INTRODUCTION

Both in Nigeria and world over, creativity and innovation have been seen on display in the music industries of countries. Creativity and innovation enhance productivity in music; without being creative, musicians and artists will not go far in music. The likes of Late Fela Anikulapo-Kuti, Ebenezer Obe, Sunny Ade, Y.K. Diaro and the likes are known for their art of creativity which has spurred them to greater heights even at death, Felas creativity speaks on. Unlike nowadays when youngsters have polluted the music industry with their immoral songs, the above mentioned people were at one time or the other known for their creativity in song writing, composition, instrumentation, and singing. Being creative in singing styles is even a big plus to any creative artist. In spite of the erosion of creativity and innovation from the music scene of Nigeria, some creative youngsters still make the industry as lively as ever except for the problem of piracy they face. For over six years, the Nigerian music scene and patriots have been witnesses to the celebration of outstanding performances and talents in the music industry; this is due to the level of creativity within the industry. Creativity is something you have inside of you. Creativity not only gives us new ways of looking at things and doing things, it also gives us new products. Most of the stuff we love and use everyday are products of creativity. Creativity is a process continuously shaped and stimulated (or constrained) by human, social, cultural and institutional factors.

It is true that most music today contains elements of sex, drugs and violence. The main reason for this is to grab peoples attention. As Eminem puts it, I want people who are already having a conversation to hear something on the radio and be like holdup, turn the radio up, what did that guy just say? Besides the attention grabbers musicians are putting out there, there are also more positive messages these days than there were in the past. I believe so, at least. Most of the musicians are the way they are because they have had difficult childhoods or they have experienced a lot of traumatic events that have had a deep impact on their character. Take Eminem, he grew up in the lower class suburbs of Detroit and was an outcast in both the black and white communities. He was an outcast in the black community because he was white, and he was an outcast in the white community because he did not conform to the expectations others had for him. His father left him and his mother when he was still just a young boy. His mother was really never there to give him support or even give him the attention that a young kid needs. He does have a negative reputation because of the material he writes about but the reality of the situation is that problems occur at all levels of society. Most of his negative public image comes from the fact that he brings attention to those problems, which the upper class considers a faux paux and frowns upon.

CREATIVITY AND INNOVATION

Creativity involves a combination of cognitive elements that involve the ability to connect ideas, to see similarities and

differences, be unorthodox, be inquisitive and to question societal norms. Creativity is also the ability to connect with senses and emotions expression of the human soul. Many of these personality elements are common to artists and creative people. However it is important to stress the importance of contexts, place and social conventions. Indeed creativity is often defined as a novel product that attains some level of social recognition. First of all, a creative idea or work must be novel. Yet novelty is not enough, because a novel idea may be ridiculous or nonsensical. In addition to novelty, "to be creative an idea must be appropriate, recognized as socially valuable in some way to some community. How should innovation be conceptualized? This has been an important question for those who attempt to direct, to work within, and to understand organizations. While commonly recognizing that innovation is a mode of organizational change, and can be directed to some extent, philosophy, sociology, political science, social action theories, and systems theory have each had their impact. Such concepts life as contextualism, power in population ecology, organizational cycles,

organizations, political models of change, social action theories, and the use of metaphor; for example, the organization as theater (Elkin, 1983; Wilson, 1992: 22)have enriched descriptions of the process of change. A number of these ideas, which are now being used to free up notions of innovation and change, are actually quite old. Innovation, according to Henry Chesbrough, occurs when corporations open up to new influences and enter into a dialogue

with diverse stakeholders in their surrounding environment including competitors and consumers. Such a notion of innovation is different from traditional explanations of how to create disruptive business solutions. It is much more in line with the understanding of creative professionals and artists who think about how to bring about creative renewal (as one of our interviewees called it). The almost playful treatment and development of new ideas and solutions, the development of prototypes and their continuous testing, are typical working patterns within the creative industries. Working practices in art (e.g. theatre rehearsal) also reflect such principles. Increasingly, these practices are becoming more important in a wide range of industrial domains. Secondly, innovation is becoming more creative due to the increasing use of expressive (symbolic or aesthetic) components in todays products and services. As a result, creative skills are increasingly valued in corporate innovation and Research and Development (R&D) departments. Our interviews with innovation experts in several European companies showed that these skills are often hired in from external providers. Similarly to Chesbrough, Reichwald explains how contemporary innovations develop in ecosystems which depend on the interaction between multiple stakeholders, as well as on rules, values and communication processes. In the context of this new climate which draws heavily on creativity and innovation and which is at the heart of the new economy, companies from the cultural and creative industries can provide services which can help businesses from other

