How Do Performance Gaps Affect Improvement in Organizational Performance? Exploring the Mediating Roles of Proactive Activities

Abstract

According to the extensive literature on performance gaps, the various reference points of the problem identification process affect the managerial decisions of public managers. In this article, we propose a theory about the public management decision-making processes based on the roles of proactive behaviors, specifically regarding how identifying such problems (performance gaps) leads to performance improvement. Using panel data from Korea covering 2005–2014, this analysis provides support for our assertion that not all reference points are equally important to public managers’ proactive responses; however, we find evidence supporting the importance of perceiving the external reference point of problem identification as a significant precedent for successful organizational performance. Our results also indicate that practitioners need to become involved in greater feedback processes when searching for proactive solutions that remedy poor organizational performance. This suggests that the creation of diverse and sophisticated performance feedback systems can strengthen public managers’ abilities to find solutions for organizations. Ultimately, the findings enhance our understanding of the relationship between performance gaps and performance improvement by examining the role of public managers’ proactive behaviors.     

Full Range Leadership Styles and Government IT Team Performance: The Critical Roles of Follower and Team Competence

Abstract

In this study, we explore how leadership affects team performance from a team and follower competence perspective. We base our study on the Full Range Leadership (FRL) model, which proposes three different leadership styles: passive/avoidant, transactional, and transformational. The FRL has been well-studied outside the public administration environment, but rarely considering the three leadership styles simultaneously, or with team level outcomes. We propose a sequential mediation model in which leadership styles relate to follower competencies, which in turn relate to team competence, and then team performance. Our research design is distinctive in that we study all three FRL styles simultaneously, examine team performance as opposed to individual performance, and utilize data from three levels of a municipal government IT department. We found that transformational leadership was directly and indirectly related to team performance in the expected positive directions. Transactional leadership was mostly ineffective, while passive/avoidant leadership had complicated relationships with team performance that were both positive (direct) and negative (indirect through competence). We conclude that the three FRL styles have varying degrees of effectiveness as direct and indirect predictors of team performance. We discuss the implications of our results for leadership of public administration organizations.     

Art of the Power Deal: The Four Negotiation Roles of Donald J. Trump

In this article, I mine President Donald Trump’s considerable writing and speaking record to synthesize the key elements of his deal‐making approach to help make better sense of his rhetoric and actions on the world’s diplomatic stage. My argument is that Trump’s coercive negotiation style is best understood through the prism of his four public roles: observer, performer, controller, and disrupter. In this article, I analyze how these roles translate into his negotiating behavior. Spotting and exploiting vulnerability is his trade; leverage and bravado are his tools. After assessing the opposing side, Trump uses leverage to threaten his counterparts’ weaknesses, while using bravado to play up the advantages of reaching an agreement on his terms. This way, he presents a drastic structured choice to his opponents, leaving them the least maneuvering space. In the final section of the paper, I illustrate how the four‐role framework helps explain Trump’s decisions in the nuclear negotiations with North Korean leader Kim Jong Un. I also consider opportunities for further research.     

Rebel masculinities of star/director/text: James Dean,Nicholas Ray,and Rebel Without a Cause

Director Nicholas Ray is arguably most familiar to cinema culture as the American test case for la politique des auteurs, the influential mode of film criticism formulated at the French magazine Cahiers du Cinéma after World War II. Ray was elevated to the status of film ‘author’ for a consistency of vision and style associated with rebellion. Yet, he was known in the film industry as an ‘actor's director,’ both for his background in theater and for bringing Lee Strasberg's ‘The Method’ to Hollywood after it had gained considerable cachet at the Actors Studio in New York since the 1930s. Although Ray was relatively unknown among the movie-going public, his films were (and still remain) recognizable for their male stars, including James Dean, Robert Mitchum, and Humphrey Bogart. In this essay, I look at his most famous film, Rebel Without a Cause (1955 Rebel Without a Cause, 1955. Film. Directed by Nicholas Ray. USA: Warner Bros. [Google Scholar]), to argue that Ray's reputation as a rebel auteur was as much the product of highbrow auteurist film criticism as the mass cultural persona of ‘rebel male hero’ that the film's star James Dean cultivated. As an actor, Dean was promoted at the vanguard of an innovative and experimental new performance style. Further, his star-performance text reveals a construction of masculinity that the film asks us to view as socially rebellious, which is retroactively linked to Ray. Both the film and the popular press form Dean's image constituted by his self-fashioned sense of authenticity, his non-normative sexuality, his highly publicized death, and the identification with an alternative family structure his role invites.     

