Journal articles on the topic 'Bata Shoe Company'

It is because of the Bata Shoe Company's long association with Eastern Europe that I approached Thomas G. Bata for this interview. Bata, the chairman of Bata Limited (the Management Company) describes how, after having seen its assets expropriated by the Nazis and subsequently by the Communists, his company returned to its roots in Czechoslovakia in the early 1990s. Bata then shares his personal perspectives on the current and future climate for private enterprise and family business in some of the key former Warsaw Pact countries. He ends with some thoughts on opportunities for western consultants and family businesses in Eastern Europe.

The Kraków shoemaker Władysław Dziadoń was called the king of shoes among citizens of Kraków. He worked in shoemaking between the years 1920 and 1955. His dream was to create a company of comparable significance to the Czechoslovakian Bata shoe company. During the years of the German occupation in the Second World War, he provided support to the resistance movement, without giving up the business of producing shoes. While he was hopeful that after the war he would be able to realize his dreams and aspirations, the conditions of a totalitarian state and the communist economy meant that these plans were never able to materialize. He was persecuted by the communist state, and in 1955 he had to close his shoe company. In the collections of the National Museum in Kraków there are thirty pairs of shoes made by his company, another three pairs are preserved in a private collection. This high-quality footwear is the only material legacy of Władysław Dziadoń's skills as a producer of shoes. This article illustrates the fate of a shoemaker and entrepreneur in the era of the German occupation (1939–1945) and Stalinism (1945–1955).

Very tight market competition requires companies to be able to adapt to consumer needs in order to be able to compete in the market. A decrease in sales can be used as an indicator of a problem that must be considered by the company, because in this case the sales result is the main income for the company to continue its business. The purpose of this research is to examine and identify the effect of marketing mix on consumer purchasing decisions at shoe stores in Jember Regency. This research was conducted by distributing questionnaires to 125 consumer respondents who had purchased shoes at the Bata Shoe store in Jember Regency. The data that has been collected was analyzed using multiple linear regression tests using the SPSS application. The results of multiple regression analysis show that the variables product, price, promotion, place, people and process have a positive relationship with the regression coefficient on purchasing decisions and variable physical evidence has a negative relationship with the regression coefficient on purchasing decisions, while the results of the t test show that product, price, people and process have a significant effect on purchasing decisions of 0.000 and variable promotion, place and physical evidence have no significant effect on purchasing decisions of 0.074, 0.398, 0.495. The results of the study show that the marketing mix includes product, price, place, promotion, people, physical evidence and process simultaneously have a significant influence on decisions purchase of shoes at the Bata Shoes store in Jember Regency.

The study presents a historical and sociological interpretation of the events that marked the gradual integration of the Bata Company into the Indian economy and society from the mid-1920s to the early 1960s. Within this context, in addition to the general economic, political and cultural developments, particular attention has been devoted to the everyday life of Indian and Czech workers in the Bata company town of Batanagar. The study is based on a comparative-historical analysis of available archival sources and a secondary analysis of the relevant academic literature. The results of the research indicate that during this period, Bata was forced to adapt continuously to the cultural specifics of Indian society, that is, the process of its integration into the Indian economy and society had pronounced glocal characteristics.

Purpose: This purpose of the study was to determine the effects of adopting green procurement on the supply chain performance at Bata shoe company in KenyaMethodology: This study adopted descriptive research design. The target population was 120 employees working in different levels of management who are directly involved in managing distribution activities in the organization. The sampling frame was the Human Resource register at BATA Kenya. The population sample was 120 respondents. Structured questionnaires containing both open ended and closed ended questions were used to collect primary data. The questionnaires were filled and returned for analysis. The data collected was analyzed using descriptive statistics like percentages, standard deviations, frequency tables among others. The Statistical Package for Social Sciences (SPSS) Version 17 software was used.Results: Results indicated that quality management, organizational policy, information technology integration and demand management have a positive and significant relationship on supply chain performance at BATAUnique contribution to theory, practice and policy: This study recommends that BATA should review its organizational policy on JIT implementation to improve its supply chain performance especially in regards to better human resource management practices. BATA should also enhance its Information Technology Integration to promote information sharing and support its ERP systems.

Dewasa ini, permintaan sepatu di Indonesia melonjak signifikan, menandakan perlunya para pengusaha untuk terus berinovasi dan menciptakan produk dengan kualitas dan nilai yang luar biasa bagi konsumen. Lanskap kompetitif yang ada di antara produsen harus mengharuskan manajemen perusahaan berusaha semaksimal mungkin untuk tetap kompetitif di pasar yang dinamis dengan memperhatikan promosi dan kualitas produk. Penelitian ini merupakan penelitian deskriptif kuantitatif, Populasi dalam penelitian ini berjumlah 240 responden dengan melalui rumus slovin, didapatkan sampel sebanyak 150 orang yang kemudian datanya akan dianalisis menggunakan bantuan aplikasi SPSS versi 25. Hasil penelitian menunjukkan Promosi berpengaruh positif dan mempunyai pengaruh signifikan secara parsial terhadap keputusan pembelian sepatu bata di Dc Mall Kota Batam. Kualitas Produk berpengaruh positif dan memiliki pengaruh signifikan secara parsial terhadap keputusan pembelian sepatu bata di DC Mall Kota Batam. Lalu Promosi dan Kualitas produk berpengaruh positif dan memiliki pengaruh signifikan secara parsial terhadap keputusan pembelian sepatu bata di DC Mall Kota Batam. Kata kunci: Keputusan Pembelian; Kualias Produk; Promosi; Sepatu Bata Abstract Today, the demand for shoes in Indonesia has increased significantly, indicating the need for entrepreneurs to continue to innovate and create products with exceptional quality and value for consumers. The competitive landscape that exists among manufacturers should require that company management make every effort to stay competitive in a dynamic market with an eye on promotion and product quality. This research is a quantitative descriptive study. The population in this study was 240 respondents using the slovin formula, a sample of 150 people was obtained, and the data was analyzed using the SPSS version 25 application. buying Bata shoes at Dc Mall Batam City. Product quality has a positive and partially significant effect on purchasing decisions for bata shoes at Dc Mall Batam City. Then Promotion and Product Quality have a positive and partially significant influence on the decision to purchase Bata shoes at DC Mall Batam City. Keywords: Bata Shoe; Product Quality; Promotion; Purchase Decision

