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<p>A boundary spanner connects, gathers, and supports across organizational or institutional boundaries. This role is essential in tackling complex challenges, as these issues inherently span multiple domains. Consider climate change: addressing this challenge requires engagement with major polluting companies, consumers, and various government organizations.</p>
<p>Boundary spanning requires specific cognitive and socio-emotional competencies (Van Meerkerk & Edelenbos, 2019: 1440). One must be able to analyze and understand different worlds while also possessing strong communication skills to build and maintain relationships. However, an ideal boundary spanner needs more than just these abilities. According to Paul Williams, a boundary spanner is also an entrepreneur and an innovator—someone who develops new ideas, challenges norms, and helps others unlearn ingrained routines (2002: 110). Yet, not every boundary spanner possesses these qualities.</p>
<p>Creative professionals add unique ingredients to the boundary spanner’s profile. They visualize scenarios, create situations, or design collaborative formats that facilitate cross-boundary cooperation. A creative boundary spanner is not just a bridge-builder but also employs artistic interventions—boundary objects (a concept developed by Star and Griesemer)—to shape potential solutions. In this way, both the artist and their works can serve as intermediaries between different domains and social realities.</p>
<p>Imagine an artist who not only creates their own work but also gathers and guides a diverse group of makers—musicians, visual artists, designers, poets—to collaboratively create new work about digitalization. They ultimately present this collective work in a public space in the heart of the city. While the exhibition’s impact may remain similar in scale, the artist’s role has shifted significantly. Suddenly, they are directing a creative process that involves multiple disciplines. This example illustrates a second level of complexity in creative boundary spanning. The artist now acts as an organizer, mediator, and facilitator, bringing together individuals with different ideas and objectives to work toward a shared goal. This role involves challenges that extend beyond artistic creation. The artist becomes a project manager from an artistic perspective, balancing diverse talents and perspectives into a cohesive whole. Unlike the first role, this one involves direct relationships with stakeholders from various disciplines. This requires additional competencies. First, curatorial skills are essential to crafting a clear narrative that integrates different disciplines into a unified message. The artist must ensure that the various artistic expressions collectively communicate the intended theme. Furthermore, organizational and coordination skills are needed to manage the collaboration process effectively, ensuring all participants contribute within set timelines and objectives. Social-emotional competencies are also crucial for navigating and resolving conflicts that may arise between disciplines. This calls for empathy, communication skills, and the ability to negotiate and mediate effectively.</p>
<p>Now consider a creative professional deeply engaged in climate change issues who begins discussions with the Ministry of Economic Affairs and Forestry Management. These parties want to encourage individuals, municipalities, and organizations to plant more trees. The artist is invited to develop an intervention that facilitates meaningful dialogue among these stakeholders. In this scenario, stakeholder complexity is high: in addition to a government ministry and a large organization, individuals, municipalities, and businesses are involved. </p>
<p>Understanding the diverse interests and dynamics at play is crucial. This is precisely where a traditional boundary spanner is needed to connect stakeholders. However, what makes this example innovative is the use of creative processes to shape the transformation. Rather than building a “standard” bridge, the artist adds an extra dimension to the dialogue. This third role is particularly complex. To function as a creative boundary spanner, a creative professional must develop cognitive, social, and artistic competencies. Strategically, they need to understand organizational goals, relationships, and tensions. Socially, systems thinking is necessary to analyze complex problems and identify pain points beyond individual levels. Creatively, they must design innovative solutions or intervention methods that transcend disciplines. Often, a ready-made solution does not exist, requiring artists to integrate different creative techniques and tools to facilitate dialogue and behavioral change.</p>
<p>Boundary spanning is thus a competence that enables creative professionals to navigate and connect across disciplines, industries, and stakeholder groups. It is essential for fostering innovation, collaboration, and adaptability in complex ecosystems.</p>
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<p>The ability to translate ideas and knowledge across different professional and cultural contexts. Creatives often encounter difficulties in working in contexts outside the cultural creative industries. Their own logics and ways of working often do not align automatically with processes and procedures native to other contexts, like public governance or health care. Interdisciplinary communication is therefore more than just able to convey an idea or concept in clear or concise language. It is also about understanding the position of ‘the other’ as a receiver and what dictates their responses or objections to ideas or innovative concepts. Understanding the context from which these responses arise is an important aspect of effective boundary spanning. A special way of training this is understanding an individual’s position in the context of the institutional logics operating in their organization<span style="font-size: 1em;">.</span></p>
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<p>Here are some references for this line of inquiry:<br /><em>Thornton, Ocasio, & Lounsbury (2012) – The Institutional Logics Perspective: A New Approach to Culture, Structure, and Process</em><br /><em>Friedland & Alford (1991) – Bringing Society Back In: Symbols, Practices, and Institutional Contradictions</em><br /><em>This foundational paper introduced the concept of institutional logics, arguing that societies consist of multiple, often contradictory, logics that influence organizations.</em><br /><em>Thornton & Ocasio (1999) – Institutional Logics and the Historical Contingency of Power in Organizations: Executive Succession in the Higher Education Publishing Industry, 1958-1990</em><br /><em>DiMaggio & Powell (1983) – The Iron Cage Revisited: Institutional Isomorphism and Collective Rationality in Organizational Fields</em></p>
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<p>Identifying and collaborating with diverse groups to co-create solutions. For boundary spanning to be effective, it is important to research and plan a number of activities in any innovation project. Who are effectively the stakeholders that are or should be involved in finding a well-supported innovation path. A second question is when each stakeholder should be involved in the process to have a timely say in the decision making process. Most innovation processes fail because the moment for their contribution is postponed too late in the process for effectual contributions leading to misalignment of solutions. So stakeholder timing is as important as stakeholder engagement.</p>
