Arts Entrepreneurship Research Articles

E-Learning system application in art entrepreneurship teaching based on multimodal feature fusion and neural network

College student entrepreneurship teams can leverage the advantages of mobile internet resource integration and online collaborative production platforms to easily integrate various resources, thereby achieving rapid start-up and development of entrepreneurial projects. This also makes the threshold for college students to start businesses lower and easier to achieve. This article designs an interactive aesthetic education and entrepreneurship teaching system based on multimodal feature fusion and interactive systems. The core concept of the interactive aesthetic education and entrepreneurship teaching system is multimodal feature fusion and interactive system. Multimodal feature fusion can integrate different teaching resources, so that students can better understand the factors that need to be considered in the entrepreneurial process and practice. Interactive systems can enable closer interaction and communication between students and teachers, thereby better understanding and mastering entrepreneurial knowledge and skills. The design and implementation of a systematic system will help enhance the entrepreneurial ability and quality of college students, help them better understand the entrepreneurial process and factors that need to be considered in practice, and provide entrepreneurial practice reference for students in Chinese universities who have the intention of designing entrepreneurship.

Context really matters: why do women artisans in the Peruvian context avoid the sole ownership of their enterprises?

PurposeThe aim of this paper is to find out why women artisans in Peru avoid the sole ownership of their enterprises while preferring to work in associations.Design/methodology/approachThe data were collected through semi-structured interviews with 28 women artisans in Peru during their participation in a fair organized by the Peruvian Ministry of Culture in Lima (Peru). Thematic analysis was subsequently used to develop the main themes and sub-themes of the study.FindingsThe authors of the present study have found that women artisans in Peru choose to work in associations instead of via the sole ownership of their enterprises because of the following three categories of motives: contextual (low operational cost of family-owned associations, more compliance with the surrounding institutional context), cultural (commitment to parenting, experiencing less marginalization, zero responsibility, and greater work flexibility) and marketing-related motives (eliciting more social support, guaranteeing more invitations to participate in artisanal fairs).Originality/valueThis paper contributes by filling a gap in the literature on artisan entrepreneurship in which studies on women artisans in Latin American contexts and why they choose to work in associations have been limited so far.

Social relationships in performing arts entrepreneurship

PurposeThe paper aims to present the importance of social relationships in cooperation among theaters in the creation of three types of values that characterize arts entrepreneurship (i.e. artistic, economic and social).Design/methodology/approachThe findings are based on qualitative research with the use of 50 semi-structured interviews conducted with 57 representatives of public and private theaters in the performing arts sector in Poland.FindingsThe research shows how social relationships among cooperating representatives of theaters are used to create three types of values that characterize performing arts entrepreneurship (i.e. artistic, economic and social). The findings reveal that theater representatives take advantage of social relationships and engage in inter-organizational cooperation in introducing various changes in their institutions. Thus, by fostering innovation, risk-taking and searching for new opportunities they adapt to the dynamic environment. The paper shows how the three groups of values of performing arts entrepreneurship are interrelated but also sometimes conflicted with one another.Research limitations/implicationsThe research is not representative as it presents the context of the analyzed theaters in Poland.Originality/valueEntrepreneurship, although a popular subject of research, has been much less frequently analyzed with regard to the creative industries, such as the performing arts. In the field of management, researchers have focused primarily on business organization entrepreneurship, excluding cultural and arts institutions such as theaters. In this context, so-called arts entrepreneurship has not yet been widely recognized. In particular, there is a lack of research showing how social relationships between cooperating partners are used in the creation of three types of values in performing arts entrepreneurship, i.e. artistic, economic and social. The article fills this gap and presents both a scientific as well as an applicative contribution.

