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Kaplan, A. M. – Haenlain, M. (2010): Users of the world, unite! The challenges and opportunities of social media. Business Horizons, 53, 59–68.

Kietzmann, J. H. – Hermkens, K. – McCarthy, I. P. – Silvestere, B. C. (2011): Social media? Get serious! Understanding the functional blocks of social media. Business Horizons, 54 (3), 241–251.



KPMG (2003): Insights from KPMG’s European Knowledge Management Survey 2002/2003. KPMG Consulting Report. Online: http://ep2010.salzburgresearch.at/ knowledge_base/ kpmg_2003.pdf KPMG Academy (2014): Organizational Knowledge Sharing in Hungary 2013/2014.

KPMG Academy – University of Pannonia Research Report, KPMG Akadémia Kft, Budapest KPMG-BME Academy (2006): Knowledge Management in Hungary 2005/2006.

KPMG-BME Academy – University of Pannonia Research Report, KBA Oktatási Kft, Budapest McHenry, W. K. – Ash, S. R (2013): Knowledge Management and Collaboration: Generation X vs. Generation Y. International Journal of Business and Social Science, September, Vol. 4, No. 12, 78–87.

Mentzas, G. – Kafentzis, K. – Georgolios, P. (2007): Knowledge services on the Semantic Web. Communications of the ACM, Vol. 50, No. 10, 53–8.

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Negroponte, N. (1995): Being digital. Alfred A. Knopf, New York Nonaka, I. – Takeuchi, H. (1995): The Knowledge-creating Company. Oxford University Press, New York Obermayer-Kovács N. – Csepregi A. (2007): Perspectives of Knowledge Management – Investigations at Hungarian Organizations. in Proceedings of Business Scienes Symposium for Young Researchers, Feast of Hungarian Science 2007, November, pp. 27–36.

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Nóra Obermayer-Kovács is an Assistant Professor at the Department of Management, University of Pannonia, Veszprém. She obtained her Ph.D. (Conscious knowledge management in knowledge economy) in Economics and Management in 2008. She won the Best Young Researcher and Scientist Paper Award and received most prestigious Winner of Elsevier Scopus Young Researcher Awards in Engineering category. Nóra has been teaching a variety of management master courses including Strategic Human Resource Management, Globalization and Organizational Culture and Competence Management. She has gained international teaching experience as a participant in the Erasmus Teacher’s Mobility Program. In 2013 she was a visiting lecturer at Fontys University of Applied Sciences in Eindhoven (The Netherlands) and had seminar focused on strategic human resource management and leadership. This year she is going to give lectures at the University of Lapland, Faculty of Social Science in Rovaniemi (Finland) in the field of Knowledge Management. Since 2004 she has worked as a researcher;



as co-leader at “Knowledge Management in Hungary 2005/2006”, „Organizational Knowledge Sharing in Hungary, 2013/2014”, Knowledge sharing and emotional intelligence 2014/2015” national research and as recipient at international „Global Knowledge Survey 2012/2013” research. She is member of Committee on Economics (Knowledge Management) of Hungarian Academy of Sciences (MTA), and of the Program Committee of the European Conference on Knowledge Management. She has published numerous papers and presented at national and international conferences.

Anthony Wensley is a Professor at the University of Toronto Mississauga and Director of the Institute of Communication, Culture and Information Technology. He has degrees from the University of Cambridge, the University of Surrey, McMaster University, and the University of Waterloo. His academic training includes studies in Philosophy, History of Science, Finance, Operations Management and Artificial Intelligence/Knowledge-based systems. He has been instrumental in the development of innovative undergraduate programs in Communication, Culture, Information and Technology. His research focuses in enterprise computing, health care, knowledge management and small business. He has also written extensively on issues relating to Intellectual Property Law. He is the Executive Editor of Knowledge and Process Management and has published widely during his career.









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thirteen years. In these theatres I made very good use of everything I had previously learned.

In the meantime I founded a unique civil organisation called Kapolcs Cultural and Nature Conservation Society. As its name suggests it also aims at protecting nature. Our priority is the monitoring of the streamflow of Eger creek but we also run projects to tidy the village Kapolcs. It was the year 1989 and Kapolcs was a run-down village in the Transdanubian region and I thought that why not organise a festival as the name of the society unequivocally suggests. And then in 1989 the Kapolcs Days was born. It was a one-off idea, a three-day mini art festival created by locals and a few of my artist friends. We manufactured the stage ourselves and created the program which had about a hundred-strong audience mainly friends and family. There were a few artists and journalists from Budapest and spread the news of the festival, so this dream-like story didn’t stop there and the locals called for it to be continued. Later in the early 1990s neighbouring villages also wanted to be part of it. Three other villages joined and the festival couldn’t be called Kapolcs Days any more. So, I came up with the name Valley of Art. If I consider the story of my role as a manager the Kapolcs Days – Valley of Art festival was a momentous step. By 2007 we had 260,000 visitors and the six villages in the valley were completely full. In 2009 we closed the festival ever since we’ve been trying to recover. This year we will be celebrating our 25th anniversary. It’s unbelievable!

