Arts Entrepreneurship Research Articles

Arts Entrepreneurship Internationally and in the Age of COVID-19

Arts Entrepreneurship Internationally and in the Age of COVID-19

Conceptualizing Rhizomatic Thinking in the Arts- A Semantic Approach to Arts Entrepreneurship

Conceptualizing Rhizomatic Thinking in the Arts- A Semantic Approach to Arts Entrepreneurship

За значението на арт-културното предприемачество

Entrepreneurial activity performed by artists still no specific theoretical outlines. They use terms like “cultural entrepreneurship“ and “art entrepreneurship”, but mainly as the names of graduate programs, visions of art, cultural scientist researchers and entrepreneurial processes. It remains doubtful what is the most correct concept of entrepreneurship realized by the creators. One of the ways of dealing with debatable is the use of “and”, but this does not solve the issue. Based on a discussion of the different aspects of the concepts, the article suggests the use of the term “art-cultural entrepreneurship“ as a specific type of contemporary entrepreneurship.

A Theory of Arts Entrepreneurship as Organizational Attack

Arguably, both success and failure in arts entrepreneurship do not depend upon one’s own ability to employ themselves or create a business. Given that the academic field of arts entrepreneurship is still emerging, it is not surprising that arts entrepreneurship theory is underdeveloped. While a theory of arts entrepreneurship could help answer the recurring question (i.e., What is arts entrepreneurship?), without a theory supported by evidence, what arts entrepreneurship “is” may be based on individual subjectivity, discipline-based bias, and untested assumptions. To address this gap in the arts entrepreneurship literature, I propose a theory of arts entrepreneurship evidenced by repeated observations that are verifiable via case study experiences.

대학 무용학과 창업교과목 운영 사례와 과제

대학 무용학과 창업교과목 운영 사례와 과제

Artisan, cultural and tourism entrepreneurship

Purpose The purpose of this paper is to focus on emerging research avenues for artisan entrepreneurship. The key findings of the articles in the special journal issue are discussed in terms of potential research issues that need to be discussed in future work. Design/methodology/approach An overview of the main themes of artisan entrepreneurship in terms of cultural and tourism perspectives is undertaken. This helps to establish artisan entrepreneurship as a new and emerging field of entrepreneurship studies. Findings There is more interest in artisan entrepreneurship due to its role in revitalizing economies and placing emphasis on cultural heritage and traditions. Originality/value This paper will provide directions for future research on artisan, cultural and tourism entrepreneurship.

Entrepreneurial Learning in Arts Entrepreneurship Education: A Conceptual Framework

Increasingly, higher education has called upon arts entrepreneurship to prepare artists for sustainable careers, and to provide a platform for research on artist professional development. In response, teaching in entrepreneurship and arts entrepreneurship education has grown significantly over the past few decades (Fayolle et al., 2016), with an estimated 168 institutions with 372 offerings arts entrepreneurship courses in the US alone (Essig & Guevara, 2016). This is especially true in the field of music, where arts entrepreneurship has been readily embraced due to the entrepreneurial nature of sustaining a livelihood as a musician (Bennett, 2016; Breivik et al., 2015). The amount of research focusing on the teaching of arts entrepreneurship has followed closely behind the growth in arts entrepreneurship education – but what about research on learning arts entrepreneurship? How do arts students actually learn to be entrepreneurial? While research in arts entrepreneurship has been performed to examine curricular efforts (e.g., Beckman, 2005), the similarities and synergies of entrepreneurs and artists (e.g., Gangi, 2015), and arts entrepreneurship education as a comprehensive phenomenon of interest and study (Chang & Wyszomirski, 2015), no work has been performed to connect the field s body of knowledge to extant theoretical work directly related to experiential and entrepreneurial learning (Politis, 2005). Given that most arts entrepreneurship curricula include some form of experiential learning (Essig & Guevara, 2016), I propose a framework to advance the field s investigation of entrepreneurial learning in the arts entrepreneurship classroom. Since understanding arts entrepreneurship is context-specific (Beckman & Essig, 2012), in this article I use the specific case of music performance education in higher music education (HME) to connect empirical and theoretical literature on arts entrepreneurship education, entrepreneurial learning, entrepreneurial competencies (Bacigalupo et al., 2016), careers in music, and social cognitive career theory (Lent et al., 2002) Synthesizing these streams of literature, I propose a conceptual framework for integrating context-specific entrepreneurial learning activities within arts entrepreneurship education. The framework developed recognizes and address the importance of context, personal agency, student-centered learning, explorative behavior and definitions in arts entrepreneurship educational activities. The framework also provides the means to analyze both mini-cases and examples of entrepreneurial learning activities which may develop entrepreneurial competencies. The article concludes with promising areas and questions for future research and as well as implications for educators.