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<p>It is useful to explore or build a stakeholder typology in your training to cluster possible stakeholders into recurrent types. One such typology is using “hats”, to take into account that some individuals might wear more than one in their role.<br />End user hat: the wearer of this hat is making the most direct use of your project’s results.<br />Secondary user hat: the wearer of this hat is often connected (though less visibly) to the users of your project’s results.<br /><br /><em>Validation hat</em>: the wearer of this hat has the expertise to validate (through evidence) the functionality and effectiveness of your project.<br /><br /><em>Expert hat</em>: the wearer of this hat carries specialized knowledge that is essential for developing your project.<br /><br /><em>Funding hat</em>: the wearer of this hat has access to the financial means that are necessary to develop your project.<br /><br /><em>Value hat</em>: the wearer of this hat holds the expertise in business models, value creation, and pricing that is essential for developing your project.<br /><br /><em>Tactical hat</em>: the wearer of this hat can make mid-level decisions about the people and resources required to develop your project.<br /><br /><em>Strategic hat</em>: the wearer of this hat can make strategic decisions regarding people, resources, and strategies that are essential for developing your project.<br />Other creator hat: the wearer of this hat is a fellow creator with creative skills that you lack but need to develop your project.<br /><br /><em>Public stewart hat</em>: the wearer of this hat is responsible for a social issue, topic, or problem that is related to the theme of your project.<br /><br /><em>Ecological hat</em>: the wearer of this hat represents the voice of ecology, when part of your project.</p>
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<p>Acting as a bridge between differing viewpoints to find common ground. Creative mediation is using the ability, tools and crafts of a creative trade to devise a setting in which multiple stakeholders can express, share and negotiate solutions beyond traditional methods of ‘meetings’ or sticky boards. This can involve all kinds of creative interventions, based on the participants strength, from storytelling to drama, or craft based interventions to beyond the mere exchange of language or formal arguments.</p>
<p>An important aspect of this is to practice reimagining the problem arena in using metaphors or reframed contexts for the encounter to take place. Whenever artefacts or materials are used to support this mediation process, we often call them boundary objects. Exploring existing boundary objects and methods how they are used is one thing, the ability to be able to create your own boundary objects is a strong aspect of successful boundary spanning. This can range from a simple paper based canvas to full workshop formats or card based tools.</p>
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<p>Understanding and analyzing interconnected challenges within a broader framework. To effectively use a causal loop diagram (CLD) in training for boundary spanning and systems thinking, participants should work with reinforcing and balancing feedback loops. A reinforcing loop is a process that amplifies itself, such as increased collaboration leading to more innovation, which in turn fosters even more collaboration. A balancing loop, on the other hand, creates stability by counteracting forces, for example, a growing network increasing complexity, which eventually reduces efficiency and slows down collaboration. A practical way to train this is through visual mapping exercises, where participants sketch a specific problem and draw relationships between variables, indicating whether they are reinforcing (+) or balancing (-). This can be followed by analyzing case studies where they identify feedback loops and determine whether the system remains stable or escalates. To deepen understanding, scenario planning exercises can help participants predict how changes in one variable influence the system over time.</p>
<p>Systems thinking is essential for boundary spanning because it enables individuals to adopt a holistic perspective, recognizing how different disciplines, sectors, and industries are interconnected. In the cultural and creative industries, where digital, green, and societal transitions shape complex ecosystems, systems thinking helps navigate uncertainty by identifying leverage points for innovation. To train this skill pragmatically, learners can engage in mapping exercises that visualize interdependencies. </p>
<p>Additionally, you might want to look into the “Interacting in Creative Ecosystems” and “Understanding Socio-Technical Systems” competences from the CYANOTYPES Framework that strongly connect to this subject.</p>
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<p>Employing negotiation, storytelling, and persuasion techniques to harmonize diverse interests. Creatives involved in innovation projects with other stakeholders frequently do not hold positions of authority within the consortium alignment. Instead, they often operate in the coordination roles. In such a scenario, any suggestions or discussions on the future direction from the perspective of the designer are not automatically aligned with the established power structures. Effective boundary spanning does not solely entail the utilization of negotiation or storytelling techniques; it also entails strategic acumen to align oneself with individuals within the project construct who are empowered to make themselves heard or understood. Investing time and effort to ensure that those individuals with the mandate are captivated by your storytelling and arguments should not be disregarded. Therefore, as a general guideline: if you lack the authority, ensure that those who possess it embrace your vision and arguments.</p>
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<p>Creative boundary spanners often operate in conditions where progress is slow, power is uneven, and consensus is difficult. In such settings, pragmatism and opportunism are not signs of compromise but essential strategies for maintaining movement.</p>
<p>Pragmatism means prioritising small gains over ideal outcomes. It involves recognising when to adapt, when to wait, and when to act—without insisting on perfect alignment. This mindset helps boundary spanners manage resistance, read shifting dynamics, and adjust their approaches without losing sight of broader goals.</p>
<p>Opportunism, in this context, is not self-serving but relational. It reflects an ability to sense openings—policy shifts, institutional uncertainties, fleeting alliances—and to act when the conditions are right. It is a kind of tactical awareness, more aligned with timing and positioning than with visibility or control. One might think of the creative boundary spanner as a "social ninja"—working across formal and informal spaces, quietly building momentum and bridging divides when no one else can.</p>
<p>Together, pragmatism and opportunism help creative professionals navigate uncertainty, maintain momentum, and sustain collaborative processes that might otherwise stall.</p>
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