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Participatory Arts-Based Interventions for Holistic HRD and Organization Change: A Literature Review

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Title: Participatory Arts-Based Interventions for Holistic HRD and Organization Change: A Literature Review
Language: English
Authors: Sung-Eun Yang (ORCID 0000-0001-6097-0381), Shannon A. B. Perry (ORCID 0000-0002-9982-9980)
Source: New Horizons in Adult Education & Human Resource Development. 2026 38(3):233-245.
Availability: SAGE Publications. 2455 Teller Road, Thousand Oaks, CA 91320. Tel: 800-818-7243; Tel: 805-499-9774; Fax: 800-583-2665; e-mail: journals@sagepub.com; Web site: https://sagepub.com
Peer Reviewed: Y
Page Count: 13
Publication Date: 2026
Document Type: Journal Articles
Information Analyses
Descriptors: Art, Human Resources, Labor Force Development, Organizational Change, Holistic Approach, Intervention, Organizational Development, Experiential Learning, Workplace Learning, Aesthetics, Capacity Building, Feedback (Response)
DOI: 10.1177/19394225251385047
ISSN: 1939-4225
Abstract: Arts-based interventions (ABIs) have been used for a variety of intertwined human resource and organization development purposes. This integrative literature review explores what participatory ABIs in organizations--those which engage participants in diverse areas and levels of an organization's structures in making/performing art--produce in terms of developing human capacities in organization change efforts. Included empirical studies illustrate the practical aspects and potential value of implementing participatory ABIs for developing workers' personal-professional capacities in ways that also facilitate adapting to fluid organizational ecologies. Our findings and discussion explore the implications of participatory ABIs for developing aesthetic being, knowing, and doing as personal-professional capacities impacting how organization change happens.
Abstractor: As Provided
Entry Date: 2026
Accession Number: EJ1511199
Database: ERIC
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  Value: <anid>AN0195176162;[1cyh]01sep.26;2026Jul10.01:37;v2.2.500</anid> <title id="AN0195176162-1">Participatory Arts-Based Interventions for Holistic HRD and Organization Change: A Literature Review </title> <p>Arts-based interventions (ABIs) have been used for a variety of intertwined human resource and organization development purposes. This integrative literature review explores what participatory ABIs in organizations—those which engage participants in diverse areas and levels of an organization's structures in making/performing art—produce in terms of developing human capacities in organization change efforts. Included empirical studies illustrate the practical aspects and potential value of implementing participatory ABIs for developing workers' personal-professional capacities in ways that also facilitate adapting to fluid organizational ecologies. Our findings and discussion explore the implications of participatory ABIs for developing aesthetic being, knowing, and doing as personal-professional capacities impacting how organization change happens.</p> <p>Keywords: artistic intervention; arts-based HRD; holistic learning; organization development; experiential workplace learning</p> <hd id="AN0195176162-2">Introduction</hd> <p>In recent years, human resource and organization development and arts-based research have intersected through the use of arts-based interventions (ABIs) in organization change efforts ([<reflink idref="bib46" id="ref1">46</reflink>]). Organizations implement ABIs to grow creative capacity, train more emotionally-sensitive leaders, grow relationships across units and in teams, increase capacities for navigating complexity and ambiguity, and explore new ways of being, knowing, and doing ([<reflink idref="bib14" id="ref2">14</reflink>]; [<reflink idref="bib15" id="ref3">15</reflink>]; [<reflink idref="bib17" id="ref4">17</reflink>]). Much of the literature features ABIs initiated from the top, by executives or human resources departments ([<reflink idref="bib7" id="ref5">7</reflink>]4; [<reflink idref="bib42" id="ref6">42</reflink>]), and/or only targeting managers or identified leaders ([<reflink idref="bib14" id="ref7">14</reflink>]; [<reflink idref="bib17" id="ref8">17</reflink>], [<reflink idref="bib46" id="ref9">46</reflink>]; [<reflink idref="bib48" id="ref10">48</reflink>]; [<reflink idref="bib51" id="ref11">51</reflink>]). Many ABI studies in organizations also take an artist-centric perspective, mostly confining organization member participation to art consumption ([<reflink idref="bib9" id="ref12">9</reflink>]; [<reflink idref="bib45" id="ref13">45</reflink>]).</p> <p>While recognizing that "art stimulates both those who make it and those who witness it" ([<reflink idref="bib34" id="ref14">34</reflink>], p. 33), we were guided by [<reflink idref="bib20" id="ref15">20</reflink>] whole person theory (WPT) and the assumption that engaging people in more than witnessing or appreciating art would produce the most profound and long-lasting personal-professional learning leading to larger change. Thus, we asked: <emph>What do participatory arts-based interventions aimed at affecting organization change produce on personal, interpersonal, and organizational levels? How do participatory ABIs develop organizations' human resources toward supporting organization change processes?</emph></p> <p>To explore these questions, we sought out and reviewed empirical studies related to the organizational implementation of participatory ABIs that align with WPT's standards for participatory experiences ([<reflink idref="bib20" id="ref16">20</reflink>]), which:</p> <p></p> <ulist> <item> involve participants from varying organizational levels and/or departments; and</item> <p></p> <item> involve participants in art making/performing.</item> </ulist> <p>The first criterion relates to WPT's understanding of participatory in terms of democratic participation and collaborative inquiry ([<reflink idref="bib21" id="ref17">21</reflink>]) as a process for cultivating whole persons, affecting group and organizational change through the disruption of power hierarchies. The second review selection criterion relates to WPT's framing of affective experiential knowing in direct personal encounter as the root of all experience and learning. WPT situates presentational/expressive knowing through artful activities as ways to access, articulate, and enact the difficult-to-communicate feelingful experiential knowing at the root of wholistic being, knowing, and doing.</p> <hd id="AN0195176162-3">Theoretical Framework</hd> <p>Both [<reflink idref="bib20" id="ref18">20</reflink>] whole person theory and [<reflink idref="bib38" id="ref19">38</reflink>] congruence model for affecting transformation processes in organizations ground our review of the literature on using participatory ABIs to facilitate organization change efforts. A touchstone for many ABI facilitators, Heron's whole person theory illustrates how arts can "provide relatively direct access to our felt experience and draw upon our emotional connection to self, others, and experience" ([<reflink idref="bib51" id="ref20">51</reflink>], p. 56). This theory acknowledges multiple ways of knowing, including through intuition, imagination, felt sense, and emotional connections, and resonates with emerging theory situating cognition in embodied sense-making ([<reflink idref="bib48" id="ref21">48</reflink>]).</p> <p>Based on open systems theory ([<reflink idref="bib26" id="ref22">26</reflink>]), [<reflink idref="bib38" id="ref23">38</reflink>] model provides the foundation for considering an organization's total ecology of inputs, throughputs, and outputs. This model's emphasis on the interdependence of components and the feedback loops which occur among components illustrates how continuous and complex processes make an organization a dynamic and responsive system.</p> <hd id="AN0195176162-4">The Affective and Embodied Experiential and Expressive Knowing Art Produces</hd> <p>Scholars of ABIs in organizations assert the importance of sensuous knowledge and using the body's senses to attune to "the sensory field," the wider environmental background of everyday organizational life ([<reflink idref="bib48" id="ref24">48</reflink>]). For [<reflink idref="bib31" id="ref25">31</reflink>], "the most primal way of accessing knowledge is through the body as our earliest forms of knowing are preverbal. Knowledge is present in the body before it reaches our conscious awareness" (p. 7). Individual bodies are entry points of affective and intuitive knowing, which, in healthy systems, lay the foundation for cognitive knowing and action ([<reflink idref="bib20" id="ref26">20</reflink>]). Arts practices materialize embodied affects, and aesthetic learning occurs through the affective experiences of creating art and in encountering art created by others ([<reflink idref="bib16" id="ref27">16</reflink>]; [<reflink idref="bib30" id="ref28">30</reflink>]). Arts witnessing (e.g., viewing an art exhibit, watching a play, or listening to music) "expands our worldview by taking us to new places and allowing us to enter into the lifeworld of another" ([<reflink idref="bib30" id="ref29">30</reflink>], p. 76). It may also provoke community learning and incite new action ([<reflink idref="bib32" id="ref30">32</reflink>]).