Entrepreneurship among Public School Arts Educators: The Case of Music Teachers in New York State

This survey study explored the entrepreneurial dispositions and behaviors of public school music teachers in New York State to better understand the incidence of arts venturing in highly bureaucratic school environments. On a broader level, the study brings to light the need for entrepreneurship pedagogy tailored for school-based arts educators, who constitute a large segment of the creative economy yet are virtually ignored in the teaching and learning of entrepreneurial skills. From a sampling frame of 1,351 teachers, 576 responded to an online questionnaire for a response rate of 42.6%. The questionnaire was modeled after previously- validated scales and assessed respondents’ history, intentions, and perceptions related to entrepreneurship. Results showed that a large proportion of the teachers surveyed were already creating new musical ventures at their schools or planning to do so in the near future. Further, teachers who were familiar with the tenets of entrepreneurship, possessed business experience, or whose postsecondary education included entrepreneurship coursework, reported stronger entrepreneurial self-efficacy, better support from their schools for innovative projects, and a higher likelihood of launching new pedagogical endeavors in the near future. Findings of this study underscore the broad appeal of an entrepreneurial worldview across a variety of arts subdisciplines, suggesting the adoption of a wider and more inclusive scope for the enterprise of arts entrepreneurship education.

A Theory of Arts Entrepreneurship as Organizational Attack

A Theory of Arts Entrepreneurship as Organizational Attack

Arts Entrepreneurship in China: Exploring the Professional Career Development Model for Chinese Emerging Western Classical Musicians

Artists’ career management has become an urgent topic in the scholarship of arts administration and the creative economy in many Western countries. Although Chinese creative and cultural industries have also experienced significant attention and growth, the worklife experiences of Chinese cultural workers are rarely discussed in the international academic literature. Addressing that gap, this study investigates artistic careers and professional development of a small sample of emerging Western classical musicians in a Chinese second-tier city. We found similar patterns in career portfolios and strategies of career entrepreneurship between Western and Chinese musicians, although differing career opportunities and explicit career strategies seem related to local context.

Encouraging the subsistence artisan entrepreneurship in handicraft and creative contexts

PurposeThis study aims to establish a relationship between creative tourism and experiences in the traditional handicrafts of Barcelos (Portugal). Based on a qualitative approach, it also aims at analyzing the failures and absences from the tourist market by creating new proposals and responses to the demand. The conceptual framework of this study develops three proposals: first, to present new concepts and opportunities for the tourism market; second, to establish a direct relationship between the local traditional handicrafts, creative tourism and experiences; and finally, to promote traditions that add value to the local development.Design/methodology/approachThis study uses an ethnographic case analysis research design to investigate the propositions (ten in-depth interviews with technicians and artisans in Barcelos, Portugal). The key constructs are drawn from empirical research among handicraftsmen in which data analysis was carried out based on a qualitative analysis.FindingsThe results suggest the experience, knowledge and importance of learning this dynamic in an entrepreneurship tourism perspective. Creative tourism and experiences are growing and strengthening the territories and consumer satisfaction in specific artisan, cultural and tourism entrepreneurship contexts.Research limitations/implicationsThis study fills a large gap in the territorial market, associating the knowledge of new concepts with the success of the tourism entrepreneurship. The findings provide solutions for helping handicraftsmen to improve their decision-making logic and increase the speed of market growth. There has been an increased emphasis on local and handmade goods that are linked to the culture and tourism of specific destinations.Originality/valueTourism managers and artisan entrepreneurs can use the outcome of this study to gain in-depth understanding of customer experiences (i.e. consumers of local handicrafts) and develop effective marketing strategies and further stage the operational environment that can maximize customers’ perceived experiential value.

