What the arts can learn from Toyota: Cultivating a culture of creative resilience

It’s fair to say that things are tough right now for the arts: weathering a storm of funding cuts (16% since 2017), shifting audience habits (frequent engagement has fallen, younger people seek values alignment) and unprecedented societal challenges.

And while creativity remains our lifeblood and is incredibly resilient, there remains a constant struggle to adapt to the pace of change, hampered by operational inefficiencies and structural inflexibility.

As audiences become more fragmented and government support is increasingly tested, we need to move away from old models and embrace bold, new approaches that reinvent how we work, create and connect.

A nation at a crossroads

Culture Secretary Lisa Nandy’s recent Arts for Everyone lecture captured this urgency by reminding us that the arts are not a luxury but the very building blocks of our national life – a means to unite a fractured nation, ignite hope and give every individual a voice. She recalled how, even in the darkest times, artists and visionaries forged a new future by daring to dream big, declaring: “There is that future. Or there is us.”

In this spirit of audacity and reinvention an unlikely source of inspiration comes from Toyota which, according to the latest Automotive Industry 2025 report, is the world’s most valuable automotive brand, overtaking Mercedes-Benz and Tesla and valued at $64.7bn.

Known not merely for its cars but for a revolutionary way of thinking, Toyota’s philosophy of embracing contradictions, setting bold and open-ended (even impossible) goals, and fostering a culture of continuous experimentation offers invaluable lessons for the arts.

The brand’s ability to optimise production and maintain profitability despite rising costs has reinforced its leadership, alongside technological adaptation, including its AI-driven supply chain management, and product diversification, which have contributed to its sustained growth.

Go and see

Toyota thrives on paradox; its magic lies not simply in operational efficiency but in its ability to navigate the inherent contradictions of any creative endeavour. On one hand, Toyota moves methodically, making incremental improvements, an approach known in Japan as Kaizen (改善). On the other, it’s unafraid to take audacious leaps, setting vaguely defined, impossible targets that free employees to innovate without the constraints of overly rigid benchmarks.

Equally important is Genchi Genbutsu (現地現物), or ‘go and see’. Instead of relying on reports or second hand data, Toyota’s leaders get out into the field to observe challenges firsthand. For the arts, this might mean stepping into rehearsal spaces, front-of-house areas, engaging directly with audiences. Ideas don’t come from analysing spreadsheets, they come from immersing oneself in the process for inspiration.

A great example of this ‘go and see’ process comes from The Courtauld with its MYSE initiative, which was developed by closely observing visitor interactions with the collection and a desire to deepen this engagement.

The initiative allows visitors to create personalised guidebooks of their favourite artworks. But more importantly, it provides The Courtauld with direct insight into visitor preferences and engagement. By observing how visitors interact with the MYSE platform and which artworks they select, the gallery gains firsthand knowledge of what resonates with audiences, enabling it to refine exhibitions and visitor experiences, based on real-time observation.

Building consensus

Rather than waiting for a crisis to force change, Toyota builds experimentation into its DNA. Using tools like the PDCA (Plan-Do-Check-Act) cycle, the company breaks down large objectives into manageable, testable steps. This iterative approach isn’t about chasing perfection on the first try, it’s about learning from every small failure and gradually refining processes.

Another of Toyota’s guiding principles is Yokoten (横展開) – lateral knowledge sharing that ensures a good idea quickly benefits the entire organisation. Then there’s Nemawashi (根回し), the art of building consensus before making changes. This ensures no one gets left behind when making changes or implementing new initiatives, but that everyone buys into the process and understands what they’re trying to achieve.

This commitment to continuous, open-ended experimentation is particularly relevant for the arts. For example, the Citizens’ Jury project at Birmingham Museums Trust engaged thousands of locals in shaping the future of their museums. New ideas were tested, feedback gathered and approaches refined – much as Toyota does on its factory floor.

Setting ‘unreachable’ targets

One of the most compelling aspects of Toyota’s approach is its willingness to set targets that seem unreachable. As one Toyota leader noted: “[If you make the goal] too concrete, employees won’t be able to exercise their full potential. The vague nature of this goal confers freedom.”

Such deliberately ambiguous goals act as creative provocations, pushing teams to explore new solutions without being confined to preset benchmarks.

A striking example is the RSC’s collaboration with producer iNK Stories to develop its first video game, Lili, which blends live-action cinema with interactive gaming. By reimagining Shakespeare’s Macbeth in a digital landscape, the project expands the boundaries of theatre, demonstrating how ambitious, unconventional goals can unlock new creative possibilities.