</p> <p>Our theoretical orientations inform the assumption behind our review criteria that making/performing arts involves aesthetic embodied expressions producing profound experiential knowing ([<reflink idref="bib30" id="ref31">30</reflink>], [<reflink idref="bib31" id="ref32">31</reflink>]). [<reflink idref="bib33" id="ref33">33</reflink>] stated that "our brains respond in critical ways as we engage in art making, as we enter 'flow' states of creativity, and as we consume art" (p. 7). This emphasis on embodied action aligns with [<reflink idref="bib20" id="ref34">20</reflink>] multiple ways of knowing, which all begin from the ground of embodied experience, encompassing individuated and participatory aspects and leading on to linguistic expressions of concepts, interpretations, and, potentially, more ethical, relational, holistic, and creative action responses carrying potentials to affect further change. Expressive knowing bridges between the often-subconscious embodied affective knowing of experience and the more familiar linguistic/propositional and action-oriented/practical knowing privileged by most formal educational and cultural institutions. Expressive knowing represents a pathway between the emotion/feeling of experiential knowing and the critical reflection of propositional knowing ([<reflink idref="bib56" id="ref35">56</reflink>]).</p> <p>[<reflink idref="bib20" id="ref36">20</reflink>] holistic learning theory's emphasis on the participatory aspects of each of the multiple ways of knowing informed our decision to focus on ABIs engaging participants in making/performing art. In contrast to witnessing or appreciating created arts by oneself, participatory artmaking enhances learning by invoking participation that seeks to affect others and invites others' feedback ([<reflink idref="bib49" id="ref37">49</reflink>]). While appreciating how aesthetic experience transcends a mind/body binary and recognizing arts witnessing may also produce profound learning, this review focuses on ABIs wherein diverse participants engaged in embodied making/performing.</p> <hd id="AN0195176162-5">Arts-Based Interventions in Organizations</hd> <p>Increased scholarship on ABIs in organizations coincides with the growth of arts-based research and teaching in education and other social science fields ([<reflink idref="bib33" id="ref38">33</reflink>]). Arts-based interventions, or artistic interventions, unfold "when people, practices, or products from the world of the arts enter organizations to make a difference" ([<reflink idref="bib8" id="ref39">8</reflink>], p. 3). They involve "drawing on all forms of art—visual, performing, literary—as central features of interventions lasting a few hours, a couple of days, or sometimes even years" ([<reflink idref="bib7" id="ref40">7</reflink>], p. 263). ABIs cultivate expressive knowing across the entire spectrum of artistic forms ([<reflink idref="bib51" id="ref41">51</reflink>]; [<reflink idref="bib56" id="ref42">56</reflink>]); and organizations have used them to pursue wide-ranging objectives, including increasing creativity and comfort with complexity ([<reflink idref="bib3" id="ref43">3</reflink>]; [<reflink idref="bib15" id="ref44">15</reflink>]).</p> <p>ABIs also differ in terms of their goals, artistic forms used, implementation processes, and levels and types of participation required ([<reflink idref="bib48" id="ref45">48</reflink>]; [<reflink idref="bib51" id="ref46">51</reflink>]). [<reflink idref="bib15" id="ref47">15</reflink>] divided ABIs into those which prompted learning through artistic metaphors, capabilities, products, or events. They later extended this typology to emphasize elements in the artful processes ABIs facilitate, including the development of arts-making capacities, like concept building and prototyping, and the creation of play spaces ([<reflink idref="bib4" id="ref48">4</reflink>]). [<reflink idref="bib51" id="ref49">51</reflink>] demonstrated a continuum between universal-particular-focused and product-process-focused ABIs and grouped these into four categories focused on: (<reflink idref="bib1" id="ref50">1</reflink>) building specific transferable skills, (<reflink idref="bib2" id="ref51">2</reflink>) illustrating an organization's holistic situation, (<reflink idref="bib3" id="ref52">3</reflink>) projecting an individual or group experience, and (<reflink idref="bib4" id="ref53">4</reflink>) art-making processes.</p> <p>ABI processes must match organizational purpose and objectives ([<reflink idref="bib51" id="ref54">51</reflink>]; [<reflink idref="bib48" id="ref55">48</reflink>]). However, citing the contextual differences of every case and the multiple factors involved in any organization change effort, researchers discourage assuming any simple equation between certain ABIs and specific organizational goals. Many also resist the notion that the value of ABIs lies primarily in boosting profit-making or increasing efficiency ([<reflink idref="bib6" id="ref56">6</reflink>]). [<reflink idref="bib7" id="ref57">7</reflink>] remarked on ABI scholars' tendency to gloss over tensions between artful and typical organizational ways of being, knowing, and doing. They urged researchers to make visible the tensions and risks related to power and value differences among organization stakeholders as well as between artists and organizations. In general, organizations welcoming artistic interventionists are usually less single-mindedly concerned with profit-making goals than those hiring traditional organizational consultants ([<reflink idref="bib3" id="ref58">3</reflink>]).</p> <p>Because ABI facilitators often occupy precarious positions within organizations and may seem threatening to some stakeholders, supportive management plays a vital role in shaping employees' perceptions of an ABI, including its potential to create long-term impacts ([<reflink idref="bib5" id="ref59">5</reflink>]). While ABIs often enter organizations through managers with artistic interests ([<reflink idref="bib15" id="ref60">15</reflink>]), managers assume potentially high risks in initiating ABIs. Failure to continue supporting the integration of aesthetic insights and practices emerging from ABIs can create employee discontent and distrust ([<reflink idref="bib6" id="ref61">6</reflink>]; [<reflink idref="bib55" id="ref62">55</reflink>]). Therefore, intermediaries, including ABI researchers, who pair artists and organizations, often drive ABIs ([<reflink idref="bib15" id="ref63">15</reflink>]). Having acknowledged the crucial role of managers and other influential actors in successfully implementing ABIs, we now consider how the willing participation of diverse organization stakeholders, at all levels, develops individuals in ways that drive organization change.</p> <hd id="AN0195176162-6">Participation and Organization Change</hd> <p>Organization change efforts depend on actively involving individuals with diverse job functions at various levels, including those at the very lowest rungs of an organization's hierarchy ([<reflink idref="bib28" id="ref64">28</reflink>]). Successful action plans "ensure a high degree of overlap (or at least communication) between" organizational members who formulate the problem(s) and those who carry out the chosen solution(s) ([<reflink idref="bib44" id="ref65">44</reflink>], p. 304). Organizations attempting to enact changes by developing human resources reduce resistance by providing opportunities for individuals to be involved in and grow from change processes, including expressing emotions that naturally accompany change. [<reflink idref="bib6" id="ref66">6</reflink>] analysis of around 300 case studies highlighted the importance of management in implementing organizational ABIs. Non-participant stakeholders sought easily quantifiable, traditional outcomes, like measurably enhanced performance or larger profits. Meanwhile, ABI participants, including managers, who directly experience ABI's co-creative processes, appreciated and understood the deeper and wider impact and intrinsic value of ABIs.</p> <p>[<reflink idref="bib12" id="ref67">12</reflink>] stated that "ways of dealing with change for individuals—conceptually, achieving closure and participation—apply to groups as well" (p. 123) and "with strong efforts at following a planned process ... including heavy use of involvement and participatory activities ... successful organization change can occur" (p. 131). Many prominent group intervention approaches informed by open systems theory, including Trist and Emery's sociotechnical theory, emphasize the necessarily participatory nature of organization change ([<reflink idref="bib22" id="ref68">22</reflink>]). [<reflink idref="bib11" id="ref69">11</reflink>] highlighted Weisbord's practice theory and Future Search approach as methods that ensure elements from various parts of a whole system, including external stakeholders, come together in one room. They also mention Participative Design's commitment to democratic processes and increasing worker autonomy as well as Open Space Technology's exploratory investigations into finding what one holds most dear and questioning assumptions, values, and structures. The authors assert these "highly participatory" methods assume "people want to be engaged and to have a voice" and can learn self-organization and responsiveness to organizational needs (p. 316).