This study aims to prove empirically the determinants of profitability and their implications for firm value in manufacturing companies listed on the Indonesia Stock Exchange during the 2015-2019 period by using a panel data regression model with 25 manufacturing companies as the research sample. Based on the empirical results, the influencing variables positive and significant impact on profitability is Managerial Share Ownership, Audit Committee Effectiveness, Corporate Social Responsibility, company size. and variables that do not have a significant effect are institutional stock ownership and the Debt To Equity Ratio. positively and significantly. Individual companies are affected by profitability; The biggest positive influence is the company Japfa Comfeed Indonesia Tbk, the smallest positive is the Lion Metal Work Tbk company, and the biggest negative influence is the Bata Shoe Company Tbk, the smallest negative is the company Holcim Indonesia Tbk. The results of this study have implications for firm value (Tobins Q); The variables that show a positive and significant influence are the variable of Audit Committee Effectiveness, Corporate Social Responsibility, Company Size, and Debt To Equity Ratio, Return on Asset variables that have no effect are Institutional Share Ownership, Managerial Share Ownership. the biggest positive influence on changes (Tobins Q) of the company Japfa Comfeed Indonesia Tbk. the smallest positive is the company Semen Batu Raja Tbk, the biggest negative influence is the Company Tempo Scan Pacific Tbk; The smallest negative influence is the company Holcim Indonesia Tbk.

The development of vocational education will depend on whether it provides future-oriented competencies. That means desired competencies of the knowledge society. At present the vocational education includes two different views. One is based on implicit knowledge, the other on explicit knowledge. Implicit knowledge is understood as the knowledge based on experience. Explicit knowledge represents systematic and theoretical knowledge. Although implicit and explicit knowledge have been identified for the first time in the fifties of the last century, both of these forms were already established as essential parts of a business education in the Bata company in Zlín in the twenties to forties of the last century. The thesis aims to characterize these two forms of knowledge in relation to vocational education and to answer the following research questions: What competencies will provide graduates with vocational education based only on explicit knowledge? What competencies will provide vocational education based solely on implicit knowledge? Document analysis and field research obtained facts and information about these issues are compared with the concept of vocational education in the Bata’s shoe company in the twenties to forties of the last century. Methods conform to the historical method of working with archive documents and literature.

В статье описывается архитектурно-градостроительное развитие чешского города Злина (Zlín) в 1920-1930-е гг. За два межвоенных десятилетия небольшой средневековый город, каким был Злин в конце существования Австро-Венгерской империи, превратился в большой промышленный центр первой Чехословацкой Республики. Ключевую роль в этом преобразовании города сыграли владельцы обувной фабрики «Батя» (Baťa), которая была крупнейшим предприятием города. Видя залог успеха фирмы в благополучии ее сотрудников, владельцы фабрики считали необходимым обеспечивать их жильем и различными объектами социальной и культурной сферы. В течение 1920-1930-х гг. на основе идеи города-сада для Злина было разработано несколько проектов планировки; была выработана особая типология и особый облик двух- и четырехквартирных жилых домов фирмы «Батя», которые сегодня известны как «батевы домики»; специально для фирмы «Батя» была разработана конструктивная система, которая обеспечивала возможность скоростного возведения как новых производственных корпусов, так и общественных зданий. Использование единых конструктивных решений и материалов, внедрение принципов стандартизации и типизации, с одной стороны, обеспечивало высокие темпы развития города, а с другой -привело к формированию уникального, узнаваемого облика Злина, который привлекал сторонников «современной архитектуры», в том числе Ле Корбюзье. Опыт, накопленный в Злине, позволил архитекторам фирмы «Батя» разработать множество проектов небольших промышленных городов, которые строились фирмой по всему миру, а также начать работу над проектами «идеальных промышленных городов». Совокупность всех этих факторов и высокий процент реализации всех архитектурных и градостроительных проектов, разработанных для Злина, и сформировали представление о нем как об идеальном городе межвоенного чешского модернизма. The article describes the architectural and urban development of the Czech city Zlín in the 1920s-1930s. Zlín, a small medieval city at the end of the Austro-Hungarian Empire, during two interwar decades, turned into a large industrial center of the first Czechoslovak Republic. The key role in this transformation of the city was played by the owners of the Shoe factory “Bata” (Baťa), which was the largest enterprise in the city. Seeing the success of the company in the well-being of its employees, the owners of the factory considered it necessary to provide them with housing and various social and cultural facilities. Several projects of urban planning developed in the 1920’s and 1930’s, based on the idea of Zlín as a garden city. A special type of houses for 2 and 4 apartments each, which today is known as the “baťovský domek” were developed. A constructive system was developed especially for the company “Bata”, that provided the possibility of high-speed construction of new industrial buildings and new public buildings. The use of unified design solutions and materials, the introduction of the principles of standardization and typification, on the one hand, provided a high rate of development in the city, and on the other hand, led to the formation of a unique, recognizable image of Zlín, which attracted supporters of "modern architecture", including Le Corbusier. The experience gained in Zlín allowed the architects of the “Bata” firm to develop many projects for small industrial cities, which were built by the company around the world, as well as to start working on projects of "ideal industrial cities". The combination of all these factors and the high percentage of implementation of all architectural and urban projects developed for Zlín formed the idea of it as an ideal city of interwar Czech modernism. Key words: industrial city, ideal city, city planning, modernism architecture, Zlín, Czechoslovakia.