Instrumentalism, Utilitarianism, Arts Entrepreneurship, and Digital Cosmopolitanism as a Global Perspective of Indonesian Emerging Artists

In particular, rare scientific-academic studies still attempt to investigate the problems artists face in Indonesia. However, that does not mean that art in Indonesia runs without problems; artists encounter many challenges in carrying out their careers, Starting from the issue of respect for the profession of artists, lack of art facilities, violations of freedom of work by the ruler, to economic problems that until now have become typical problems. Through literature study, this paper will explore what is happening in the mainstream modern art arena and initiate concepts or strategies for Indonesian emerging artists to be more independent, sustainable, and emancipatory. From the construct of arguments and ideas, we obtained a model of 4 layers of art practice: 1) Instrumentalism, 2) Utilitarianism, 3) Arts Entrepreneurship, and 4) Digital Cosmopolitanism. The first two values become the artist's or "internal attitudes." At the same time, the last two represent an "external attitude" towards the work already created and how the artist takes the work from the reality of individual artistic experience to social reality (the social world).

Autonomy, competence and relatedness: how and why do artisan entrepreneurs act as responsible leaders?

PurposeThe aim of this paper is to answer the question: What stimulates artisan entrepreneurs to act as responsible leaders?Design/methodology/approachA qualitative research method was employed and semi-structured interviews with 30 artisans working in four different artisanal activities were used to gather the data. Thematic analysis was subsequently applied to the interview transcripts.FindingsThe findings suggest that the main factors causing artisan entrepreneurs to act responsibly are as follows: autonomy (the authority artisans exercise in managing their businesses; preserving socio-cultural identity is an artisan’s main duty; proving an individual competency in implementing society-related priorities), competence (adhering to generally accepted business practices; simplicity of developing and maintaining the social agenda of artisan enterprises; meeting the clients’ desire in exercising a social awareness) and relatedness (returning social favours; necessitating involvement with different stakeholders; contributing to the common good).Originality/valueThis paper contributes by filling a gap in the literature on artisan entrepreneurship, responsible leadership and research in tourism and hospitality, in which empirical studies on the responsible practices of artisan entrepreneurs have been limited so far.

Narrowing the Gap

This paper investigates whether entrepreneurship training subsequently impacts artists’ labor market outcomes. Collecting data from major universities, we find that only 9.7% have arts entrepreneurship certificates; just 11.4% have any required arts entrepreneurship classes. Analyzing data from the American Community Survey (ACS) and controlling for demographic factors, fine arts graduates are 1.3% less likely to be employed and earn 8.7% lower annual earnings. However, individuals with both arts and entrepreneurial business training earn more and offset the earnings disadvantage by roughly a half. These results underscore the importance of integrating art entrepreneurship education with the sustainability of the arts sector.

Conceptualising arts entrepreneurship education: bridging the arts and entrepreneurship within higher education settings

Despite the rise of entrepreneurship education within higher education, entrepreneurship and entrepreneurship education remain overlooked in the arts discipline. Existing research in arts entrepreneurship education is scarce. The current study aims to investigate stakeholder perspectives towards conceptualisations of arts entrepreneurship education within higher education, including that of first and final year undergraduate students, educators and industry professionals in the arts discipline. A questionnaire was administered for preliminary insights towards how arts students understand entrepreneurship and entrepreneurship education. Individual interviews were then conducted for in-depth investigation in how arts students, educators and professionals conceptualise and define arts entrepreneurship education. The findings revealed arts students’ perceptions of entrepreneurship and entrepreneurship education. Moreover, diverse stakeholder viewpoints shed light upon understandings of arts entrepreneurship education, roles of relevant stakeholders and the relationship between entrepreneurship education and arts. This study highlights the value of arts entrepreneurship education, contributing to discussion on addressing gaps between arts and entrepreneurship education, and between higher education and the industry.

Gendered Art Entrepreneurship in South Africa: Emerging Artistic Trends Creating Empowerment Opportunities in Limpopo Province

Gendered Art Entrepreneurship in South Africa: Emerging Artistic Trends Creating Empowerment Opportunities in Limpopo Province

The Incas have no end: women artisans in Peru and the continuity of their entrepreneurial activity

PurposeThrough focusing on the Peruvian context, this paper aims to identify the main determinants of the continuity of entrepreneurial activity among women artisans.Design/methodology/approachThe empirical sample comprises semi-structured interviews with 28 women artisans in Peru during their participation in a fair organized by the Peruvian Ministry of Culture in Lima (Peru). Thematic analysis was subsequently used to determine the main ideas in the transcripts from the interviews conducted.FindingsThe findings empirically identified the following job-related (number of work hours, perceived income, future of artisanal jobs), functional (availability and relevance of workstations, the necessity to travel) and socio-cultural determinants (government support, perceived recognition, level of affiliation with Peruvian traditions) as the main drivers of the continuity of entrepreneurial activities among women artisans.Originality/valueThis paper contributes by filling a gap in the literature on women entrepreneurship and artisan entrepreneurship in which empirical studies of Latin American women artisans continuing with their entrepreneurial activities have been limited so far.