</p> <p>In focusing on interventions emphasizing a participatory arts-based approach, we also advocate for organization change methods that develop human members by valuing their affective embodiment and expressive knowing. This extension of embodied knowing to sociocultural awareness pervades the social presencing theater (SPT) work of Arawana Hayashi. Hayashi's psycho-drama method combines her background in dance choreography and Buddhist teaching to facilitate leadership development. Hayashi likens the bodily awareness of "our interconnectedness and the fact that we are always part of a social body" that SPT produces to Gendlin's felt sense. The artful SPT method grows leadership by asking individuals to become part of an organizational tableau by embodying a feeling from a specific stakeholder perspective. The embodied knowing of co-creation expands awareness and brings tacit knowledge of the organizational environment to the fore, making visible the connections and disconnections members feel to different components of an organization and the organization as a whole ([<reflink idref="bib27" id="ref70">27</reflink>]).</p> <hd id="AN0195176162-7">Review Methodology</hd> <p>Designing this integrative literature review ([<reflink idref="bib52" id="ref71">52</reflink>], [<reflink idref="bib53" id="ref72">53</reflink>]) involved selecting empirical studies focused on ABIs conducted for organizational change. This review method is well-suited for synthesizing research on underexplored topics ([<reflink idref="bib53" id="ref73">53</reflink>]), and, thus, appropriate, given the absence of a comprehensive review on arts-based engagement for organizational development. We employed [<reflink idref="bib18" id="ref74">18</reflink>] analytical SALSA (Search, AppraisaL, Synthesis and Analysis) framework for the evidence synthesis process.</p> <p>Locating studies for the review began with searching combinations of related keywords, including "arts-based", "arts-based method", "artistic intervention", "artistic activities", "arts-based learning", "aesthetic experience", "organizational development", "organizational learning", and "organization change" on various databases, including Dissertation Abstracts International and Educational Resources Index Clearinghouse, EBSCOhost, Emerald, Google Scholar and our institution's library system. A first set of studies were selected based on the contents of article abstracts.</p> <p>Our scope in this review was focused on arts-based interventions conducted within organizations. Thus, in a second round of deeper reading, we eliminated all studies that did not fit our four main criteria, summarized as follows:</p> <p></p> <ulist> <item> Focused on arts-based interventions implemented to facilitate organization (not personal or group-level) change.</item> <p></p> <item> Featured a methodology section describing the collection and analysis of empirical data.</item> <p></p> <item> Exhibited a participatory ABI approach inclusive of organization members from diverse levels and positions.</item> <p></p> <item> Facilitated participants' artmaking/performing, beyond witnessing/appreciation.</item> </ulist> <p>We excluded studies limited to classroom, community, or individual/team development contexts which lacked broader organizational impact goals. For instance, ABIs in higher education classroom settings were excluded, while those targeting organizational-level change within higher education were included. We further appraised materials to exclude ABIs which were completely artist-centered or manager-exclusive due to our bias, informed by the broad literature on organization change and ABIs in organizations as well our whole person theoretical orientation ([<reflink idref="bib20" id="ref75">20</reflink>]), that change requires broad participation ([<reflink idref="bib12" id="ref76">12</reflink>]; [<reflink idref="bib28" id="ref77">28</reflink>]). This justified our exclusion of studies wherein artist-facilitators were the primary makers or performers, as well as studies wherein interventions were implemented only with those already occupying a formal managerial role. This purposefully selected sample of studies allowed for a more consistent analysis of participatory ABIs for organizational change.</p> <p>Based on these criteria, 14 empirical studies published from 2013 to 2023 were included in the literature review: Ten articles published in academic journals, one Master's thesis, and three book chapters. With our guiding concepts, we employed thematic analysis (TA) ([<reflink idref="bib10" id="ref78">10</reflink>]) and online spreadsheet software to synthesize patterns we observed in the literature. Our final step involved analyzing how the themes we generated from our synthesis added to our inquiry's guiding concepts, informing our development of the theoretical framework depicted in Figure 1.</p> <p>Graph: Figure 1. Theoretical framework of ABI-informed organizational transformation process.</p> <hd id="AN0195176162-8">Findings</hd> <p>While the 14 empirical ABI studies reviewed here cover a wide range of organizational contexts and intentions, research questions, theoretical frameworks, and methods, we uncovered distinct patterns around ABI implementation, design, and impacts. As depicted in Table 1, nine studies used visual methods, three used poetry, including the poetic captioning of images, while five employed storytelling. This bias toward visual artmaking and analysis often emphasized ABI artifacts over organizational and social processes involved. Two ABIs focused on more embodied, everyday performance. In one study, a company navigating a merger worked with an artist-in-residence for a year to implement "exercises involv[ing] a lot of physical contact," placing former competitors "cheek to cheek" ([<reflink idref="bib7" id="ref79">7</reflink>], p. 266). In another study, an arts organization worked with an artist over several years to co-create exercises for reframing privilege and living in closer alignment with their values. Cleaning, reading, and pursuing other activities together highlighted how power and privilege are lived in the everyday work environment ([<reflink idref="bib29" id="ref80">29</reflink>]).</p> <p>Table 1. Empirical Studies of Participatory ABIs for Organizational Transformation.</p> <p>Graph</p> <p> <ephtml> <table><colgroup><col align="left" /><col align="char" char="." /><col align="char" char="." /><col align="char" char="." /><col align="char" char="." /><col align="char" char="." /></colgroup><thead><tr><th align="left">S. no.</th><th align="center">Author (date)</th><th align="center">Organization and intention</th><th align="center">Participatory ABI(s)</th><th align="center">Research method(s)</th><th align="center">Findings</th></tr></thead><tbody><tr><td>1</td><td><xref ref-type="bibr" rid="bibr2">Banks et al. (2023)</xref></td><td>NASA project management and systems engineers revealing hidden truths and challenges of work</td><td>Improvisational theater</td><td>Pre- and post-intervention survey responses</td><td>– ABI revealed context-specific hidden truths– Most participants enjoyed the ABI but did not report learning new ways of approaching their job– Buy-in of respected community members alleviated participant recruitment challenges</td></tr><tr><td>2</td><td><xref ref-type="bibr" rid="bibr3">Berthoin Antal (2013)</xref></td><td>Health care organizations with various goal (e.g., improving patient relations and engaging the unknown)</td><td>Multiple (e.g., interior space re-design) across many organizations</td><td>Interviews with participants and intermediaries</td><td>– ABIs activated values beyond making profit– Increased capacities for appreciating not-knowing in ambiguity– Increased awareness of the organization context and embodied experience by opening up creative organizational interspace</td></tr><tr><td>3</td><td><xref ref-type="bibr" rid="bibr4">Berthoin Antal et al. (2018)</xref></td><td>33 small-medium private and public sector organizations in Spain generating ideas for new products, services, ways of relating to the environment, and re-thinking the organizational model</td><td>Multiple, not adequately described</td><td>Open-ended pre- and post-intervention online survey with employee participants in multi-stakeholder arts interventions</td><td>– Increased joy, motivation, and creativity at work– More positive relations with others and increased feelings of social purpose</td></tr><tr><td>4</td><td><xref ref-type="bibr" rid="bibr7">Berthoin Antal et al. (2014)</xref></td><td>Case 1: Medium-sized French company in a knowledge industry addressing alignment of values and action around diversityCase 2: Scandinavian insulation easing employee tensions after a merger</td><td>Case 1: Theatric activities (interview-based playmaking, roleplay) Case 2: Multiple physical-oriented events co-designed by employee with artist-in-residence</td><td>Comparative case study</td><td>– Case 1: An intermediary would have helped ensure ethicality– Case 2: ABIs spurred former competitors to communicate and collaborate– In both cases, employees felt free to say and do things not normally addressed or expected in the organizational culture.