On selected living spaces that function in contemporary urban cultural landscape Streszczenie Autorzy artykułu opisują wybrane przykłady przestrzeni mieszkalnych ukształtowanych i zrealizowanych w XX i XXI wieku a funkcjonujących do obecnych czasów w krajobrazie miast. Starają się wyjaśnić i ocenić odniesienia do filozofii ich budowania i etyki projektowania. Szczególnie zwracają uwagę na procesy manipulacji a zachowania szacunku do natury i otwartych przestrzeni. Zostało to przedstawione na przykładach międzywojennych historycznych osiedli w Łodzi im. Mątwiłła Mireckiego i Werkbundu we Wrocławiu oraz miasta ogrodu Zlin firmy Bata. Fabryka butów Baty zmieniła wygląd całego miasta, które stało się sprawnie funkcjonującą przestrzenią, z precyzyjnie zaprojektowaną architekturą warunkującą każdy aspekt życia. Okres powojennej myśli urbanistycznej przedstawiono na wzorze osiedla Sadów Żoliborskich oraz nowatorskiej idei lat 70-tych na przykładzie konkursu na osiedle Ursynów w Warszawie. Odniesiono się do idei miasta ogrodu i jego odsłony w latach 80-tych poprzez tworzenie zielonych, otwartych osiedli w zabudowie niskiej i dywanowej w ramach zleceń rządowych. Wprawdzie te idee nie były zrealizowane ale pozostawała myśl i pragnienie. Poszanowanie terenów zieleni o zasadniczym znaczeniu dla charakteru miejsca zaprezentowano na przykładzie zespołu domów pasywnych w Konstantynowie Łódzkim czy osiedla Aspern w Wiedniu, sposobu ich procedowania i tworzenia. Zwrócono uwagę na rangę poszanowanie wartości krajobrazowych, wyjaśniono zależności pomiędzy przestrzenią, architekturą a naturą. Podjęto próbę znalezienia priorytetowych o kapitalnym znaczeniu elementów gry przestrzennej dla zachowania wartości nadrzędnych dla środowiska naturalnego i architektury. On selected living spaces that function in contemporary urban cultural landscape The authors of the article describe selected examples of living spaces shaped and constructed in the 20th and 21st century and functioning to the present day in the city landscape. They try to explain and evaluate references to the building philosophy and design ethics. They pay particular attention to the processes of manipulation and respect for nature and open spaces. It was presented on the examples of the historical interwar housing estates in Łódź Mątwiłł Mirecki and Werkbund in Wrocław and the Zlin garden city by the Bata Company. The Bata Shoe Factory changed the shape of the entire city into a functioning space, with architecture conditioning every aspect of life. The period of post-war urban thought was presented on the model of the Sadów Żoliborskie estate and the innovative idea of the 1970s on the example of the competition for the Ursynów estate in Warsaw. It was based on the idea of a garden city and its presentation in the 1980s by creating green, low open housing estates as part of government commissions. Although these ideas were not realized, the idea, thought and desire remained. The respect for green areas of fundamental importance for the character of the place was presented on the example of the passive house complex in Konstantynów Łódzki or the Aspern estate in Vienna. The importance of respect for landscape values was emphasized, and the relationship between space, architecture and nature was explained. An attempt was made to find the main elements of space, which was of paramount importance for the preservation of values superior to the natural environment and architecture.

The research is designed to reduce production lead time using Value Stream Mapping (VSM). The purpose of this lean tool is to uncover the wastes in supply and production process by separating value-adding and non-value-adding steps first and then reduce non-value added steps. A map shows the current state of the operation is drawn first using the time and flow data. By this non-value added actions are recognized and the waste of time and resources between the steps are also identified. To reduce lead time and streamline the process the map is analyzed. The lead time can be reduced by taking some actions or applying some lean tools. Value adding time in the whole process increases and the process production lead time decreases after reducing the wastes. A future state map is made with new and improved processes. Future state map makes the reformed process more effective and more efficient. It comprises the developments through some value stream symbols used only for this mapping. Bata, a leading shoe company was selected for this research work. To draw the current state map, data was collected from the floor. The wastes identified then which were waiting, motion, inventory & transport. The lean tools that were suggested to apply for reducing these wastes were Kanban, Kaizen, Safety Stock and some manpower adjustment. Kanban is a method to achieve JIT, a system to control the logistical chain from a production point of view and also an inventory control system. Safety stock represents an inventory hedge against problems such as downtime, to protect the system against sudden fluctuations in customer orders or system failures. And Kaizen is the small and continuous improvement methods. The result of the research was quite remarkable as this decreases the lead time by around 8% and increases the capacity by 8.8%. It is feasible to use value stream map in the current situation.

The successful rationalization of production and the subsequent formation of assembly-line production in the footwear industry has evolved from its deepest post-war economic crisis. People who needed to produce the best quality shoes at a reasonable price demanded changes in the system of production and sales. Rationalization introduced in the manufacture of footwear used modern machines that were scientifically and optimally distributed in manufacturing processes. Proceedings of the race was comprehensively carried out according to the production plans from raw material to the sale of final products in stores. The whole system was characterized by a struggle against all losses and defects, against wasting time, energy and material either of an individual or a team work.

The company's ability to generate profits is the key to the success of the company can be said to have a good performance, because profit is a component of financial statements that are used as a tool to assess whether or not the performance of the company. ompanies need to analyze the financial statements for the financial statements used to assess the performance of the company, and is used to compare the condition of the company from the previous year to the current year, if the company is increasing or not so that companies consider the decision to be taken for the coming year in accordance with the company's performance , Performance is something to be achieved by someone. So the performance of the company is critical of the review process by the financial company to provide solutions in making an appropriate decision in a given period.Current ratio of the company in 2011-2013 respectively amounted to 212.76%, 212.38% and 169.26% indicates the company has performed well because the company has the ability to pay off its debts. Quick ratio of the company in 2011-2013, respectively for 82.4%, 80.5% and 59.9% indicates the company has performed less well as obligations of the company is greater than the liquid assets of the company. Cash ratio companies in 2011-2013 respectively amounted to 7.81%, 5.61% and 1.27% showed ilikuid company, the ratio shows the company's performance is not good because current liabilities greater than the company's cash. Based on the analysis of liquidity ratio Pt. Shoes Bata Tbk for three years can be said to be less good, it is due to the financial situation of the company showing the amount of debt the company is greater than the amount of assets owned. The conditions resulted in the value of the liquidity ratio in 2013 is low. Key word: rasio analysis; performance

