Decomposing the effect of supplier development on relationship benefits: The role of relational capital

Buyers invest considerably in developing their suppliers, yet the performance effects of such investments are not universal. Drawing on social capital theory, this research investigates whether the relationship between supplier development and relationship benefits may be facilitated by the generation of relational capital. The authors examine mediating and moderating roles of relational capital in the relationship between two aspects of supplier development (capability development, supplier governance) and two dimensions of relationship benefits (supplier benefits, buyer benefits), using survey data collected from 185 suppliers of a large manufacturing firm. Investment in supplier development does not automatically result in benefits for the supplier or reciprocated benefits for the buyer. Rather, relational capital "bridges" supplier development and relationship benefits. Without relational capital, benefits from capability development do not accrue, and the impact of a supplier governance regime can be even detrimental. In conditions of high relational capital, capability development results in lower perceived buyer benefits. The results can help managers ensure that the benefits from their supplier development efforts fully materialize

People Have Voice

Amnesty International evening dedicated to all those who were and are fighting for freedom and justice in Ukraine. Local artists read Ukrainian poetry and prose and together with the audience listened to Ukrainian music and discussed recent political events. We also talked live with Mariana Sadovska, Ukrainian musician, singer and composer about recent events in Maidan and the situation in Europe. Artists who took part/contributed to the evening: Mercedes Kemp, Mary Woodvine, Yulia Serdukova, Simon Harvey, Seth Hampshire, Danielle Meunier, Andrea Rushton, Mariana Sadovska Part of the AMATA Festival 2014

Praskie Sci-Fi (Praga’s Sci-Fi)

Not so long ago in a galaxy not so far, far away… On the planet of markets, shrines, metro, stadiums and theatre… It is a time of change. A time of chaos. A time of courageous visions laced with powerless questions. Regeneration proceeds, the facades of the old town houses begin to look fresh, and Mr Jozek is moving out. Before Praga transports itself into the future – before the Great Reanimation/Reactivation/Revision/Retouch takes place – there is still time to ask about the costs necessary for us to bear in the name of a “better tomorrow”. Presence is unsure. Past is discredited. The future is a source of fear, anything can happen. Meanwhile today one of the Praga’s newsagent is already saying: “Praga is one huge science-fiction”. Who needs a home in a place like Praga? Full of doubts, searching for an answer to a question: what to do? (and shall we do it at all?) The artists of Theatre Powszechny contemplate Praga’s destiny. The possible scenarios for revitalisation and their own participation in gentrification. This performance is based on conversations with Praga’s residents and actors of Theatre Powszechny; involving elements of science-fiction and wishful thinking. Yeah, sure. It’s best to build a Museum-Crematorium and a Theatre- Aquarium. And let the hipsters cycle around the theatre with flowerpots. Aliens from the left bank are organising dissent. They give paintbrushes to children and anvils to craftsmen. How noble. "Praskie Sci-Fi" (Praga’s Sci-Fi) was created as a part of Miasto Szczesliwe Festival at Teatr Powszechny in Warsaw, Poland. It premiered on the 10th of July 2016 and since then it has been in the repertoire of Teatr Powszechny

At The End Of The Line

"I was sent somewhere else, time flew." "Absolutely stunning from start to finish, loved every moment! So moving!" "Succinct encapsulation of the concept of living here in Penzance. Excellent work." Audience feedback from the shows sellout premiere "Close your eyes Caress your mind And travel to a place beyond your frozen eyelids" A show about home and belonging; taking a questioning and brutally honest look at the places where we live and the reasons that we live there. 35 people in a singing dialogue with dancer Emily Dobson, weave a story of the joys and hardships people face and the natural world they inhabit, “at the end of the line” in the far west of Cornwall. Created in collaboration with The 50 Degrees Choir, musical director/composer Vicky Abbott and dancer Emily Dobson, this project has seen members of the choir and Vicky Abbott creating original songs for the first time since the choir’s inception, in an artistic exploration combining dance, music and words. The show was created in collaboration with Pop Up Penzance and The Exchange Gallery, funded by Feast Cornwall. The premiere took place at The Exchange Gallery in Penzance on the 10th of January 2015. The show was then shown in April 2015 during Giving Voice Festival organised by CPR at AMATA, Falmouth University

(F.E.A.R.)