– ABIs helped process emotional experiences.</td></tr><tr><td>5</td><td><xref ref-type="bibr" rid="bibr23">Hopkinson (2015)</xref></td><td>Healthcare organization (hospital) exploring how to enhance care</td><td>Poetry writing and sharing</td><td>Creative co-inquiry</td><td>– Poems helped embody personal emotions and values, history and politics of organization, and facilitated empathy.– Poems created safe space for unlocking repressed emotions related to job roles and helped explore alternate possibilities for care practices.</td></tr><tr><td>6</td><td><xref ref-type="bibr" rid="bibr24">Jahnke (2016)</xref></td><td>Local newspaper organization pursuing a rebrand</td><td>Multiple methods over 8 workshops (i.e., analyzing and taking photos, creating product metaphors, interviewing target audience, drawing)</td><td>Interviews with intermediary, artist and manager; workshop observation and meeting notes</td><td>– Personal learning in movement from distrust and discomfort to trust and comfort with artist and uncertain artistic process– Manager growth (i.e., increased listening, trust in open process),– Group autonomy and self-organizing skill demonstrated creativity as a social process and group-level learning.</td></tr><tr><td>7</td><td><xref ref-type="bibr" rid="bibr29">Krauss (2019)</xref></td><td>Public arts institution in the Netherlands seeking to unlearn privilege and align values with actions</td><td>Various site-specific performance-based, Situationist-inspired exercises (e.g., collective cleaning and reading, diary-keeping)</td><td>Collaborative case study</td><td>– Learning and unlearning, as relational processes, happened in collaborative situations.– 14 site-specific unlearning exercises emerged– Collaborative unlearning with arts challenged the economics of efficiency and learning as an individual pursuit.</td></tr><tr><td>8</td><td><xref ref-type="bibr" rid="bibr37">McKendry (2019)</xref></td><td>Researcher/faculty-initiated ABI to promote university-wide inclusive leadership culture</td><td>Photo-elicitation and poetic captioning</td><td>Analysis of participant-provided images and focus group dialogue and reflections</td><td>– Photos elicited specific metaphors of inclusive leadership as well as led to critically creative conversations and actionable plans for enacting inclusive leadership on intrapersonal, interpersonal, and organization-wide levels.</td></tr><tr><td>9</td><td><xref ref-type="bibr" rid="bibr39">Page et al. (2014)</xref></td><td>Researchers and postgraduate students in a university business school sought to promote gender equality and diversity practices in organizational contexts</td><td>Visual inquiry, poetry and poetic writing, social dreaming, free association</td><td>Analysis of co-created artifacts, interviews with participants, observations of participative action inquiry workshops</td><td>– Participants accessed tacit knowledge through embodied, sensory experience and aesthetic forms in the liminal space created by ABI– Participants experienced a sense of enjoyment characterized by purposeful yet playful creativity that allowed exploration of lived experience without pressure to produce solutions.</td></tr><tr><td>10</td><td><xref ref-type="bibr" rid="bibr40">Pässilä et al. (2013)</xref></td><td>Large Finnish wood processing company attempting to innovate new ways for handling change</td><td>Research-based theatre (action research method); theatrical imaging, storytelling</td><td>Uses an expanded SECI knowledge dimensions model including two new types of tacit knowledge (self-transcending imaginal and futurizing knowledge) to reflect on observations and dialogue generated during the theatre-based inquiry.</td><td>– Theatrical images surfaced tacit knowing, including self-transcending knowing that includes imagination and futurizing, leading to collaborative creative dialogue and collective reflection.– Increased capacity of individuals to self-organize as part of sense-making processes led to innovation.– Knowledge sharing involved embodied processes that expressive arts practice helped bring to awareness.</td></tr><tr><td>11</td><td><xref ref-type="bibr" rid="bibr47">Soila-Wadman (2020)</xref></td><td>A trade union organization employed an artistic intervention to increase creativity in the organization.</td><td>Various aesthetic learning activities(Building a tower with their bodies and photo documentation, Graffiti painting workshop)</td><td>Action researchSemi-structured interviews individualsGroup interviewsAnalysis of written documents and photos</td><td>– The ABI process enabled informal and incidental learning.– At the individual level, Art helped individuals' open their mental space to see and experience more, leading to a new way of learning– At the organizational level, collaborative skills developed by facilitating a trustful atmosphere enabling expressions of positive and negative experiences or feelings and new ideas.</td></tr><tr><td>12</td><td><xref ref-type="bibr" rid="bibr50">Tavin et al. (2018)</xref></td><td>University engaged in creating a transdisciplinary university pedagogy and transcending disciplinary spaces</td><td>Various transdisciplinary ABIs (e.g., finding gallery/presentation spaces, arts-making spaces; creating new course; examining textbook visuals, etc.)</td><td>Thought with Deleuze and Guattari's philosophy to reflect on implementing a transdisciplinary, arts-based pedagogy across the university</td><td>– Broad support from faculty and students on the value of art for initiating new ways of knowing prompted a committee to consolidate small-scale efforts across campus into a university-wide transdisciplinary program.– New spaces and classes for open-ended experimentation facilitated the creation of campus-wide pedagogy and culture of display and exhibition, mixing of people from various disciplines.</td></tr><tr><td>13</td><td><xref ref-type="bibr" rid="bibr54">Tyler (2015)</xref></td><td>An inner-city nonprofit service agency in Baltimore, MD: seeking to create a strategic visioning and planning process</td><td>Integration of storytelling and visual art (e.g., visual art, mosaic art)</td><td>Used transformative learning theory in participatory action research (PAR) case study</td><td>– Presentational/expressive knowing influenced strategic visioning and planning process by transforming organization spaces, both physical and energetic or psychosocial– The inclusion of many voices and perspectives helped participants interpret and internalize presentational knowing.– The final vision mosaic, left in the organization's public primary space, provided a long-term, everyday inspirational reminder of purpose and possibility as the organization operationalized its strategic plan.</td></tr><tr><td>14</td><td><xref ref-type="bibr" rid="bibr55">Voss (2020)</xref></td><td>Large Finnish public service organization carrying out an undisclosed organization development plan</td><td>Participatory photography workshops with Neemo method taught by the artist to employees who, in turn, facilitated the method within their own teams</td><td>Semi-structured interviews with six ABI participants a few months after intervention</td><td>– Participatory photography produced empowerment, joy, and frustration while leaving participants' work habits unchanged.– Feelings toward and perception of teammates changed in both positive and negative ways.– Adequate time and resources, facilitator training, and communication of organizational goals are necessary for positive individual experience and organizational outcomes.</td></tr></tbody></table> </ephtml> </p> <p>Studies often lacked complete descriptions of how the ABI unfolded due to narrow focus on certain aspects or collecting data long after conducting the ABI. While most studies, especially those spanning longer time periods, used multiple artistic methods, they did not always clearly outline methods and processes ([<reflink idref="bib3" id="ref81">3</reflink>]; [<reflink idref="bib7" id="ref82">7</reflink>]; [<reflink idref="bib50" id="ref83">50</reflink>]). Likewise, many studies did not discuss how organization goals informed their ABI design or how and why specific arts-methods were selected. Only [<reflink idref="bib24" id="ref84">24</reflink>] discussed the ABI process from multiple participant viewpoints. While some ABIs involved individual participants creating artifacts individually and others created collaboratively, all followed a general flow of "taking the group through a process ... that alternatingly involved interpretation and expression" ([<reflink idref="bib24" id="ref85">24</reflink>], p. 87).