Artisan entrepreneurship: a systematic literature review of this emerging field of research and new trends

Artisan entrepreneurship: a systematic literature review of this emerging field of research and new trends

Artisan Entrepreneurship through Social Media Campaigns: A Review

Artisan Entrepreneurship through Social Media Campaigns: A Review

Artisan Entrepreneurship: A systematic literature review of this emerging field of research and new trends

Artisan Entrepreneurship: A systematic literature review of this emerging field of research and new trends

Cases on Arts Entrepreneurship

Cases on Arts Entrepreneurship (Tonelli, M., & Heise, A. [Eds.]. [2023]. Cases on Arts Entrepreneurship. Edward Elgar Publishing) presents a collection of thirteen case studies that will be much appreciated by professors who teach and students who are studying entrepreneurship in the arts. Each case study exhibits a similar framework: a descriptive narrative that runs between seven and sixteen pages, including references; Teaching Notes that include an abstract, learning outcomes, keyword topics, discussion questions, a seventy-five-minute class plan, and supplemental readings (if any). The editors provide a brief introduction to the book’s purpose as well as a seven-page concluding chapter that identifies five themes that emerge across chapters: exposure to the arts at a young age, network and relationship building, kindness and collaboration, financial management, and balancing multiple income streams.

A bibliometric and visualization analysis of Artisan entrepreneurship

ABSTRACT Artisan entrepreneurship is an important way to develop economic prosperity in cultural industry, but there is a lack of systematic and quantitative review guidance. With 818 SSCI documents from the Web of Science database from 1992 to 2022, this paper uses bibliometric and visualization analysis methods to review and sort out the research in the field of artisan entrepreneurship, reveal the knowledge base and research hotspots, and put forward suggestions and outlook. The study finds that the knowledge bases of artisan entrepreneurship research include cultural entrepreneurship theory, resources-based theory, social network theory, family entrepreneurship theory and micro-theory of tourism industry development. The research hotspots focus on six themes: artisan entrepreneurs, entrepreneurial drivers, factors influencing the entrepreneurial process of artisans, economic value, cultural values, and social values. Finally, the existing theoretical framework of artisan entrepreneurship is integrated and future research directions and perspectives are proposed from six perspectives.

Artisan entrepreneurship: influence and network in the development of sustainable strategies in cross-border low-density territories through a Quintuple Helix paradigm

PurposeThe purpose of this study is, from the perspective of artisan entrepreneurship (AE), to understand how professional and higher education institutions, local authorities, local and cross-border cultural entities and tourism stakeholders perceive AE by collaborating in a network to develop innovative and sustainable strategies, using the Quintuple Helix innovation model.Design/methodology/approachUsing a qualitative approach, 34 semi-structured interviews were carried out with organisations by emailing them a Google Form. The organisations interviewed were from the north-east of Portugal (Bragança, Miranda do Douro, Mogadouro, Vimioso and Vinhais) and the north of Spain (Zamora Province). The data collected was subjected to content and lexical analysis using the computerised lexical analysis software IRaMuTeQ.FindingsAE is seen as the representation of a culture where traditional crafts are the identity of a region. The practical and political implications for decision makers in the Quintuple Helix can be seen in the definition of strategies and proposals that should leverage and define regional and cross-border policies, leveraging the need for networking to define concrete measures and programmes for support and training in entrepreneurship and AE, as well as the creation and/or standardisation of existing support networks.Originality/valueTo the best of the authors’ knowledge, this work is the first study to address and deal with the issue of AE by understanding how professional and higher education institutions, local authorities, local and cross-border cultural entities perceive AE and collaborate in a network to develop innovative and sustainable strategies, through the paradigm of the Quintuple Helix model. It also combines a content analysis and a lexical analysis using computerised lexical analysis software – IRaMuTeQ.