ABSTRACT This study aims to determine whether there is a potential for bankruptcy at PT. Shoes Bata Tbk and also to compare the use of the results of the two methods, the type of this research is descriptive qualitative, the population in this study is the financial statements of PT. Shoes Bata Tbk accessed through the website www.idx.co.id in the form of a statement of the company's financial position and profit and loss in 2021 in the 1st quarter to the 3rd quarter. with the 3rd quarter. The analysis technique used is by using the Altman Z-score and Zmijewski methods and comparing the results of using the two methods where the Z-Score method uses 4 ratios, namely working capital to total assets (X1), retained earnings to total assets (X2), earnings before interest to total assets (X3), and book value of equity to total debt (X4). Zmijewski who uses 3 ratios, namely net income to total assets (X1), total debt to total assets (X2), and current assets to current liabilities (X3). Based on the results of the Altman Z-Score analysis, the calculation results in the first quarter of 2021 to the third quarter of the company are predicted to be in good health or not bankrupt with a Z-Score value in the first quarter of 4.22, in the second quarter of 4 .98, and in the third quarter of 3.75. While the Zmijewski method predicts that the company is in a potentially bankrupt condition with the Zm value in the first quarter of 2.39, in the second quarter of 2.28 and in the third quarter of 3.26. From the comparison of the calculations of the two methods there are differences in results and the method that can be considered by the company in making decisions is the Zmijewski method. Keywords: Bankruptcy, Altman Z-Score, Zmijewski. ABSTRAK Penelitian ini bertujuan untuk mengetahui adakah potensi kebangkrutan pada PT. Sepatu Bata Tbk dan serta untuk membandingkan penggunaan hasil dari kedua metode tersebut, jenis penelitian ini yaitu deskiptif kualitatif, populasi dalam penelitian ini berupa laporan keuangan PT. Sepatu Bata Tbk yang diakses melalui website www.idx.co.id dalam bentuk laporan posisi keuangan dan laba rugi perusahaan pada tahun 2021 di triwulan ke 1 sampai dengan triwulan ke 3. Sampel dalam penelitian ini berupa laporan keuangan pada tahun 2021 triwulan ke 1 sampai dengan triwulan ke 3. Teknik analisis yang digunakan yaitu dengan menggunakan metode altman Z-score dan Zmijewski dan membandingkan hasil dari penggunakan kedua metode tersebut dimana metode Z-Score menggunnakan 4 rasio yaitu modal kerja terhadapat total aset (X1), laba ditahan terhadap total aset (X2), laba sebelum bunga terhadap total aset (X3), dan nilai buku ekuitas terhadap total hutang (X4). Zmijewski yang menggunakan 3 rasio yaitu laba bersih terhadap total aset (X1), total hutang terhadap total aset (X2), dan aktiva lancar terhadap hutang lancar (X3). Berdasarkan hasil analisis Altman Z-Score di dapat hasil perhitungan pada tahun 2021 triwulan ke 1 sampai dengan triwulan ke 3 perusahaan di prediksi dalam kondisi sehat atau tidak bangkrut dengan nilai Z-Score pada triwulan 1 sebesar 4,22, pada triwulan ke 2 sebesar 4,98, dan pada triwulan ke 3 sebesar 3,75. Sedangkan metode Zmijewski memprediksi bahwa perusahaan dalam kondisi berpotensi mengalami kebangkrutan dengan nilai Zm pada triwulan 1 sebesar 2,39, pada triwulan ke 2 sebesar 2,28 dan pada triwulan ke 3 sebesar 3,26. Dari perbandingan perhitungan kedua metode tersebut terdapat perbedaan hasil dan metode yang dapat di pertimbangan oleh perusahaan dalam mengambil keputusan adalah metode Zmijewski. Kata kunci: Kebangkrutan, Altman Z-Score, Zmijewski.

Poor management of occupational safety and health (OSH) has an impact on occupational accidents. This results in losses for both the individual worker and the company. Therefore, the occupational hazard accident risk analysis was carried out using the HIRARC (Hazard Identification Risk Assessment and Risk Control) method. Data collection was conducted from the business owners of SSBC (Sanggar Sarana Baja Cakra) Welding and Turning Shop, located in Cakranegara, Mataram, West Nusa Tenggara. There are 3 work activities for risk identification, namely the clamping process, the engraving process and the drilling process. The results of the analysis show that the highest level of occupational risk occurs during clamping and engraving process. For drilling, it's in low level of risk. As for risk management, it is mainly done for high-risk level. Immediate improvement is needed by providing personal protective equipment (PPE) to workers to reduce these risks. Based on these results, business owners can do evaluation on his business so occupational accidents can be in the workplace.

Scaffolding is one of the important components in the concrete job. Its role of supporting the work of concrete, the structure of scaffold should be taken into account appropriately. Failure in planning of the scaffold will result disturb on a concrete job. Along with the development of the times, the construction services company developed a method in the work of the scaffolding. One example that is replace the scaffolding with steel profiles. The purpose of the advent of modificated steel scaffold is to allow the structure of the scaffold to be able to sustain a larger burden compared with the structure of the scaffolding. Behind the goals to be achieved, there is the risk that may occur. For example, swelling costs resulting from the use of steel profiles for the components of the structure of the scaffold. Therefore, must to be evaluated so as to achieve greater efficiency in terms of steel profile dimensions as well as the cost product of use modificated steel scaffold. Modificated steel scaffold in Tunjungan Plaza 6 projects were used to shore up the structure Transfer Beam named megatruss. From the results of this research obtained efficiency of steel profile dimensions for the scaffold structure. So obtained also the efficiency to cost product the use of scaffolding megatruss is equal of 20,05%. Perancah merupakan komponen penting dalam pekerjaan beton sehingga struktur harus diperhitungkan dengan tepat. Kegagalan dalam perencanaan perancah akan berakibat pada kegagalan struktur saat pekerjaan beton. Saat ini perusahaan jasa konstruksi mengembangkan metode dalam pekerjaan perancah, salah satu contohnya yaitu mengganti struktur perancah (scaffolding) dengan perancah dari profil baja. Tujuan munculnya perancah baja modifikasi ini adalah untuk memungkinkan struktur perancah untuk dapat menopang beban yang lebih besar dibandingkan dengan struktur perancah (scaffolding) pada umumnya. Dampak dari perubahan perancah berakibat pada pembengkakan biaya akibat dari penggunaan profil baja. Oleh sebab tersebut, maka perlunya dilakukan evaluasi agar tercapainya efisiensi dari segi dimensi profil bajanya serta biaya produksi dari penggunaan perancah baja modifikasi. Perancah baja modifikasi pada proyek Tunjungan Plaza 6 Surabaya yang digunakan untuk menopang struktur Transfer Beam Column diberi nama megatruss. Dari hasil penelitian ini didapatkan hasil bahwa diperoleh efisiensi dimensi profil baja untuk struktur perancah tersebut. Sehingga diperoleh pula efisiensi untuk biaya produksi (cost product) penggunaan perancah megatruss yaitu sebesar 20,05%.