</p> <hd id="AN0195176162-9">Surfacing Power Dynamics and Building Trustful Mutuality</hd> <p>Reviewed studies expanded our original conception of "participatory" to consider levels of employee input in ABI design. Lack of participant input was a common participant critique ([<reflink idref="bib7" id="ref86">7</reflink>]; [<reflink idref="bib55" id="ref87">55</reflink>]) related to organizational power dynamics. More long-term ABIs ([<reflink idref="bib7" id="ref88">7</reflink>]; [<reflink idref="bib29" id="ref89">29</reflink>]; [<reflink idref="bib50" id="ref90">50</reflink>]) tended to involve diverse stakeholders in co-designing ABIs and increased embeddedness of aesthetic practices in daily organization culture. This helped prevent producing disappointed workers unsure about how to integrate new artistic approaches into their daily work lives ([<reflink idref="bib55" id="ref91">55</reflink>]). Potential for coercion also surfaced in management-directed ABIs. One ABI featured an unreflective CEO and band of artists who "colluded" in staging a mandatory surprise performance for employees ([<reflink idref="bib7" id="ref92">7</reflink>], p. 268). ABI initiators did not consider the power differences, ethical dilemmas, and potential negative consequences involved in asking employees to risk vulnerable participation in a top-down initiated ABI.</p> <p>Building enough connection and trust to implement a participatory ABI often takes time, and many studies stressed the need to build mutuality. [<reflink idref="bib29" id="ref93">29</reflink>] wrote that "the collaborative aspect ... is pivotal in the arts-based approach towards unlearning, namely, to not conduct research about the group in question but to research with a group of people" (p. 488). [<reflink idref="bib47" id="ref94">47</reflink>] discussed how a conflict between an artist and the team concerning the goals and methods of the art project led to negative feelings and resistance among participants, almost halting the project. Only through collaboration can ABI researchers, facilitators, and participants attend to power issues and confirm alignment between individual and organizational ethics and values and selected ABI methods. However, one organization's attempt to create a more participatory ABI backfired when they employed artists to instruct chosen employees in a photography method. Asking these employees to teach learned methods to their teams resulted in significant resistance and negative feelings ([<reflink idref="bib55" id="ref95">55</reflink>]), highlighting the importance of skilled facilitators for increasing confidence in ABI processes and overriding dysfunctional group dynamics.</p> <p>While researchers tend to ignore tensions and resistances ABI facilitators often encounter ([<reflink idref="bib3" id="ref96">3</reflink>]; [<reflink idref="bib7" id="ref97">7</reflink>]), the literature presents many possible scenarios. Organizations often invite ABI facilitation as a strategy for working through existing problems, and the power of ABIs to facilitate change often relates to the reframing of challenges. The artist's ability to view resistance as a resource rather than a deficit proves vital because even voluntary participants can demonstrate resistance ([<reflink idref="bib3" id="ref98">3</reflink>]). The emergence of discomfort often creates resistance in ABIs, as when arts organization members considered how what they each owned related to various inequities ([<reflink idref="bib29" id="ref99">29</reflink>]). An artist intermediary helping a local newspaper rebrand described an editorial team's habit of long informal coffee chats around the office couch as a form of resistance to engaging more serious conversations ([<reflink idref="bib24" id="ref100">24</reflink>]).</p> <p>Accounts of resistance to ABIs speak to the need for facilitators skilled at moving participants from doubt and anxiety to a place of trusting the artist, the messy art-making process, and fellow participants. While [<reflink idref="bib54" id="ref101">54</reflink>] suggested facilitators need only some persistence and humor, the perception management has withdrawn support, especially in the early, ambiguous stages, can greatly influence participants' willingness to continue with an ABI ([<reflink idref="bib24" id="ref102">24</reflink>]; [<reflink idref="bib55" id="ref103">55</reflink>]). Resistance can also become learning opportunities, as when colleagues witnessed a manager become more respectful of alternative perspectives over the course of an ABI ([<reflink idref="bib24" id="ref104">24</reflink>]).</p> <p>Even with established trust between intermediary and organization members, resistance may remain if a group attributes their learning to the artist-facilitator. Even in a highly participatory intervention where participants drove decision-making, "they all stressed that '[the artist] was the energy'. One of them explained: 'We've been here for many years, we know the routines. We know how the collective mind works. We need someone to open the box, even throw the box away'" ([<reflink idref="bib7" id="ref105">7</reflink>], p. 266). The artist helping the newspaper staff with rebranding had to help "make the group see that more work would have to be done, and that it was not necessarily up to her to do it" ([<reflink idref="bib24" id="ref106">24</reflink>], p. 85). Implementing participatory ABIs, then, requires facilitators to bring valuable outside energy, perspective, and skill, while directing groups to own their own growth and develop self-generating cultures of continued artful inquiry.</p> <hd id="AN0195176162-10">Playing and Making New Connections to Self, Coworkers, and Organization</hd> <p>Participants sometimes resisted the ABI by claiming to lack skills ([<reflink idref="bib54" id="ref107">54</reflink>]). However, after a time experimenting with artful practices, participant resistance, including assumptions about organizational actions, processes, and relationships often began to "unfreeze" systemic structures ([<reflink idref="bib13" id="ref108">13</reflink>]). This unfreezing creates spaces where alternate ways of being, knowing, and doing can form as new learning happens. One ABI facilitator's persistence pushed an initially resistant group through a "turning point" wherein participants realized "they could and were even allowed to express themselves, that work could actually be both fun and serious at the same time, that what was expressed personally in the workshops was both welcome and really meant something important to the process" ([<reflink idref="bib24" id="ref109">24</reflink>], p. 83).</p> <p>Participatory ABIs often led to holistic ways of relating to self, colleagues, and the organization as participants became aware of their own tacit assumptions. For example, the visual methods used by co-inquirers attempting to transform their university's culture through inclusive leadership surfaced individual-oriented leader stereotypes in conflict with inclusive leadership ideals ([<reflink idref="bib37" id="ref110">37</reflink>]). Workers in the Finnish wood processing company seeking to promote organizational innovation surfaced deeper types of tacit knowledge that researchers called "self-transcending." Inquiring into the embodied knowing of their work practices led to "common novel knowledge" about shared practice ([<reflink idref="bib40" id="ref111">40</reflink>], p. 67).</p> <p>Most studies reported positive participant feedback and participants feeling more connected to their colleagues after participatory ABIs. In [<reflink idref="bib55" id="ref112">55</reflink>] large Finnish public service organization, participants forged deeper connections through the shared experience of newness and disorientation the ABI created. In other studies, participants delighted in discovering colleagues' hidden talents ([<reflink idref="bib7" id="ref113">7</reflink>]) and how shared experiences became channels for empathy ([<reflink idref="bib23" id="ref114">23</reflink>]). [<reflink idref="bib47" id="ref115">47</reflink>] noticed participants became more open, courageous, and trusting when collaboratively participating in aesthetic knowledge creation; and, in a survey of employees in 33 Spanish organizations where ABIs were conducted, most reported "their relationships were improved, enriched, nourished by a greater propensity for discovering the potential in others" ([<reflink idref="bib4" id="ref116">4</reflink>], p. 381). Appreciating and recognizing potential in colleagues translated into a more open engagement of multiple forms of diversity. A year-long artist-in-residence intervention in a Scandinavian company which had recently undergone a merger of two competing companies also found previously unaddressable topics could be discussed ([<reflink idref="bib7" id="ref117">7</reflink>]).</p> <p>Participatory interventions involving managers and workers can challenge organization members from vastly different positions to view each other's capacities and perceptions differently, fostering awareness of colleagues as whole persons. Such a situation emerged in a hospital when, through an ABI intended to redesign a family waiting room, "the hospital surgeons and senior managers ... had revealed to them that [a morgue worker] at the bottom of the hierarchy should be listened to ... that he was the one with the keenest sense of the needs" ([<reflink idref="bib3" id="ref118">3</reflink>], p. 73). This poignant example illustrates how participatory ABIs can unfold in unpredictable ways, altering flows of power that shape interpersonal and organizational boundaries and disrupting normative assumptions about how decisions should be made.