVAS OF COMMUNITY 60 was pretty quick. During that time, I didn't care about fame, notoriety, impressing anyone, competing with anyone. I literally only cared about competing with myself." Once Shae began to recognize that he was progressing, he did not concern himself with the approval and recognition of others, but rather with his own ability to improve and become a better artist than he was the day before. Shae's desire to progress goes beyond his art. He is motivated by the opportunity to progress as both an artist and a person. He explains his purest desire, "I just wanna get better and improve. Hopefully learn some new, some life lessons and get better as a person as well." Not only is Shae motivated to get better as an artist, but he is also motivated to progress as a person. Shae hopes that as he gets better and improves as an artist, he will also learn new things, grow, and become a better person. Being motivated by progression in the way Shae is motivated, is an incredibly valuable leadership quality. Cory, Prajit, Shae, and Amir all show how motivation is a foundational part of who they are as both artists and individuals. They demonstrate the elements of motivation as outlined by Goleman (1996): they are passionate, seek challenges, and are constantly focused on progression. As mentioned by Goleman, all leaders are motivated and all of these artists possess this leadership quality. As I have demonstrated, the four artists I worked with all exhibit the leadership qualities of having the desire and ability to learn, are self-aware and humble, and are motivated. According to Drucker (2004), Goleman (1996), and Collins (2001), these leadership qualities are deemed as those possessed by the most effective leaders. This shows that these four artists hold certain qualities that are necessary to be a leader. I will now examine how these artists see themselves as leaders in their communities. Running Head: A CANVAS OF COMMUNITY 61 Leadership Identification: The Disconnect Each of the four artists I interviewed had one thing in common in regards to how they see themselves as community leaders: they do not see themselves as community leaders. When asked the question, "Do you see yourself as a leader?" each of them answered "no" to some degree or another. For example Cory says, "I would like to see myself as a leader but I wouldn't at this time, at this point in my life." Cory has a lot of great ideas and has the desire to be a leader in his community; however, he does not consider himself to be one right now. When asked how he sees himself as a community leader, Prajit responds, "I think it's just a general progression and I don't think I'm there yet. I still have a lot of room to improve." Prajit believes that becoming a leader is a process and does not see him self as a leader yet. When asked further about how he would like to improve, he explains, "I think helping other artists make a good living while enjoying their art. That would be one of my end goals." Prajit would like to help other artists become professional artists who can sustain themselves through their art. This is a goal that Prajit has for himself and is working towards, but he will not consider himself to be a leader until he can help others achieve the same goal. Shae and Amir also echoed the voices of Cory and Prajit, claiming that they do not necessarily see themselves as leaders in their communities. Although each of these artists did not see themselves as community leaders, I discovered that when asked to describe or define a leader, each of them described qualities and characteristics that they themselves exhibit. Without realizing the connection, they defined themselves as leaders. I will now show how each of them did this. Running Head: A CANVAS OF COMMUNITY 62 Cory Gurney. Cory Gurney describes a leader as, Somebody that people are willing to follow and aren't regretful of it. Somebody that isn't forceful but has the better understanding of how people react to certain situations and are able to... I don't know... encourage the best out of people. Essentially, Cory describes a leader as someone that people follow because they want to follow, not because they are forced to follow. A leader is someone who people follow and are not regretful of it. He also describes a leader as someone who understands others and how they will behave in certain situations. Daniel Goleman (1996) refers to this leadership strength as empathy. This definition of leadership shows that Cory sees a leader as someone who focuses on others and works to better others. When discussing his art, Cory mentions that he only wants people to buy his art if they really enjoy it. If it grows to that point that people really like my stencils and really like my art, then obviously I'll step up my game, and try my best to give them their money's worth. I guess that's my biggest fear is somebody paying a lotta money and not really enjoying the piece. Since Cory only wants to sell his art to those who appreciate it, he is motivated to improve as an artist. He wants to do his best to provide people with the best possible art he can create and to make sure that they find value in the art they are receiving. The approach Cory takes to provide clients with art is very similar to how he defines a leader. To him a leader is someone who does not force anyone to follow, does not want others to feel regret, and who encourages the best in others; likewise, Cory does not want to force anyone to buy his art, nor feel regretful about buying his art. He encourages other to purchase his art because they enjoy it and because it will bring them satisfaction. Running Head: A CANVAS OF COMMUNITY 63 Therefore, although Cory does not see himself as a leader, he approaches art the same way he defines leadership. Prajit Ravindran. Prajit Ravindran describes leadership by saying, Leadership to me would be setting a good example for others, both in terms of your work as well as how you treat other artists. So always being willing to help others and encouraging them. I think that's leadersh