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However, the emotion labor literature has also emphasized that there is
a cost to masking authentic emotions— by acting like we’re feeling
something we actually aren’t, we may experience emotional dissonance
and lose touch with our authentic selves (see Hochschild, 1983). This re-
search suggests that employees would be better off if they could
engage in less emotion regulation and that employees need
organizations where they can express themselves more authentically
(Erickson & Wharton, 1997). There is a paradox, however, in the
assumption that authenticity is the desired state for employees. We
know that authenticity in
54 Academy of Management Perspectives February
our feeling and expression of affect is desirable; however, we also know
that regulating emotions is often essential: in order for managers to be
en- couraging, inspiring, and motivating to their em- ployees (despite
having a bad day, for example) they must engage in regulation in order
to be effective. Part of the job is to be strategic with our emotions;
indeed, emotional regulation of self and others is an important part of
emotional intelli- gence construct (Mayer & Salovey, 1997). The
question is, at what point do individuals “over- regulate” their
emotions? What is the point at which regulated emotion is too far
removed from authenticity? Current studies of the differing an-
tecedents of surface and deep acting (e.g., Grandey, 2000) may hold a
clue to these ques- tions, but more work remains. Thus, the paradox we
need to explore is that authenticity may be desirable, but regulation is
essential to meeting personal and organizational goals.
This support has re- cently been extended to studies within organiza-
tions. In the first longitudinal study of daily work creativity, a study
examined self-reports, other- ratings, and daily diary data from 222
employees in seven companies over the length of an entire project,
directly addressing the question of whether negative versus positive
affect would en- hance creativity (Amabile, Barsade, Mueller, & Staw,
2005). This study found a strong linear relationship between greater
positive mood and creativity in organizations. Also, the influence of
positive affect on creativity lasted up to two days after the positive
mood had been felt. Another recent field study, conducted in the
knitwear in- dustry, also found facilitative effects for positive mood on
creative performance work by showing that positive but not negative
moods mediated the relationship between the support employees get
for creative work and their actual creative perfor- mance (Madjar,
Oldham, & Pratt, 2002). Overall, most research support is for a positive
relationship between positive affect and creativity.6