Learning outcomes Discussion of the case will enable students to: explain what are the five specific dimensions that are important determinants of an environment conducive to entrepreneurial behavior; analyze how to measure the internal environment on the five dimensions critical to creating an entrepreneurial/innovative environment; devise a profile of the firm across the five dimensions – top management support, work discretion, rewards and reinforcement, time availability and organizational boundaries; explain how to attempt to identify the perceived gaps at the unit or division level and then work to rectify the specific areas; and describe models of corporate entrepreneurship. Case overview/synopsis Mexicali is a border city in the state of Baja California, Mexico. It was in the month of May 2022. The President of Prodensa Consulting Services (PCS), Marco Kuljacha (Marco), was sitting in his office thinking about a way forward to create an intrapreneurial culture by identifying more “Marcos or Marcias” among his current PCS employees. As he contemplates the future of the company, he is hoping to identify individuals within the organization who exhibit an entrepreneurial mindset through generating and leading new business initiatives for PCS. He desires to support people who have the potential to emerge as future leaders within the organization. He is striving to identify those individuals who want to proactively develop their career trajectories in ways similar to Marco’s earlier professional experiences. After starting with Grupo Prodensa in 2006 as a Junior Project Manager, Marco, by pursuing an intrapreneurial path, worked his way up to become President of the PCS in 2022. According to Marco, such individuals should exhibit the willingness to foster opportunities for new business ventures for PCS and possess traits such as innovation, proactivity, risk-taking, accountability and networking. With an eye toward the need for continuous innovation and change, Marco was thinking about ways to identify and develop entrepreneurially minded individuals among his employees working at PCS. Corporate entrepreneurship was of great importance for him and the future of the company. The case provides an opportunity for students to step into the shoes of Marco and find an appropriate intrapreneurship model to implement the intrapreneurship culture. In doing so, students should take into consideration the data regarding the existing corporate entrepreneurship processes and teams at Grupo Prodensa that helped it to innovate and make assumptions to analyze the feasibility of implementing intrapreneurship culture by finding more Marco or Marcia. Complexity academic level This case can be used as an introductory case in a postgraduate class on corporate entrepreneurship, as it delineates the challenges faced by Marco in finding an appropriate intrapreneurship model and finding in PCS more Marco or Marcia has qualities such as innovator, proactive, risk-taker, accountability, networking, for implementing corporate entrepreneurship culture in PCS. The case can also be used in a corporate entrepreneurship course and an innovation management course. The case allows students to learn about the model of corporate entrepreneurship; strengths, opportunities, aspirations and results analysis; pros and cons analysis; and challenges faced by the company during the implementation of corporate entrepreneurship. Thus, the case can be used for covering multiple perspectives related to measuring the internal environment or managers’ perception of the five dimensions critical to implementing corporate entrepreneurship (e.g. the application of the Corporate Entrepreneurship Assessment Instrument), and is ideal for teaching the different corporate entrepreneurship models. Supplementary materials Teaching notes are available for educators only. Subject code CSS 3: Entrepreneurship.

This paper deals with the issue of psychological factors that influence consumer behaviour and therefore have an impact on demand formation. The paper summarizes existing research studies in the field of social psychology and places these studies in the context of economics, consumer decision making. The paper also highlights the founder of the Bata company, Tomas Bata, who built a multinational shoe company in the 1920s and who intuitively applied rules in the management system for which psychologists only found a scientific explanation in the second half of the 20th century and which did not fully develop into behavioral economics and neuroleadership until the first two decades of the 21st century, 100 years later.

Abstract In the early twentieth century, the Bata company became one of the largest shoe manufacturers in the world, and an emblematic icon of family capitalism. This paper presents an overview of the social welfare system developed by the firm, first in its hometown of Zlín (Moravia) and then in more than thirty company towns founded in Czechoslovakia, Europe, and other continents from the 1920s to the 1950s. It shows how the initial model provided by the city of Zlín took different forms after being exported to other settlements, and aims to identify the causes of this divergence. Following a transnational perspective, this research contributes to a better understanding of how policies, models, and practices transferred around the world by multinational companies can be reshaped according to national and local contexts.

The company is engaged in the manufacture, import, export and distribution of leather shoes, built-up canvas, casual and sports shoes, injection slippers, and special shoes for industry. This study aimed to analyze the influence of each variable, the attitude (X1), advertising (X2) toward purchase intention. Data were collected through questionnaires. to 100 respondents Bata store consumer markets desert highway by using accidental sampling method to determine the respondents to each variable. By using the validity test, reliability test, descriptive analysis, multiple linear regression analysis, the coefficient of determination (R2), t-test, f. Data analysis technique used is multiple linear analysis. The result of this study shows that attitude and advertising have a significant effect on consumer buying interest in the purchase of shoes brick desert highway market.