sectors to overcome some obstacles to innovation such as risk aversion, status quo bias, myopia or the inability to imagine the future as potentially different from the present. Obstacles to innovation in this environment are smaller than those in earlier industrial decades. Communication skills, cross-disciplinary management, aesthetic skills and an understanding of the social and cultural processes in an organisation are as important to stimulating innovation as technological breakthroughs or market power, argues Potts.

INDIVIDUAL MOTIVATION TO INNOVATE

It is not easy to choose one dynamic to represent the effect that the individual has in the organization. Some authors emphasize individual resistance to management initiatives, the effects of training and of individual empowerment. To set the stage for construction of a framework for innovation in organizations, this paper uses the dynamic of motivation to represent the impact of the individual, in part because this concept addresses unconscious, conscious and proactive relationships to innovation. Motivation is a concept frequently used to illuminate changes in behaviour in the workplace. Perry and Porter (1982) identified motivation as that which energizes, directs, and sustains behaviour. They emphasized not only the amount of effort but also the direction and quality of the effort. Maslow (1973) identified a hierarchy of needs. In ascending order, people have physiological needs (hunger, thirst and rest), safety needs (physical and psychological), social needs (belonging, affiliation, friendship, acceptance ), esteem needs (respect from others and self-esteem), and self-actualisation

needs (reaching one's potential, fulfillment). Largely based on Maslows needs, Herzberg (1968) distinguished between what makes people unhappy at workthe way they're treatedand what makes people happy at workwhat they do or the way they're utilized. The former he called hygiene factors, those that will not increase motivation as such but will decrease it, and the latter he called motivating factors. Hygiene factors included working conditions, salary, job security and company policies. Positive motivation, on the other hand, derived from people having a sense of achievement, recognition, responsibility and opportunities for personal growth. The concepts of extrinsic and intrinsic motivation refine this understanding of motivation (Dyer and Parker, 1975). Extrinsic motivation is motivation for behavior that is neither inherent in the behavior itself nor representative of goals established by the behaving person (Cofer, 1996). Extrinsic motivation can refer to rather arbitrary rewards and goals, in contrast to the inherent reward of an act itself, or to selfdetermined goals that characterize intrinsic motivation(Cofer, 1996). The tools available to management such as giving direction and rewards would thus typically create extrinsic motivation. Perry and Porter defined the variables affecting (presumably mostly) extrinsic motivation as individual, job, work environment, and external environments, and identified four motivational techniques: monetary incentives, goal setting, job design (all extrinsic) and participation (which could be either intrinsic or extrinsic).

Bandura (1986: 240-241) identified intrinsic motivation as comprising three types of relationship: one in which the consequences originate externally but are naturally related to the individuals behaviour, a second in which behaviour produces naturally occurring outcomes that are internal to the organism, and a third where a self-evaluative mechanism is at work. He suggested that pursuit of activities is lasting and least subject to situational inducements when the effects are either intrinsically related to the behaviour or are self-provided. According to Thomas and Velthouse (1990), intrinsic task motivation is achieved in four ways: through meaning (value of work goal or purpose), competence (self-efficacy), self-determination (autonomy in initiation and continuation of work), and impact (influence on work outcomes). But motivation is also generated in a different way. Much of the motivational literature has concentrated on employees within business and industrial organizations. Based on a study of the differences in rankings for eight reward categories among a sample of 210 employees of public, private and hybrid organizations, Wittmer (1991) found significant differences among public and private employees with regard to preferences for higher pay, status, and helping others. Perry and Wise also studied the motivation of public servants. They explored the possibility that there is a unique public service motivation, defined as an individuals predisposition to respond to motives grounded identify primarily or uniquely in public types of institutions public and organizations (Perry and Wise, 1990: 368-369). This led them to three analytically distinct service