***** "A powerful blast of theatre" The Sprout "Raw, uncomfortable, hilarious, powerfully honest." Audience feedback An autobiographical exploration of constructed fears that society, religion, media and family place onto one’s shoulders. In this life story, that encapsulates early childhood memories and public information films, a clear and ever more fevered narrative unearths the fears of a middle aged man plagued with the news of Islamic State attacks, the revelations of Edward Snowden, the rise of UKIP and of a growing concern of erectile dysfunction. (F.E.A.R.) is a confessional journey through one’s vulnerabilities questioning our political and social norms. The premiere took place during Experimentica Festival at Chapter Arts Center, Cardiff on the 5th of November 2015. The national tour in 2017 included venues such as: Taliesin Arts Centre, Swansea; Chapter Arts Center, Cardiff; Galeri, Caernarfon; Aberystwyth Arts Centre; Small World Theatre, Cardigan; Parc & Dare Theatre, Treorchy; AMATA, Falmouth; The Riverfront, Newport; Borough Theatre, Abergavenny

Dreaming in a Desert Place

"In a society undergoing reconstruction, we have to lay down the foundations of what we would like to have for our future: Art as the cement of a new society, art as a constructive practice and a commitment to social and intercultural cohesion. But, also art to create the new forgotten areas of exchange (…)." Art and Social Fabric Dream City 2015, Tunis A benefit evening dedicated to children living in the Medina in Tunis who dream about making films and creating a better world. Since the Arab Spring in 2011, Tunisia has struggled with serious political and economical issues. Although it has remained democratic, the economy is strained, the security situation remains precarious and the country continuously tries to find a balance between protecting democratic freedoms and battling the forces, which want to destroy these freedoms. Recent terrorists attacks at the Bordo National Museum in Tunis and in Sousse only deepened the economical struggle directly effecting the tourist industry. Many people fill blocked and hopeless, but artists keep fighting through their art for freedom of expression and democracy. During the evening we presented profiles of some Tunisian visual artists, poets and musicians. We also had a Skype interview with a writer and journalist Hatem Bourial. The aim of the evening was to raise the money for the children film club in Tunis, but most importantly it was about raising the awareness of the situation in Tunisia and sharing the work of incredible artists who live there. The evening was organised in collaboration with Newlyn Art Gallery and Wildworks Theatre

Gwalt. Glosy (Rape. Voices)

"When he finished, he said: be silent. Go back to the playground. And I was silent. Be silent. I was silent. (…) Dirt, rag, you’re worth nothing. You treat yourself as a table. Against yourself you dress it in some kind of secrecy. That it didn’t happen. A dance of self-destruction. (…) Somebody destroyed you." To hear the unheard. To see the unseen. To come out of silence. To confront violence. Disagree with secrets. “Rape. Voices” is a theatrical protest against the universal fact of sexual violence toward women. It’s an attempt to understand the complexity of this problem and to challenge its social perception. It’s giving a voice to those, who are usually not asked: women who have experienced sexual violence. Women who in their multiplied voices tell us about the experience which doesn’t have nationality, age or sexual orientation: rape. The voices of women interweave here with each other, drawing on individual experiences and different stories. Stories, which happened for real. The starting point of this work was a sociological research project exploring the subject of sexual violence in Poland and the situation of women who experienced rape, carried out by STER, the Association for Equality and Emancipation from Warsaw in collaboration with VICTORIA, the Association for Women from Rzeszow and WAGA, the Association from Gdansk. Results showed clearly that a conversation about sexual violence, especially about rape, is still very difficult, if possible at all. Rape is still one of the most traumatic and silenced experiences. Until the end of one’s life it remains a painful open wound. Many women don’t talk about it with their families and friends and don’t take legal actions against their oppressors. For most of women participating in the research a meeting with an interviewer was the first occasion to talk about rape. The performance was created in a dialogue with this research and refers directly to the conversations with its participants. Gwalt. Glosy (Rape. Voices) was produced by STER, the Association for Equality and Emancipation in collaboration with Teatr Powszechny and it’s a part of a larger project Breaking Taboo – Rights of Victims of Sexual Violence. The premiere took place in Teatr Powszechny, Warsaw, Poland on the 7th of December 2015

Wild Women

Instigated by three women. Two dancers and one director. The beginnings of an idea… An intimate and autobiographical work in progress exploring the subject of femininity and personal influences, using intimate interviews with mothers and grandmothers, live recordings, text, improvised movement and sound that veers from Icelandic throat singing to Big Band music by Glenn Miller. Research&Development project, created under Freefall Dance Company, a short 15 mins extract was performed at a scratch platform curated by Hall for Cornwall, funded by FEAST

Polish Vermin

What is our position in the face of abuse and division? Can we change anything? Can I? Neutrality is not an answer and the confusion seems overwhelming. Do I still belong here? 'Polish Vermin' explores our attitudes to the Brexit vote and what comes next for us all. It’s a piece being developed in Cornwall, a county that voted leave and Bristol, a city that voted remain. Instigated and devised by three Polish artists: Agnieszka Blonska (theatre director, performer), Patrycja Kujawska (actress/musician) and Michal Iwanowski (photographer) who have made the UK their home. R&D sharings of 'Polish Vermin' were presented in July 2017 at Bristol Ferment at the Arnolfini and the Newlyn Gallery & Exchange and in June 2018 at Teatr Powszechny in Warsaw, Poland during Happy City/Atlas of Transitions festival . 'Polish Vermin' was developed with support from FEAST with Arts Council England and Cornwall County Council, Arts Council England, Bristol Old Vic Ferment, Arnolfini Gallery, Newlyn Art Gallery, Kneehigh, Hall For Cornwall and Teatr Powszechny