IntroductionClowns can be seen as enacting catastrophe with a small “c.” They are experts in “failing better” who perhaps live on the cusp of turning catastrophe into a metaphorical whirlwind while ameliorating the devastation that lies therein. They also have the propensity to succumb to the devastation, masking their own sense of the void with the gestures of play. In this paper, knowledge about clowns emerges from my experience, working with circus clowns in Circus Knie (Switzerland) and Circo Tihany (South America), observing performances and films about clowns, and reading, primarily in European fiction, of clowns in multiple guises. The exposure to a diverse range of texts, visual media and performance, has led me to the possibility that clowning is not only a conceptual discipline but also a state of being that is yet to be fully recognised.Diminutive CatastropheI have an idea (probably a long held obsession) of the clown as a diminutive figure of catastrophe, of catastrophe with a very small “c.” In the context of this incisive academic dialogue on relationships between catastrophe and creativity where writers are challenged with the horrendous tragedies that nature and humans unleash on the planet, this inept character appears to be utterly insignificant and, moreover, unworthy of any claim to creativity. A clown does not solve problems in the grand scheme of society: if anything he/she simply highlights problems, arguably in a fatalistic manner where innovation may be an alien concept. Invariably, as Eric Weitz observes, when clowns depart from their moment on the stage, laughter evaporates and the world settles back into the relentless shades of oppression and injustice. In response to the natural forces of destruction—earthquakes, tsunamis, cyclones, and volcanic eruptions—as much as to the forces of rage in war and ethnic cleansing that humans inflict on one another, a clown makes but a tiny gesture. Curiously, though, those fingers brushing dust off a threadbare jacket may speak volumes.Paradox is the crux of this exploration. Clowns, the best of them, project the fragility of human value on a screen beyond measure and across many layers and scales of metaphorical understanding (Big Apple Circus; Stradda). Why do odd tramps and ordinary inept people seem to pivot against the immense flows of loss and outrage which tend to pervade our understanding of the global condition today? Can Samuel Beckett’s call to arms of "failing better” in the vein of Charles Chaplin, Oleg Popov, or James Thiérrée offer a creative avenue to pursue (Bala; Coover; Salisbury)? Do they reflect other ways of knowing in the face of big “C” Catastrophes? Creation and CatastropheTo wrestle with these questions, I wish to begin by proposing a big picture view of earth-life wherein, across inconceivable aeons, huge physical catastrophes have wrought unimaginable damage on the ecological “completeness” of the time. I am not a palaeontologist or an evolutionary scientist but I suspect that, if human life is taken out of the equation, the planet since time immemorial has been battered by “disaster” which changed but ultimately did not destroy the earth. Evolution is replete with narratives of species wiped out by ice-ages, volcanoes, earthquakes, and meteors and yet the organism of this planet has survived and even regenerated. In metaphorical territory, the Sanskrit philosophers have a wise take on this process. Indian concepts are always multiple, crowded with possibilities, but I find there is something intriguing in the premise (even if it is impossible to tie down) of Shiva’s dance:Shiva Nataraja destroys creation by his Tandava Dance, or the Dance of Eternity. As he dances, everything disintegrates, apparently into nothingness. Then, out of the thin vapours, matter and life are recreated again. Shiva also dances in the hearts of his devotees as the Great Soul. As he dances, one’s egotism is consumed and one is rendered pure in soul and without any spiritual blemish. (Ghosh 109–10)For a dancer, the central location of dance in life’s creation forces is a powerful idea but I am also interested in how this metaphysical perspective aligns with current scientific views. How could these ancient thinkers predict evolutionary processes? Somehow, in the mix of experiential observation and speculation, they foresaw the complexity of time and, moreover, appreciated the necessary interdependence of creation and destruction (creativity and catastrophe). In comparison to western thought which privileges progression—and here evolution is a prime example—Hindu conceptualisation appears to prefer fatalism or a cyclical system of understanding that negates the potential of change to make things better. However, delving more closely into scientific narratives on evolution, the progression of life forms to the human species has involved the decimation of an uncountable number of other living possibilities. Contrariwise, Shiva’s Dance of Eternity is premised on endless diachronic change crossed vertically by reincarnation, through which progression and regression are equally expressed. I offer this simplistic view of both accounts of creation merely to point out that the interdependency of destruction and creation is deeply embodied in human knowledge.To introduce the clown figure into this idea, I have to turn to the minutiae of destruction and creation; to examples in the everyday nature of regeneration through catastrophe. I have memories of touring in the Northern Territory of Australia amidst strident green shoots bursting out of a fire-tortured landscape or, earlier in Paris, of the snow-crusted earth being torn asunder by spring’s awakening. We all have countless memories of such small-scale transformations of pain and destruction into startling glimpses of beauty. It is at this scale of creative wrestling that I see the clown playing his/her role.In the tension between fatalism and, from a human point of view, projections of the right to progression, a clown occupying the stage vacated by Shiva might stamp out a slight rhythm of his/her own with little or no meaning in the action. The brush on the sleeve might be hard to detect in an evolutionary or Hindu time scale but zoom down to the here and now of performance exchange and the scene may be quite different?Turning the Lens onto the Small-ScaleSmall-scale, clowns tend to be tiny bundles or, sometimes, gangly unbundles of ineptitude, careering through the simplest tasks with preposterous incompetence or, alternatively, imbibing complexity with the virtuosic delicacy—take Charles Chaplin’s shoe-lace spaghetti twirling and nibbling on nail-bones as an example. Clowns disrupt normalcy in small eddies of activity which often wreak paths of destruction within the tightly ordered rage of social formations. The momentum is chaotic and, not dissimilar to storms, clownish enactment bears down not so much to threaten human life but to disrupt what we humans desire and formulate as the natural order of decorum and success. Instead of the terror driven to consciousness by cyclones and hurricanes, the clown’s chaos is superficially benign. When Chaplin’s generous but unrealistic gesture to save the tightrope-act