motivation. Rational motivation is grounded in individual utility maximization; it includes such motivations as the desire to participate in the formulation of good public policy, commitment to a program because of personal identification with it, and conscious or unconscious advocacy for a special interest. Normbased motivation is based on idealism, and includes such motivations as the desire to serve the public interest, patriotism, a sense of duty to the government as a whole, and a commitment to social equity, defined as enhancing the well-being of minorities. Affective motivation is commitment based on personal identification with a program that develops out of such factors as conviction about its social importance, service to society, and Frederickson and Harts (1985) patriotism of benevolence, a combination of caring about the governments values and caring about others. In a subsequent study, Perry (1996, 1997) identified four constituent dimensions of public service motivation: attraction to public policy making, commitment to the public interest and civic duty, compassion, and self-sacrifice, although he found little difference between a four-dimension model and a three-dimension model that did not include selfsacrifice.

CULTURE AS A SOURCE OF CREATIVITY IN MUSIC INDUSTRY

Theories and scientific approaches provide helpful tools to understand creativity but are not sufficient to comprehend the cultural dimension of creativity. Research on creativity in relation to culture has tended to focus on the understanding of artistic achievement. As a result the meaning of creativity is

indiscriminately applied and has been largely affected by business management literature setting rules to help the emergence of creative organizations. Indeed creativity is very much a catch phrase, which means different things to different people. An artist that sings can be creative. The culture of the artist will spur creativity in him; the Yoruba culture will ginger an artist to be unique in his songs and thus use the Yoruba culture for his own creativity, this will lead to innovation (originality of idea). Creativity and innovation spur productivity and performance in artists; management literature for businesses considers creativity a key asset to stimulate productivity. In the context of this assignment we will propose our own definition of creativity. The interaction between culture and creativity is complex and culture cannot always be associated with creativity. Culture is also about accepted conventions when expressing for instance heritage, traditions or when it relates to cultural productions that build on the successful and the tested (sequels, catalogue exploitation, folklore). Cultural values may also feed intolerance and extremism which hinder creativity. However without creativity there would not be music, poetry, paintings, literature and all creative activities associated with art and cultural industries. Creativity contributes to the making of culture. Whilst acknowledging the complex interactions between culture and creativity this report is about examining the impact of culture on creativity with a view to contribute to better understand its contribution to the goals of the Lisbon strategy.

Creativity requires conditions to emerge. Let us consider these conditions which are linked to cultural and artistic activities, cultural identities and ecologies. Indeed the main sources of creativity stemming from culture are people (artists, craftsmen, creatives), cultural and creative industries, territories and society Whilst before the Renaissance, artists were essentially craftsmen (and this did not prevent them from creating significant works of art), the idea of what constitutes an artist today encompasses people as diverse as the art conceptualist (expressing through an artistic vision a new reality or new things, a Picasso), the creator of products or strategies (supporting an industrial or commercial vision, a Philippe Starck or a Richard Seymour I am a wrapper of commerciality), an art professional (mastering the art techniques to express a style a Cezanne), an entrepreneur of artistic vision (an artist turned entrepreneur, an Armani, Paul Smith, Takashi Murakami) and an individual mastering new technology to invent a new form of communication and artistic expression (a user generating content). Therefore the idea of what constitutes an artist (or a creator) is elusive and has evolved significantly with time. The difficulty of defining artists today is illustrated by the following. When asked whether an architect like Franck Gehry (architect of the acclaimed Guggenheim museum in Bilbao for instance) is an artist, Richard Serra stated that architects such as Gehry or Koolhaas (and we could add, by extension, designers) are not artists because they have to answer to the client, the programme and that everything that goes along with the utilitarian function of the building. By comparison artists would

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only be concerned by the symbolic and poetic. It is when creativity is the expression of human sensibility (such as imagination, intuition, memories, affects) that it becomes culturebased creativity. Creativity then becomes the privileged expression of the being, values (territorial, social, theological, philosophical), the aesthetic, the imaginative or the meaningful. As a result, culture-based creativity nurtures and generates innovation (cultural, economic and social), enables innovation to be more user-centred, essentially refers to the work of artists and creative people, is a process that is essential to cultural and creative productions, to marketing-driven industries and often helps give meaning to the act of consumption, provides means to stimulate social cohesion, can be stimulated by the environment.