Editors' Introduction

Entrepreneurship, at its essence, involves the discovery of new means-ends relationships (Shane and Venkataraman 2000). Arts entrepreneurship infuses both means and ends with creative, expressive, and aesthetic practice (Essig 2015). So, this twelfth volume of Artivate follows a similar impulse. With this volume, Artivate explores multiple means to achieve its intended ends. Our leadership team now comprises three new coeditors eager to combine their time, attention, advocacy, and networks to this important next chapter. In addition, with Volume 12 Artivate is transitioning to a rolling-publication basis. Rather than anchoring our releases in two full issues, we will now publish articles throughout the academic year as they are available. These innovations in our means are all intended to sharpen and amplify our long-standing ends: to disseminate new thinking and perspectives on arts entrepreneurship theory, practice, and pedagogy. We hope these changes inspire new conversations across the community and that new and established authors will trust their work with us.

Editorial Perspectives

To launch Volume 12 of Artivate and mark the editorial team transition, we offer the following set of editorial essays to help catalyze conversations and contributions on the past and future of the field. The first is by outgoing coeditors Paul Bonin-Rodriguez and Neville Vakharia, who reflect on the field-building focus of their tenure and some of their key accomplishments. Their excellent retrospective is followed by essays from each of the new coeditors, exploring the origins and nature of their relationship to the field of arts entrepreneurship as well as the evolving topics those origins inspire. We hope that these essays encourage a similar reflection among our community and foster a more expansive conversation and examination of entrepreneurship in the arts.

Advocating for Intrapreneurship in Arts Entrepreneurship Education: Developing a New Generation of Innovative Professionals

This research aims to propose a set of eight arts-based intrapreneurial projects for higher education, tailored to arts entrepreneurship students. The projects, designed for a 16-week timeframe (except one project requiring 21 weeks), provide project descriptions, learning objectives, assessment criteria, and resource requirements. To ensure feasibility and relevance, the researcher conducted semi-structured interviews with three experts in the field, including a project manager and creative director from a leading video production agency, an audio engineer and music producer in a multinational media conglomerate, and a creative director who transformed a Brazilian company into a multibillion-dollar empire through graphic design, music, video, and marketing services. The insights gathered from the interviews, along with an analysis and synthesis process, inform the proposed intrapreneurial projects, offering a framework for arts entrepreneurship educators to implement in their curricula.

Artist Activism as Arts Entrepreneurship

The conceptual framing of artist activists as arts entrepreneurs is pivotal to this study’s analysis of artists’ political organizing during the overlapping moments of the Covid-19 pandemic and the Trump presidential era. However, artist activism as a form of arts entrepreneurship is underexplored in the arts entrepreneurship literature. To address this gap, I conduct a side-by-side comparison of key principles in the arts entrepreneurship and social movement literatures to establish a transdisciplinary theoretical baseline that supports my argument that artist activism is a vital form of arts entrepreneurship. I then analyze interviews with twenty-seven artist activists who cultivated and exercised actions for “changing the future” (Koppl & Minniti, 2008a, 17) during this period and apply my findings to further expand the taxonomy of arts entrepreneurship first developed by Chang and Wyszomirski (2015) beyond management process to vehicle for institutional change. In addition to connecting arts entrepreneurship to the social movement literature and conceptualizing artist activism as a form of arts entrepreneurship, I identify strategies and tactics employed by US artist activists in their creation of both economic and social value in the 2020-2022 period.

New Ways of Supporting Arts Entrepreneurship

This research analyses Maniobra, a cultural employment initiative that offers guaranteed income and additional support for three years to selected artists in Puerto Rico. Maniobra’s program design phase and preliminary first year results are analyzed through the author’s personal experience with the project as an arts entrepreneur and scholar. This reflection suggests how to address barriers facing artist initiatives with a lens of diversity, equity, and inclusion. A conceptual framework analyzes the preliminary impacts through a combination of artistic, personal, and economic well-being. The article also highlights the importance of institutional trust in artists and artistic work, expanding traditional philanthropy models.