is thwarted by an escaped monkey, or when Thiérrée conducts a spirited debate with the wall of his abode in the midst of an identity crisis (Raoul), life is not threatened. Such incongruous and chaotic trajectories generate laughter and, sometimes, sadness. Moreover, as Weitz observes, “the clown-like imagination, unfettered by earthly logic, urges us to entertain unlikely avenues of thought and action” (87). While it may seem insensitive, I suggest that similar responses of laughter, sadness and unlikely avenues of thought and action emerge in the aftermath of cataclysmic events.Fear, unquestionably, saturates big states of catastrophe. Slide down the scale and intriguing parallels between fear and laughter emerge, one being a clown’s encapsulation of vulnerability and his/her stoic determination to continue, to persevere no matter what. There are many ways to express this continuity: Beckett’s characters are forever waiting, fearful that nothing will arrive, yet occupy themselves with variations of cruelty and amusement through the interminable passage of time. A reverse action occurs in Grock’s insistence that he can play his tiny violin, in spite of his ever-collapsing chair. It never occurs to him to find another chair or play standing up: that, in an incongruous way, would admit defeat because this chair and his playing constitute Grock’s compulsion to succeed. Fear of failure generates multiple innovations in his relationship with the chair and in his playing skills. Storm-like, the pursuit of a singular idea in both instances triggers chaotic consequences. Physical destruction may be slight in such ephemeral storms but the act, the being in the world, does leave its mark on those who witness its passage.I would like to offer a mark left in me by a slight gesture on the part of a clown. I choose this one among many because the singular idea played out in Circus Knie (Switzerland) back in the early 1970s does not conform to the usual parameters. This Knie season featured Dimitri, an Italian-Swiss clown, as the principal attraction. Following clown conventions, Dimitri appeared across the production as active glue between the various circus acts, his persona operating as an odd-jobs man to fix and clean. For instance, he intervened in the elephant act as a cleaner, scrubbing and polishing the elephant’s skin with little effect and tuned, with much difficulty, a tiny fiddle for the grand orchestration to come. But Dimitri was also given moments of his own and this is the one that has lodged in my memory.Dimitri enters the brightly lit and empty circus ring with a broom in hand. The audience at this point have accepted the signal that Dimitri’s interludes prepare the ring for the next attraction—to sweep, as it were, the sawdust back to neutrality. He surveys the circle for a moment and then takes a position on the periphery to begin what appears to be a regular clean-up. The initial brushes over the sawdust, however, produce an unexpected result—the light rather than the sawdust responds to his broom stokes. Bafflement swiftly passes as an idea takes hold: the diminutive figure trots off to the other side of the ring and, after a deep breath and a quick glance to see if anyone is looking (we all are), nudges the next edge of light. Triumphantly, the pattern is pursued with increasing nimbleness, until the figure with the broom stands before a pin-spot of light at the ring’s centre. He hesitates, checks again about unwanted surveillance, and then, in a single strike (poof), sweeps light and the world into darkness.This particular clown gesture contradicts usual commentaries of ineptitude and failure associated with clown figures but the incongruity of sweeping light and the narrative of the little man who scores a win lie thoroughly in the characteristic grounds of clownish behaviour. Moreover, the enactment of this simple idea illustrates for me today, as much as it did on its initial viewing, how powerful a slight clown gesture can be. This catastrophe with a very small “c:” the little man with nothing but a broom and an idea destroyed, like the great god Shiva, the world of light.Jesse McKnight’s discussion of the peculiar attraction of two little men of the 20th century, James Joyce’s Bloom and Charles Chaplin, could also apply to Dimitri:They are at sixes and sevens here on earth but in tune with the stars, buffoons of time, and heroes of eternity. In the petty cogs of the causal, they appear foolish; in the grand swirl of the universe, they are wise, outmaneuvering their assailants and winning the race or the girl against all odds or merely retaining their skins and their dignity by nightfall. (496) Clowning as a State of Mind/ConsciousnessAnother perspective on a clown’s relationship to ideas of catastrophe which I would like to examine is embedded in the discussion above but, at the same time, deviates by way of a harsh tangent from the beatitude and almost sacred qualities attributed by McKnight’s and my own visions of the rhythmic gestures of these diminutive figures. Beckett’s advice in Worstward Ho (1983) is a fruitful starting place wherein the directive is “to keep on trying even if the hope of success is dashed again and again by failure: ‘Ever tried. Ever failed. No matter. Try Again. Fail again. Fail better’” (Le Feuvre 13). True to the masterful wordsmith, these apparently simple words are not transparent; rather, they deflect a range of contradictory interpretations. Yes, failure can facilitate open, flexible and alternative thought which guards against fanatical and ultra-orthodox certitude: “Failure […] is free to honour other ways of knowing, other construals of power” (Werry & O’Gorman 107). On the other hand, failure can mask a horrifying realisation of the utter meaninglessness of human existence. It is as if catastrophe is etched lightly in external clown behaviour and scarred pitilessly deep in the psyches that drive the comic behaviour. Pupils of the pre-eminent clown teacher Jacques Lecoq suggest that theatrical clowning pivots on “finding that basic state of vulnerability and allowing the audience to exist in that state with you” (Butler 64). Butler argues that this “state of clowning” is “a state of anti-intellectualism, a kind of pure emotion” (ibid). From my perspective, there is also an emotional stratum in which the state or condition involves an adult anxiety desiring to protect the child’s view of the world with a fierceness equal to that of a mother hen protecting her brood. A clown knows the catastrophe of him/herself but refuses to let that knowledge (of failure) become an end. An obstinate resilience, even a frank acknowledgement of hopelessness, makes a clown not so much pure emotion or childlike but a kind of knowledgeable avenger of states of loss. Here I need to admit that I attribute the clowning state or consciousness to an intricate lineage inclusive of the named clowns, Grock, Chaplin, Popov, Dimitri, and Thiérrée, which extends to a whole host of others who never entered a circus or performance ring: Mikhail Dostoyevsky’s Mushkin (the holy Russian fool), Henry Miller’s Auguste, Salman Rushdie’s Saleem, Jacques Tati, Joan Miro, Marc Chagall, Jean Cocteau, Eric