IMPLEMENTING CREATIVITY
The key to creativity is to be prepared to accept the unexpected Robert Austin (University Professor in Harvard Business School). The management of creativity is the subject of a large body of academic work as management structures can influence the development of creativity through the establishment of a particular work environment, reward systems, or through the autonomy granted to employees. In this context, creativity is often associated with increased productivity and efficiency. Therefore the term creativity is indiscriminately applied to all types of works (not necessarily culture-based) and creativity is emphasised as an organizational resource. The risk is that processes inhibit the spontaneity which often leads to creative insights. Processes require linearity which make the

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emergence

of

creative

thoughts

more

difficult.

Systems

rewarding creativity might be more effective than processes. Creativity is a process based on intrinsic value and motivation, and failure is in often a spontaneous, inimical to rebellious business and chaotic, generally individualised, beyond rationality and can tolerate loss way organisation. Implementing creativity is about challenging conventions and is therefore a way of managing changes. The value of art and culture is the enhanced ability it brings to challenge existing business and management practices. However as culture-based creativity is difficult to measure, managers can be reluctant to try and deploy it. In a world that demands accountability, results and progress, supporting creative changes requires a certain amount of faith and trust. Creativity also requires the acceptance of failure and change which often unsettle work organisations. The organisation of creative industries deserves to be examined as we can learn from creativeBiology/Genetics industries about ways of organising and managing creativity. Because of their reliance on creativity,
Personality the creative industries as a whole provide lessons for managing
Cognitive Psychology creativity in businesses
Process to create thoughts Technical Skills

COMPONENTS OF CREATIVITY

and administrations.

Intelligence Motivation Divergent thinking Cultural Capital

CREATIVITY

Psychoanalysis (unconscious) Management Process

Collaboration System of relationship Organization

Context
Policies Education/knowledge Cultural/social environment Constraints/References Working environment Geography/location

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ADOPTING MUSIC

CREATIVITY

AND

INNOVATION

FOR

ENHANCING PRODUCTIVTIY AND PERFORMANCE IN

As already mentioned in the introductory part, creativity and innovation spur productivity and performance in the music industry both locally and internationally. Creativity affects all areas of the music industry form production, distribution to consumption. There are many aspects which make the industry so much more creative; so creativity has given a chance to new artists. Many reasons have been proffered for the crisis of creativity that we are currently experiencing, most of which center around the dearth of live music which the country experienced in the 90s. The economic decline that gripped the country during the military era resulted in a situation where only a very few could afford musical instruments. It also meant that for most people, budgetary decisions were reduced to the choice between a loaf of bread and live music patronage. Most people naturally chose the former. With poverty, the attendant problem of poor security kept most people indoors at night even when they could afford to spend some money at live music venues. The decreasing bar and club crowd was matched conversely by the church and mosque going demographic as Nigerians became increasingly religious, seeking spiritual succor from the economic hardships they were facing. Being more creative, being original in songs and styles of music is one way Nigerian artists can be more productive; the problem is that most artists in Nigeria find it easy to copy others
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when coming out with their songs. Creativity is being killed by Nigerian government in the sense that laws biding copyright is not effective, this kills the morale of artists in being creative in music and styles since they are not protected by law. Motivating artists is another way by which artists could adopt creativity and innovation for enhancing productivity and performance, Nigerian artists are not encouraged by both Nigerian audience as well as the government. The Nigerian audiences dont appreciate creative artists because they are used foreign artists as a result of globalization. The government needs to motivate the artists (musicians) by providing supports in terms of finances and moral supports. The creativity and innovation of musicians such as Fela Kuti made him a renowned musician all over the world; the creativity in him spurred efficient performance and thus he was productive. He was famous for his artistic style of music; he invented the afro-beat style as a result of his innovation and created so many styles of dancing and customs as a result of his creativity which other afro-beat musicians after him now follow. The creativity of one man led to the creativity and innovation within the afro-beat music genre. The creativity of Ebenezer Obe has made fortunes for him which other musicians cannot emulate. His style of music is quite different from all other genres of music known in the country and this has made his songs so far unique and thus made fortune for him. This is to say that if one is innovative in whatever he does, he will use his innovation and creativity to enhance productivity. This means that creativity means more than thinking but involves