</p> <hd id="AN0195176162-11">Emerging Liminal Spaces for Expressing Embodied Affective and Imaginal Knowing</hd> <p>Another recurring theme related to "the joy ... emerging from the different atmosphere" ABIs create ([<reflink idref="bib55" id="ref119">55</reflink>], p. 45). Joy also derived from freedom to engage in "purposeful yet playful creativity that allowed exploration of lived experience without pressure to produce solutions" ([<reflink idref="bib39" id="ref120">39</reflink>], p. 590). [<reflink idref="bib47" id="ref121">47</reflink>] participants joked and laughed while interpreting visual images and making collages related to ideas of what a manager could be, and, in post-intervention interviews, indicated feeling pleasure. The author found "laughter and playfulness can be a smoothing factor for group dynamics and an element for facilitating creativity" (p. 123).</p> <p>Several studies discussed ABIs opening up alternative spaces, or "an 'interspace' in which the norms and routines of the organization are temporarily suspended, opening the possibility of thinking and behaving differently" ([<reflink idref="bib4" id="ref122">4</reflink>], p. 379). This organizational liminal space possessed "qualities of a different landscape, a parallel universe and state of mind, to be visited and dwelt in for a time," enabling participants "to suspend from what was known in order to learn something new" ([<reflink idref="bib39" id="ref123">39</reflink>], p. 589). The emergence of liminal spaces related to participant freedom and choice. [<reflink idref="bib55" id="ref124">55</reflink>] participants reveled in choosing what to photograph, presenting their own viewpoint as important, and feeling seen. For [<reflink idref="bib37" id="ref125">37</reflink>] participants, images opened up metaphors which created liminal spaces that moved the group discourse from critique to creatively strategizing change.</p> <p>In many studies, freedom also related to freedom from denying emotions at work. [<reflink idref="bib23" id="ref126">23</reflink>] study "showed the emotional safety or distance gained through a poem was key to unlocking suppressed emotions ... generated by working with others" (p. 44). In this case, poetry opened up safe space to explore personal emotional experiences with other healthcare practitioners, challenge current practices, and imagine alternative possibilities for enacting care. Likewise, an ABI for understanding diversity and equity "dislodg(ed) emotions from the exclusive inner realm of the individual in order to concentrate on them as a pivotal means of social interaction through which we make sense of experiences" ([<reflink idref="bib39" id="ref127">39</reflink>], p. 583). Thus, ABIs created spaces that freed participants to attend to emotional realities of their organizational activities, placing learning and individual sensemaking within contexts that increased connection and joy.</p> <p>Over time, liminal spaces also activated self-organizing mechanisms. [<reflink idref="bib24" id="ref128">24</reflink>] artist-interventionist, for example, knew their intervention had concluded when each team member "had taken over the practical work of implementing the plan as well as the new understanding that they had created together, aided, but not directed by the artist" (p. 86). Throughout the ABI process, the artist helps the team build an awareness of their autonomous capacity and confidence to sustain momentum around continuous experimentation and inquiry. Adequate time allocation is also key. [<reflink idref="bib36" id="ref129">36</reflink>] confirmed that significant and long-lasting benefits derive from sustained involvement in the arts. [<reflink idref="bib54" id="ref130">54</reflink>] advised ABI interventionists demand serious commitment from organizational participants, including time for "ritual openings and closings, quiet reflection, focus on task, robust and possibly contentious conversation, discovery, casual bantering, helping one another, and surprise" (p. 339).</p> <p>Organizations must make space "for the effects of artistic interventions to settle into everyday ways of working, structures, and rituals. Making space means making time, allowing employees to shift their focus from short-term results to long-term orientation" ([<reflink idref="bib8" id="ref131">8</reflink>], p. 52). While liminal spaces are often temporary, some organizations secured permanent space for continued work in the liminal spaces ABIs initially created. One university recognized that creating and maintaining permanent physical spaces for interdisciplinary experimentation and exhibition helped nurture a less siloed academic culture and cross-disciplinary dialogues ([<reflink idref="bib50" id="ref132">50</reflink>]). [<reflink idref="bib24" id="ref133">24</reflink>], too, illustrated the importance of carving out dedicated space for artistic work and the necessity of sometimes transforming the physical work environment to make this happen.</p> <hd id="AN0195176162-12">Cultivating Holistic Sense of Self, Coworkers, and Organization</hd> <p>Participatory ABIs also enable participants to develop a more holistic organizational awareness. This took many forms: seeing the organization in broader context through better understanding of client and other stakeholder perspectives ([<reflink idref="bib3" id="ref134">3</reflink>]; [<reflink idref="bib4" id="ref135">4</reflink>]; [<reflink idref="bib24" id="ref136">24</reflink>]), connecting to larger local and global communities and issues ([<reflink idref="bib29" id="ref137">29</reflink>]; [<reflink idref="bib37" id="ref138">37</reflink>]; [<reflink idref="bib39" id="ref139">39</reflink>]; [<reflink idref="bib50" id="ref140">50</reflink>]), or awakening to hard-to-see (mis) alignments between an organization's espoused values and its behaviors ([<reflink idref="bib29" id="ref141">29</reflink>]) or public perception ([<reflink idref="bib24" id="ref142">24</reflink>]).</p> <p>ABIs work as powerful tools because "through art we come to feel, very often, what we cannot see directly" (Elliot Eisner as quoted in [<reflink idref="bib7" id="ref143">7</reflink>], p. 268). New vision can translate into new action, with individuals and teams "undertak[ing] interactions ... they had not envisaged earlier" (p. 268). Creating visible artifacts and events honoring memories while envisioning futures were all ways organization members and researchers "gain[ed] access to the invisible features that play themselves out at the workplace: the values, diversity of interests and power dynamics" (p. 261). For [<reflink idref="bib23" id="ref144">23</reflink>] healthcare workers, poetry surfaced powerful images exposing invisible aspects of organizational culture, especially where diverse participants revealed varying organization perspectives.</p> <p>ABIs also surfaced tacit knowledge on an organizational level ([<reflink idref="bib41" id="ref145">41</reflink>]). In [<reflink idref="bib39" id="ref146">39</reflink>] study, "through participative arts-based inquiry, participants were able to access what they knew but had not yet fixed in 'thought' or organizational discourse and practice. These ways of knowing were embodied, sensory, and presented in aesthetic form" (p. 590). Through ABIs, organization members can reorient perceptions of the organization and its challenges within members' lived experiences. As [<reflink idref="bib24" id="ref147">24</reflink>] artist-intervener illustrated, participants' initial ideas about their challenges altered dramatically after several rounds of arts methods created a situation where "experience-based understanding had replaced the rather distanced conclusion of the first workshop" (p. 84). Artistic expression of personal and collective group experiences opened up more holistic understandings of an organization's ecology. This included visualizing organizational processes ([<reflink idref="bib24" id="ref148">24</reflink>]), mapping positional power and related inequities ([<reflink idref="bib39" id="ref149">39</reflink>]), and locating "fissures" of opportunity ([<reflink idref="bib37" id="ref150">37</reflink>], p. 128) for enacting different ways of being, knowing, and doing.