Innovation labs

Arts organisations are perfectly placed to set these kinds of ambitious yet flexible targets, such as developing digital theatre pilots, co-creating with marginalised groups or exploring art-tech collaborations using open-ended goals to encourage innovation.

Several established innovation labs offer inspiring examples:

• Tate Exchange (London, UK) was a pioneering programme that engaged artists, associate organisations and visitors to debate and reflect on contemporary issues by, for example, holding open studios where the public could work alongside artists. Although no longer running, its spirit of collaboration and open experimentation has since been integrated into Tate’s broader learning and curatorial programmes.
• Eyebeam (New York, US) supports radical, independent art projects at the intersection of art and technology, empowering artists to tackle issues of injustice and inequity. It has supported hundreds of projects and artists and has had a major impact on the art and technology world.
• MoMA’s Crown Creativity Lab (New York, US) provides hubs for artists, technologists and communities to collaborate on projects that explore themes of kinship, space and community, delivering open-ended, provocative programming that evolves over time.

Bold, open-ended goals are not abstract ideals; they can be concrete, actionable strategies that, when supported by dedicated teams, drive innovation and transform the cultural landscape.

Breaking down silos

Another pillar of Toyota’s success is its commitment to open, direct communication. Leaders are encouraged not only to ‘go and see’ problems for themselves but to welcome dissenting opinions. As one internal mantra states: “Confronting your boss is acceptable; bringing bad news to the boss is encouraged; and ignoring the boss is often excused.”

This culture of open dialogue ensures every voice is heard, allowing the organisation to correct course quickly and efficiently. For many arts organisations, which often become siloed by department due to the specialist nature of their work, adopting a similar approach could lead to richer, more collaborative creative processes.

The City of Birmingham Symphony Orchestra’s (CBSO) forthcoming concert, Legacy – with grime artists like Lady Leshurr and Big Dog Yogo – exemplifies this. As well as relaxing traditional rules, such as allowing audience members to film performances, the CBSO has opened new channels for feedback and innovation, breaking down old orders and inviting fresh perspectives into the concert hall.

Applying Toyota’s lessons

So, how can arts organisations translate Toyota’s playbook into their own practice? Here are a few actionable strategies:

• Adopt a Kaizen mindset
  Commit to continuous, incremental improvement. Start small with pilot projects, test new ideas with a fraction of your audience, and iterate based on feedback. The Belvedere Museum’s interactive art game on Roblox is a prime example of testing and refining to engage new, younger audiences.
• Embrace creative tension
  Rather than forcing a choice between tradition and innovation, see the inherent contradictions as a source of creative energy. The US Center for Cultural Innovation’s AmbitioUS initiative demonstrates this, identifying innovative practices in diverse communities and creating platforms for sharing these across the sector – from small rural collectives to major urban institutions – fostering innovation by the tension of bringing diverse and traditionally separate organisations together.
• Set bold, open-ended goals
  Create aspirational targets that inspire your team to think outside the box. Whether it’s redefining audience engagement through digital integration, launching community co-creation workshops to unearth new narratives, or establishing an internal incubator for interdisciplinary projects, these goals should serve as creative provocations rather than strict deadlines. Derby Theatre’s In Good Company is a great example of this thinking in action. Operating across ten Midlands arts organisations, it “starts from what artists actually want” rather than making assumptions, supporting underrepresented voices through commissions, mentoring and performance opportunities with deliberately open-ended goals.
• Foster open communication:
  Encourage a culture where every team member is empowered to share ideas. Emulate Toyota’s ‘go and see’ approach. Leadership should be on the front lines, engaging directly with audiences, artists and operational challenges, going to the source of issues to observe and understand them directly.

The V&A’s transformation of the Gilbert Collection through consultation with people living with dementia exemplifies this approach, implementing tactile and scent-based experiences based on audience feedback.

A blueprint for resilience

The challenges today are immense, but so too is the potential for transformation. Nandy’s call to reimagine our national story is a powerful reminder that the arts are not a luxury; they are essential to our collective future. In a nation where too many have been written off, the arts must serve as a beacon of hope and a catalyst for unity.

So let us remember that every improvement, every innovative idea and every open conversation contributes to a more vibrant and resilient cultural landscape. It is in our hands, on our stages, our walls, our digital spaces, our creative collaborations, our partnerships, our teams, not only to reflect our diverse heritage but to create a future where every voice is heard.

By embracing a Toyota-inspired approach, the arts can both survive these challenging times and lead a renaissance of creativity and resilience.