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doing things the way nobody does it and using whatever one has in his capacity to improve his lot. The creativity of someone like Sunny Ade has improved juju music within Nigeria, people listen and dance to his music even beyond the shores of Nigeria even till tomorrow and even at over 60 years of age, he still composes songs that are inspirational, this is because he is creative and innovative in his thinking and singing. Therefore, to fully utilize innovation and creativity for improving productivity and performance, Nigerian artists, especially the local singers should learn to be original in their songs, after all, if one creates a style of music today, he is going to be known as inventor of such music style such as Asa is known for her kind of music and she keeps bringing new things every time. Apart from being original, musicians need to learn that creativity and innovation in singing requires critical thinking. If we look at the musicians overseas, they sit down and think and compose music unlike our own here that will want to release videos of music twice or thrice in a year, the foreign musicians wait for what they have written to materialize by taking it through several stages of composition. Again, there is need for the music industry in Nigeria to learn from their foreign counterparts, they should try as much as possible to travel beyond the shores of the country and even if they are not permitted, they can watch foreign music videos and analyze it scene after scene using certain yardsticks to measure the output of such videos and even audio tapes.

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Nevertheless, there is need for creativity and innovation to be encouraged among Nigerian artists so that they can do more and be productive. The need for motivation here is to ensure that upcoming artists feel enthusiastic about singing and wanting to come up with something that will beat the ones seen already but then this requires all hands being on desk (at work).

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CONCLUSION
We have considered creativity and innovation and how they could be adopted to enhance productivity and performance in music. We looked at the issue from the perspective of Nigerian music industry, though citing examples from foreign scenes. We realized that Nigerian music industry has improved over the past decade as a result of creativity and innovation of the musicians especially the upcoming youngsters. It was discussed that without implementing creativity, it is nothing. It was also mentioned that to be productive as a result of the creativity of Nigerian musicians, the artists need to be original in every music they compose and sing, it was also mentioned that they musicians need to sit and think before composing and singing just as their foreign counterparts do and not rushing into releasing albums. It was also discussed that creativity and innovation could be used to enhance productivity in the music industry if and only if the musicians (artists) are encouraged by way of motivation because many innovations falter at the implementation stage, making the essential role of implementers apparent. People are more likely to persevere in tasks, work harder, and do higher quality work if they are intrinsically motivated (Lepper and Greene, 1975; Deci and Ryan, 1985; Harackiewicz and Elliot, 1993). External rewards can have the opposite effect desired, by causing intrinsic motivation to decline (Lepper and Greene, 1975; Eisenberger et. al., 1999; McGraw, 1978). The motivation created has implications, as well, for the level of creativity of the ideas produced.

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Innovation is probably affected by the types of objectives sought by the individual and the motivation created in the individual, both in terms of how creative the options identified are and how interested the person is in the innovation. But innovation is not solely affected by what happens internal to the individual. It is also affected by the social environmentthe collective attributes of the work environment or organizational culture and how it manages itself. While individual motivation and organizational culture can be seen as being interdependent (Bandura, 1977b: 206), it is also useful to consider the ways in which they are independent. Because musicians may often not be intrinsically motivated by innovation (either because their intrinsic motivation is not induced by the governments action or because of an organizations management style), a stream of management theory, research and practice has been occupied with the question of how to encourage or persuade to become more creative and innovative (Amabile, 1988). Motivation speaks to inputs and individuals, culture addresses the social environment, while the magnitude of challenge addresses risk for the people in an organization. Conclusively, piracy kills innovation and creativity in music, if government really wants to give moral support to musicians as a way of motivating them, government should design policies that will protect musicians works from piracy and ensure the implementation of same to the fullest by punishing offenders.

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