</p> <hd id="AN0195176162-13">Discussion</hd> <p>How do these findings advance HRD practice and organization change theory? Each study illustrated the insertion of an artist and/or artistic method(s) as a novel environmental input into an existing organizational system for the purpose of "unfreezing" problematic habits ([<reflink idref="bib13" id="ref151">13</reflink>]). Though each organization enacted participatory ideals differently, they all assumed, consistent with [<reflink idref="bib38" id="ref152">38</reflink>] model, the potential of ABIs to reconfigure macro components of work, culture, structure, and people in an open organizational system. The theoretical framework in Figure 1, constructed by placing our thematic review findings in dialogue with the Nadler-Tushman congruence model and [<reflink idref="bib20" id="ref153">20</reflink>] whole person theory, depicts what happens <emph>within</emph> and <emph>between</emph> organizational components through ABI implementation. Our model complexifies and adds human depth to [<reflink idref="bib38" id="ref154">38</reflink>] framework by emphasizing the active complexity of processes involved in "re-learning," rather than "unlearning" ([<reflink idref="bib29" id="ref155">29</reflink>]), how organizations come together and evolve.</p> <p>Our review found ABIs activated underlying processes (playing, making new connections, building trust, expressing embodied affective and imaginal knowing, surfacing power) that helped reframe and reform the work, people, culture, and structure of organizations. Open systems theory ([<reflink idref="bib26" id="ref156">26</reflink>]) posits that changing one component may produce changes throughout the system; and, our model suggests that each of these ABI-facilitated processes contributing to shared organizational experience can act on and affect each component. Theory building and future empirical research aimed at designing, implementing, and evaluating ABIs should thoroughly consider these processes and how they relate to an organization's main components.</p> <hd id="AN0195176162-14">ABIs Create Liminal Organizational Interspaces</hd> <p>A major finding of this review is that participatory ABIs mediate transformation processes in organizations by producing liminal spaces, or interspaces. These participatory ABI-informed interspaces welcome exploration of affective experience, playful creative expression, and holistic perception, often facilitating new possibilities for different interactions among an organization's work-based, cultural, human resource, and structural components ([<reflink idref="bib38" id="ref157">38</reflink>]). Liminal spaces can reveal invisible processes and tacit knowledge ([<reflink idref="bib41" id="ref158">41</reflink>]), providing a low-pressure place for playful experimentation and informal workplace learning leading to alternate ways of perceiving a problem, issue, or vision ([<reflink idref="bib35" id="ref159">35</reflink>]).</p> <p>As [<reflink idref="bib57" id="ref160">57</reflink>] argue, learners and organizations facing a complex and ambiguous world must navigate "calls for experimentation, taking calculated risks, and flexibility, frequent adaptation based on sensing and responding to the environment"—in a word, creativity (p. 89). ABIs and the liminal spaces they produce are more needed than ever. By creating new shared experiences within the work, culture, people, and structure of an organization, ABIs help participants reframe previous assumptions and prior experiences, establish new connections, build trust, acknowledge real power structures, engage affective and embodied awareness, and encourage creative play.</p> <p>How specific ABIs activate these potentials for individual and organization-level learning, however, is complex, non-linear, overlapping, and sometimes unpredictable. Our theoretical framework's layering of these process elements around the hub of shared experience communicates the complex interdependence of these transformative variables and the vital role human resource development plays. As participatory ABIs consider the whole organization context, facilitators should be aware that pre-designed ABIs will not work in every context. Nor do ABIs intend to produce generalizable knowledge for ready-made implementation in other contexts ([<reflink idref="bib7" id="ref161">7</reflink>]). As this review shows, their significance lies in teaching organization members to see, name, and play with remaking invisible processes, forces, relationships, and the tacit knowledge operating in a situated organization context.</p> <hd id="AN0195176162-15">Sustaining Holistic Learning and Change Through Continuous Feedback</hd> <p>Emphasizing feedback loops also intends to nudge scholar-practitioners toward the kind of longitudinal interventions and studies that yielded the most insights in this review, building more nuanced knowledge around how activating certain processes may lead to specific results at the desired levels (intrapersonal, interpersonal, organizational). The changes ABIs induce must become baked into new organizational processes or else become inputs informing the design and implementation of additional participatory ABIs or ongoing artful action research for further affecting organizational change. Our findings highlight that "to sustain the learning that artistic interventions trigger in an organization ... making space for learning from this experience also needs support, care, and resources" ([<reflink idref="bib8" id="ref162">8</reflink>], p. 52). More longitudinal studies can help uncover the conditions which facilitate continuity of artful engagement for continued development of affective embodied experiential knowing in organizations and how best to align ABI design with an organization's HRD goals.</p> <p>In both [<reflink idref="bib20" id="ref163">20</reflink>] whole person learning model and [<reflink idref="bib38" id="ref164">38</reflink>] congruence model of organization change, feedback cycles continuously. Through the lens of WPT, ABIs work by intervening in a miseducative cycle ([<reflink idref="bib43" id="ref165">43</reflink>]), which [<reflink idref="bib20" id="ref166">20</reflink>] called a "contracting spiral of development," where in "the turning of the line of life ... development is progressively restricted" (p. 40). ABIs can spark a reversal of this ego-driven individuating process, initiating an outward movement, or "expanding spiral of development," toward participatory being, knowing, and doing. In this movement, individuals and organizations enter a learning cycle based on expanded perception of complex ecological relationalities and whole person alignment with affective and imaginal ways of knowing, which are often repressed within adult learners and organizations ([<reflink idref="bib51" id="ref167">51</reflink>]). Ultimately, an expanded spiral of development should nurture a culture in which "[a]ction expands into increasing degrees of personal and social creativity" (p. 46).</p> <p>The organizations in these empirical studies implemented participatory ABIs in negotiating a new harmonious congruence, or fit, between their internal and external components. While our framework acknowledges the invisible processes of affective experience and power dynamics concealed by the labeling of more visible and structural organizational components (people, work, structure, culture), it also expands WPT's potentials by situating it within an organization change context. These often-unnamed human aspects (e.g., levels of trust, emotions, and tacit embodied knowledge) inform organizational life and operate as important factors any organization change effort should attend to.</p> <p>Participatory ABIs can open up positive relationships, contributing to the overall well-being of organization and their members ([<reflink idref="bib19" id="ref168">19</reflink>]), while also helping organizations develop capacities driving creativity and innovation ([<reflink idref="bib40" id="ref169">40</reflink>]). The full impacts of designing ABIs that elicit responses like "this is something completely different. So much fun. It is some kind of foundation for what should be done ... On the job or in life in general" ([<reflink idref="bib24" id="ref170">24</reflink>], p. 88) are yet unknown, awaiting playful discovery. As none of the reviewed studies focused on music/sound-based methods or dance, future research may also investigate what these artistic modes offer compared to the dominant visual ABI methods. Ultimately, this review illustrate how participatory ABIs hold much potential for surfacing affective and spiritual dimensions of organizational experience and helping scholars and practitioners develop more holistic HRD practices aligned with organization development goals ([<reflink idref="bib1" id="ref171">1</reflink>]).</p> <hd id="AN0195176162-16">Conclusion</hd> <p>Reviewed studies show that participatory ABIs engaged the past histories and experiences of organizations and their members while embracing, "a history-future dialectic that included the present moment" ([<reflink idref="bib54" id="ref172">54</reflink>], p. 331). While facilitators encountered various kinds of resistance, these studies demonstrated how arts-based action research in organizations "enables professionals ... to co-create ideas and things that are not (yet) there, or play with" multiple potential futures ([<reflink idref="bib25" id="ref173">25</reflink>], p. 41). ABIs opened liminal spaces for experimenting with expressing tacit knowing, more relational thinking, deeper intrapersonal and interpersonal connection, and more holistic senses of self, colleagues, and organization. These findings corroborate that arts-based methods can enable people to develop more complex and empathetic understandings across differences, engage with multiple perspectives, express experiencing in holistic ways, and develop critical social consciousness and action against social exclusions and inequities ([<reflink idref="bib33" id="ref174">33</reflink>]).