Performance Management and Deficit Adjustment in U.S. Cities: An Exploratory Study

Performance management or PM has been promoted as a tool to transform government. Claims that PM will enable governments to “do more with less,” “increase efficiency,” provide “value for money,” and make “rational budget decisions” abound. Has PM helped city governments in the United States cope with the effects of the 2007–2009 Great Recession? Theory suggests that PM can provide the informational and analytical foundation necessary for city officials to implement comprehensive but conflictive budget-cutting and revenue-raising strategies. By facilitating deep expenditure cuts and tax increases, PM can indirectly influence budget deficits. Using data from a national survey of city governments and multiyear audited financial reports, the empirical analysis shows that PM cities favored what are essentially decremental responses to fiscal crises that lead to marginal changes in revenues and expenditures. Not surprisingly, there is no evidence that PM influences the size and change in budget shortfalls.     

Leash

“Leash” is a performance text about power, vulnerability, and cultural constructions of girlishness. The monologue was written to be performed in an art gallery.     

A dog in the fight

Holly Hughes’ “A Dog in the Fight” is a queer and feminist literary performance that models a feminist politics of performance that stands as alternative to performances of power that come from the officially anointed space of politics. In this piece, Hughes meditates on the queer relationship between US Presidents and their faithful companions, their dogs. Refusing to jump through the “ceiling” to get into the White House, Hughes offers critique of power from her own couch, recounting her hopes and disappointments in the young Obama administration, while forcing a hated former leader (George W. Bush) from the White House into her performance space as she offers up both a critique of his politics and admits to an uncomfortable affiliation with his love of dogs. What emerges from this performance is a critical call to continue an engagement with struggles for social justice from the fecund and powerful places that exist outside of the authorized institutions of politics, no matter what women and men take up positions within these institutions.     

Aesthetic self-medication: Bob Flanagan and Sheree Rose's structures of breathing

This essay tracks adaptations to corporeal transformations in breathing in the performance art and life writing of Bob Flanagan (1952–1996) and Sheree Rose (b. 1941). It chronicles how breathing as an aesthetic strategy gets entangled with breathing as an exceptional or ordinary effect of disability over the course—and, in Rose's case, in the aftermath—of Flanagan's cystic fibrosis. The term “aesthetic self-medication” describes the process through which breathing is induced as an aesthetic form, and its patterns and rhythms transcribed and dramatized, in order to stage minimally coherent self-encounters amidst crisis. As Flanagan's chronic illness worsens and the couple's sadomasochistic dynamic no longer manages chronic pain, aesthetic self-medication structures laboured breathing into new genres of, or affective and libidinal relations to, pain, including boredom and musical humour.     

Techniques of black male re/dress: corporeal drag and kinesthetic politics in the rebirth of Waacking/Punkin’

The improvisation-based dance Waacking/Punking developed in gay underground disco clubs of 1970s Los Angeles and circulated transnationally via television's landmark black music/dance show Soul Train. With almost all male progenitors passing during the early AIDS crisis, the culture was reborn in the 2000s to the transnational hip-hop/street dance arena, now a competition style dominated by nonblack cisgender females. While seeming to promote hetero-normative gender performance, learning the dance practice potentially queers movement norms through corporeal drag – techniques for trying on and refashioning movement that transform kinesthetic consciousness. At the same time, the obscure structural positioning of the black male figure associated with Waacking/Punking's historical context complicates and disorients gendered notions of power and racialized sexuality in its rebirth. This trans-methodological study centers experiences of black practitioners, drawing from first-person stories of pioneer and new generation dancers, as well as native ethnography and archival research. In subtle ways, Waacking practices redress black masculinity and question performing social inclusion under terms of a white patriarchal order – terms that suture blackness-to-pathology-to-violence. The erotic practice of Waacking/Punking may be understood as an embodied re-negotiation of hegemonic demands on gender and sexuality, made possible through its transmission of a black kinesthetic politics.