Satie’s sonic whimsy, and Pina Bausch’s choreography. In the following observation, the overlay of catastrophe and play is a crucial indication of this intricate lineage:Heiner Müller compared Pina Bausch's universe to the world of fairy tales. “History invades it like trouble, like summer flies [...] The territory is an unknown planet, an emerging island product of an ignored (forgotten or future) catastrophe [...] The whole is nothing but children's play”. (Biro 68)Bausch clearly recognises and is interested in the catastrophic moments or psychological wiring of life and her works are not exempt from comic (clownish) modulations in the play of violence and despair that often takes centre stage. In fact, Bausch probably plays on ambivalence between despair and play more explicitly than most artists. From one angle, this ambivalence is generational, as her adult performers bear the weight of oppression within the structures (and remembering of) childhood games. An artistic masterstroke in this regard is the tripling reproduction over many years of her work exploring gender negotiations at a social dance gathering: Kontakhof. Initially, the work was performed by Bausch’s regular company of mature, if diverse, dancers (Bausch 1977), then by an elderly ensemble, some of whom had appeared in the original production (Kontakhof), and, finally, by a group of adolescents in 2010. The latter version became the subject of a documentary film, Dancing Dreams (2010), which revealed the fidelity of the re-enactment, subtly transformed by the brashness and uncertainty of the teenage protagonists playing predetermined roles and moves. Viewing the three productions side-by-side reveals socialised relations of power and desire, resonant of Michel Foucault’s seminal observations (1997), and the catastrophe of gender relations subtly caught in generational change. The debility of each age group becomes apparent. None are able to engage in communication and free-play (dream) without negotiating an unyielding sexual terrain and, more often than not, the misinterpretation of one human to another within social conventions. Bausch’s affinity to the juxtaposition of childhood aspiration and adult despair places her in clown territory.Becoming “Inhuman” or SacrificialA variation on this condition of a relentless pursuit of failure is raised by Joshua Delpech-Ramey in an argument for the “inhuman” rights of clowns. His premise matches a “grotesque attachment to the world of things” to a clown’s existence that is “victimized by an excessive drive to exist in spite of all limitation. The clown is, in some sense, condemned to immortality” (133). In Delpech-Ramey’s terms:Chaplin is human not because his are the anxieties and frustrations of a man unable to realize his destiny, but because Chaplin—nearly starving, nearly homeless, a ghost in the machine—cannot not resist “the temptation to exist,” the giddiness of making something out of nothing, pancakes out of sawdust. In some sense the clown can survive every accident because s/he is an undead immortal, demiurge of a world without history. (ibid.)The play on a clown’s “undead” propensity, on his/her capacity to survive at all costs, provides a counterpoint to a tragic lens which has not been able, in human rights terms, to transcend "man’s inhumanity to man.” It might also be argued that this capacity to survive resists nature’s blindness to the plight of humankind (and visa versa). While I admire the skilful argument to place clowns as centrepieces in the formulation of alternative and possibly more potent human rights legislations, I’m not absolutely convinced that the clown condition, as I see it, provides a less mysterious and tragic state from which justice can be administered. Lear and his fool almost become interchangeable at the end of Shakespeare’s tragedy: both grapple with but cannot resolve the problem of justice.There is a little book written by Henry Miller, The Smile at the Foot of the Ladder (1948), which bears upon this aspect of a clown’s condition. In a postscript, Miller, more notorious for his sexually explicit fiction, states his belief in the unique status of clowns:Joy is like a river: it flows ceaselessly. It seems to me this is the message which the clown is trying to convey to us, that we should participate through ceaseless flow and movement, that we should not stop to reflect, compare, analyse, possess, but flow on and through, endlessly, like music. This is the gift of surrender, and the clown makes it symbolically. It is for us to make it real. (47)Miller’s fictional Auguste’s “special privilege [was] to re-enact the errors, the foibles, the stupidities, all the misunderstandings which plague human kind. To be ineptitude itself” (29). With overtones of a Christian resurrection, Auguste surrenders himself and, thereby, flows on through death, his eyes “wide open, gazing with a candour unbelievable at the thin sliver of a moon which had just become visible in the heavens” (40). It may be difficult to reconcile ineptitude with a Christ figure but those clowns who have made some sort of mark on human imagination tend to wander across territories designated as sacred and profane with a certain insouciance and privilege. They are individuals who become question marks: puzzles not meant to be solved. Maybe similar glimpses of the ineffable occur in tiny, miniscule shifts of consciousness, like the mark given to me by Dimitri and Chaplin and...—the unending list of clowns and clown conditions that have gifted their diminutive catastrophes to the problem of creativity, of rebirth after and in the face of destruction.With McKnight, I dedicate the last word to Chaplin, who speaks with final authority on the subject: “Be brave enough to face the veil and lift it, and see and know the void it hides, and stand before that void and know that within yourself is your world” (505).Thus poised, the diminutive clown figure may not carry the ferment of Shiva’s message of destruction and rebirth, he/she may not bear the strength to creatively reconstruct or re-birth normality after catastrophic devastation. But a clown, and all the humanity given to the collisions of laughter and tears, may provide an inept response to the powerlessness which, as humans, we face in catastrophe and death. Does this mean that creativity is inimical with catastrophe or that existing with catastrophe implies creativity? As noted at the beginning, these ruminations concern small “c” catastrophes. They are known otherwise as clowns.ReferencesBala, Michael. “The Clown.” Jung Journal: Culture & Psyche 4.1 (2010): 50–71.Bausch, Pina. Kontakthof. Wuppertal Dance Theatre, 1977.Big Apple Circus. Circopedia. 27 Feb. 2013 ‹http://www.circopedia.org/index.php/Main_Page›.Biro, Yvette. “Heartbreaking Fragments, Magnificent Whole: Pina Bausch’s New Minimyths.” PAJ: A Journal of Performance and Art 20.2 (1998): 68–72.Butler, Lauren. “Everything Seemed New: Clown as Embodied Critical Pedagogy.” Theatre Topics 22.1 (2012): 63–72.Coover, Robert. “Tears of a Clown.” Critique: Studies in Contemporary Fiction 42.1 (2000): 81–83.Dancing Dreams. Dirs. Anne Linsel and Rainer Hoffmann. 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