</p> <p>Limits of this review relate to the lack of detailed intervention design and assessment methodology descriptions in many studies. The brevity of many interventions and retrospective nature of many studies' analyses also placed limits on analyzing conditions and events before, during, and after organizations implemented ABIs. Nevertheless, the significant insights gleaned from reviewed studies enabled us to create a theoretical framework illustrating how ABIs activate processes (e.g., playing, surfacing power) toward transforming organizations' work, people, culture, and structure components. Given that these ABIs unfolded in North American and European contexts, more cross-cultural ABI research could explore the resonance of our theoretical framework in other international contexts as well as how specific ABI-activated processes transform organizational components differently across contexts and conditions. Ultimately, our review suggests ABIs present a potentially powerful HRD strategy for facilitating learning and change at personal, group, and organization levels.</p> <ref id="AN0195176162-17"> <title> Footnotes </title> <blist> <bibl id="bib1" idref="ref50" type="bt">1</bibl> <bibtext> Sung-Eun Yang</bibtext> </blist> <blist> <bibtext>Graph</bibtext> </blist> <blist> <bibl id="bib2" idref="ref51" type="bt"></bibl> <bibtext>https://orcid.org/0000-0001-6097-0381 Shannon A.B. Perry</bibtext> </blist> <blist> <bibl id="bib3" idref="ref43" type="bt"></bibl> <bibtext>Graph https://orcid.org/0000-0002-9982-9980</bibtext> </blist> <blist> <bibtext> The authors received no financial support for the research, authorship, and/or publication of this article.</bibtext> </blist> <blist> <bibtext> The authors declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.</bibtext> </blist> <blist> <bibl id="bib4" idref="ref48" type="bt">4</bibl> <bibtext> * These authors contributed equally to this work.</bibtext> </blist> </ref> <ref id="AN0195176162-18"> <title> References </title> <blist> <bibtext> Ahmed A., Arshad M. A., Mahmood A., Akhtar S. (2016). Holistic human resource development: Balancing the equation through the inclusion of spiritual quotient. Journal of Human Values, 22(3), 165–179. https://doi.org/10.1177/0971685816650573</bibtext> </blist> <blist> <bibtext> Banks A., Eaton C. 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Informal and incidental learning in the time of COVID-19. Advances in Developing Human Resources. 23(1), 88–96. https://doi.org/10.1177/1523422320973656</bibtext> </blist> </ref> <aug> <p>By Sung-Eun Yang and Shannon A. B. Perry</p> <p>Reported by Author; Author</p> <p></p> <p>Sung-Eun Yang, PhD, serves as a research fellow of the Generative Learning and Complexity Lab (GLCL) in the Department of Lifelong Education, Administration, and Policy at the University of Georgia. She holds a PhD in Learning, Leadership, and Organization Development and a graduate certificate in Interdisciplinary Qualitative Studies from the University of Georgia. Sung-Eun's research interests include participatory arts-based engagement, enhancers of informal and incidental learning, as well as training and development in organizations.</p> <p>Shannon A. B. Perry, PhD, serves as an Assistant Professor in the Leadership, Technology, and Workforce Development department at Valdosta State University. She earned her doctorate in Learning, Leadership, and Organization Development and graduate certificate in Interdisciplinary Qualitative Studies from The University of Georgia. Her research applies arts-inspired methods to inquire into affective and imaginal aspects of experiential and expressive knowing and how learning happens in diverse communities of creative practice.</p> </aug> <nolink nlid="nl1" bibid="bib46" firstref="ref1"></nolink> <nolink nlid="nl2" bibid="bib14" firstref="ref2"></nolink> <nolink nlid="nl3" bibid="bib15" firstref="ref3"></nolink> <nolink nlid="nl4" bibid="bib17" firstref="ref4"></nolink> <nolink nlid="nl5" bibid="bib42" firstref="ref6"></nolink> <nolink nlid="nl6" bibid="bib48" firstref="ref10"></nolink> <nolink nlid="nl7" bibid="bib51" firstref="ref11"></nolink> <nolink nlid="nl8" bibid="bib45" firstref="ref13"></nolink> <nolink nlid="nl9" bibid="bib34" firstref="ref14"></nolink> <nolink nlid="nl10" bibid="bib20" firstref="ref15"></nolink> <nolink nlid="nl11" bibid="bib21" firstref="ref17"></nolink> <nolink nlid="nl12" bibid="bib38" firstref="ref19"></nolink> <nolink nlid="nl13" bibid="bib26" firstref="ref22"></nolink> <nolink nlid="nl14" bibid="bib31" firstref="ref25"></nolink> <nolink nlid="nl15" bibid="bib16" firstref="ref27"></nolink> <nolink nlid="nl16" bibid="bib30" firstref="ref28"></nolink> <nolink nlid="nl17" bibid="bib32" firstref="ref30"></nolink> <nolink nlid="nl18" bibid="bib33" firstref="ref33"></nolink> <nolink nlid="nl19" bibid="bib56" firstref="ref35"></nolink> <nolink nlid="nl20" bibid="bib49" firstref="ref37"></nolink> <nolink nlid="nl21" bibid="bib55" firstref="ref62"></nolink> <nolink nlid="nl22" bibid="bib28" firstref="ref64"></nolink> <nolink nlid="nl23" bibid="bib44" firstref="ref65"></nolink> <nolink nlid="nl24" bibid="bib12" firstref="ref67"></nolink> <nolink nlid="nl25" bibid="bib22" firstref="ref68"></nolink> <nolink nlid="nl26" bibid="bib11" firstref="ref69"></nolink> <nolink nlid="nl27" bibid="bib27" firstref="ref70"></nolink> <nolink nlid="nl28" bibid="bib52" firstref="ref71"></nolink> <nolink nlid="nl29" bibid="bib53" firstref="ref72"></nolink> <nolink nlid="nl30" bibid="bib18" firstref="ref74"></nolink> <nolink nlid="nl31" bibid="bib10" firstref="ref78"></nolink> <nolink nlid="nl32" bibid="bib29" firstref="ref80"></nolink> <nolink nlid="nl33" bibid="bib50" firstref="ref83"></nolink> <nolink nlid="nl34" bibid="bib24" firstref="ref84"></nolink> <nolink nlid="nl35" bibid="bib47" firstref="ref94"></nolink> <nolink nlid="nl36" bibid="bib54" firstref="ref101"></nolink> <nolink nlid="nl37" bibid="bib13" firstref="ref108"></nolink> <nolink nlid="nl38" bibid="bib37" firstref="ref110"></nolink> <nolink nlid="nl39" bibid="bib40" firstref="ref111"></nolink> <nolink nlid="nl40" bibid="bib23" firstref="ref114"></nolink> <nolink nlid="nl41" bibid="bib39" firstref="ref120"></nolink> <nolink nlid="nl42" bibid="bib36" firstref="ref129"></nolink> <nolink nlid="nl43" bibid="bib41" firstref="ref145"></nolink> <nolink nlid="nl44" bibid="bib35" firstref="ref159"></nolink> <nolink nlid="nl45" bibid="bib57" firstref="ref160"></nolink> <nolink nlid="nl46" bibid="bib43" firstref="ref165"></nolink> <nolink nlid="nl47" bibid="bib19" firstref="ref168"></nolink> <nolink nlid="nl48" bibid="bib25" firstref="ref173"></nolink>
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  Data: Participatory Arts-Based Interventions for Holistic HRD and Organization Change: A Literature Review
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  Data: <searchLink fieldCode="AR" term="%22Sung-Eun+Yang%22">Sung-Eun Yang</searchLink> (ORCID <externalLink term="https://orcid.org/0000-0001-6097-0381">0000-0001-6097-0381</externalLink>)<br /><searchLink fieldCode="AR" term="%22Shannon+A%2E+B%2E+Perry%22">Shannon A. B. Perry</searchLink> (ORCID <externalLink term="https://orcid.org/0000-0002-9982-9980">0000-0002-9982-9980</externalLink>)
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  Data: <searchLink fieldCode="SO" term="%22New+Horizons+in+Adult+Education+%26+Human+Resource+Development%22"><i>New Horizons in Adult Education & Human Resource Development</i></searchLink>. 2026 38(3):233-245.
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  Data: Arts-based interventions (ABIs) have been used for a variety of intertwined human resource and organization development purposes. This integrative literature review explores what participatory ABIs in organizations--those which engage participants in diverse areas and levels of an organization's structures in making/performing art--produce in terms of developing human capacities in organization change efforts. Included empirical studies illustrate the practical aspects and potential value of implementing participatory ABIs for developing workers' personal-professional capacities in ways that also facilitate adapting to fluid organizational ecologies. Our findings and discussion explore the implications of participatory ABIs for developing aesthetic being, knowing, and doing as personal-professional capacities impacting how organization change happens.
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          Dates:
            – D: 01
              M: 09
              Type: published
              Y: 2026
          Identifiers:
            – Type: issn-electronic
              Value: 1939-4225
          Numbering:
            – Type: volume
              Value: 38
            – Type: issue
              Value: 3
          Titles:
            – TitleFull: New Horizons in Adult Education & Human Resource Development
              Type: main
ResultId 1