As a manager I took other social roles as well. I’ve been the Chairman of the Hungarian Festival Association for 11 years now. It is a professional civil organisation with over 90 member organisations. We are responsible for the professional representation of 220 festivals of all kinds. I also worked as chairman in various advisory boards. These were ad hoc engagements.

Q: What are those attitudes that drive you to be a leader?

A: It’s not me who should answer this question. Obviously, as a composer or an artist I would handle this problem differently from those who are professional managers. I’ve never studied economics, management or leadership techniques so I’ve learned everything in real life as I went along. I’m sensitive and I’ve acquired routine and good communication skills which make up for my lack of management skills. There are so many things I have to do that I simply can’t take it easy. To a certain degree I try to hide my unsettlements, I’ve learned it in the theatre how ‘to act a role’. I’m not a traditional manager, a real ‘boss’. I’m boisterous and blunt, sometimes childish and often introvert and there are many times when I’m really playful.

But there is a really important thing in my life and that is teamwork. I know it sounds like a „.. THE COMPOSITION OF A TEAM IS A SCIENCE…” - INTERVIEW WITH ISTVÁN MÁRTA, THE MANAGING



cliché but I firmly believe that the composition of a team is a science and I always managed to build great professional teams to work with. I couldn’t even move without them. I’ve been working as the managing director of the Zsolnay Heritage Management Nonprofit Ltd. for three years. This position meant a change of lifestyle as well because my wife and myself moved to Pécs. It was a brave undertaking to accept the managing director position because we formed along with the city a large ‘cultural holding’ which I think is unique. The truth is that even in the last three years many new responsibilities and tasks have been added to my old ones but it had been impossible to see this beforehand.

It’s not a classic, gigantic city company and our ‘products’ come from all areas of art. Meeting the expected indicators and the values and quality we represent give us a special status and requires a special way of thinking both on behalf of the city and our co-workers. The road we chose to follow isn’t built on faceless mass production. In many cases we must improvise mainly because of financial reasons.

Q: I’ve looked up one of your previous interviews. You said that ’…at that time I was looking for new venues for the theatre festival when I discovered the Zsolnay Quarter, and I had the same excitement what I had when I found Kapolcs. Both places have the same peculiar history and tradition which became white canvases in my mind for exciting cultural programs.’ What are your recollections on that?

A: It’s true. Going back to the idea of leadership I was the artistic director of POSZT (National Theatre Festival). And it’s really true that in my first year there, someone dropped a word about the Zsolnay Quarter which was still under construction. I walked through the gate at Bajor Street – covered with mud and rubble – and I was shown the only exhibition open, the Gyugyi Collection. It’s a unique collection of ceramics representing the golden age of the Zsolnays from around the end of the 19th century, the millennium years and secession.

In these utter shambles yet exquisite surroundings there were forks and crockery and I saw steel vases and large amounts of debris and I suddenly felt exactly the same as what I had felt in Kapolcs back then. I thought that it was a place full of potential waiting to be discovered.

Fantasy has no limitations. It offers the opportunity for us to show history and tradition in the more generous spaces as well as in every nook and cranny. New qualities, new approaches can be introduced using our heritage. The same happened in Kapolcs. The village has its own personality. It’s very important for the place to have its own distinctive characteristic. I’m often asked how to repeat the Valley of Art in Upper Hungary, in Transylvania or in other


VOLUME 4 • ISSUE 1 (MARCH 2015) places. What I think is that the character of the place or community should be discovered because nothing can be done with a place that has no ‘face’. Of course the word ‘face’ here is allegorical. It includes not only the landscape but also its past and traditions. There should be people, locals or ‘blow-ins’ who want to do something with the landscape and those living there. Here, in the Zsolnay Quarter I felt instantly that it would be great to do something with the place. What will happen once the revitalisation is finished and the area is rebuilt?

Then suddenly by sheer luck I was asked to be the managing director. The day after the assassinated New Theatre project closed down I was in Pécs.

Q: To turn to a more general topic. What are your views of today’s cultural consumption here in Hungary? What are the trends?

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