With their feet on the ground: a quantitative study of music students’ attitudes towards entrepreneurship education

ABSTRACTThe present study examines students’ attitudes toward entrepreneurship education. The context of the study are the arts, where we empirically test whether different dimensions of arts entrepreneurship education are recognized by students from higher music education institutes in the Netherlands. Specifically, we investigate 167 music students’ perceived need for various entrepreneurship education topics, because students’ concurrent attitudes toward entrepreneurship education may affect their future career behaviours. Our findings suggest that students embrace a holistic approach to entrepreneurship education, in terms of new venture creation, being enterprising, and employability and career self-management. Values such as a passion for music and the need for autonomy are not at odds with the perceived need for entrepreneurship education in relation to vocational work. As one of the first attempts to quantitatively investigate students’ perceived need for entrepreneurship education (PNEE), this study is a stepping stone for future quantitative research in this area.

Innovation as a booster of rural artisan entrepreneurship: a case study of black pottery

Purpose Rural entrepreneurship is an emergent field of study, with these start-ups becoming one of the most noticeable ways to promote rural development, but the few studies concerning innovation among artisans have thus far only been exploratory. The purpose of this paper is to examine the entrepreneurial artisan initiatives of young innovators in a peripheral northern area of Portugal where black pottery is produced. Design/methodology/approach Qualitative data analysis was carried out on in-depth semi-structured interviews with three young artisan innovators and entrepreneurs and one individual who functions as a cultural booster. The content analysis was done using QSR International’s NVivo Version 11 software. Findings These young entrepreneurs have developed commercial activities and introduced innovations (i.e. design and process) into black pottery production, while taking advantage of endogenous materials, local culture and traditional knowledge. These individuals have sought not only to generate their own innovations but also to keep their culture and local traditions alive, thereby contributing to rural development by establishing networks with local young artisans. Research limitations/implications Some limitations are linked to the sample’s size and basis in a specific geographic reality. Practical implications The findings provide a fuller understanding of why some rural artisan firms grow, suggesting that artisans’ networks and innovative and entrepreneurial behaviours play a key role. Originality/value This research’s results contribute to the literature on the role that innovation can play as a booster of rural artisanship through networks and entrepreneurship. This paper is among the first to discuss black pottery as a form of artisan entrepreneurship. The results underline the value of innovations and networks, which were found to be the core ingredients in rural artisan entrepreneurship.

Creative tourism: catalysing artisan entrepreneur networks in rural Portugal

Purpose Given limited research about how artisans become integrated into tourism, the purpose of this paper is to investigate the emergence of artisan entrepreneur–mediators who link artisans to tourism in rural areas and small cities in Portugal. Using social embeddedness as a conceptual framework, this paper views artisan entrepreneur–mediators as existing within an entrepreneurial ecosystem. The paper investigates their role within this ecosystem and how social networks influence the artisan entrepreneur–mediators’ roles in connecting artisans to creative tourism. Design/methodology/approach The paper is based on new (2017 and 2018) empirical evidence developed through two rounds of semi-structured interviews of five artisan entrepreneur–mediators. Findings This paper finds that artisan entrepreneur–mediators in rural areas or small cities take on multiple roles as networking agents who organize and offer creative tourism experiences, providing the missing link between artisans and tourists. An analysis of the nuances of the operations of these artisan entrepreneur–mediators suggests that high levels of social embeddedness within local rural communities are important in order for these neo-rural entrepreneurs to attain their goals. Originality/value Originality lies in the identification of a gap in artisan entrepreneurship literature in a rural context. It is the first time that a critical analysis of artisan entrepreneur–mediators who facilitate the link between artisans and tourism is carried out in terms of social embeddedness, their roles and connections to creative tourism, and types of community engagement.

Artisan entrepreneurship: a systematic literature review and research agenda

PurposeThe purpose of this paper is to review and critique the extant body of literature on artisan entrepreneurship and to develop a research agenda for future studies based on the identified trends and themes.Design/methodology/approachA systematic literature review (SLR) was undertaken across 96 journals ranked by the Association of Business Schools. The initial search yielded 86 papers. Further scrutiny of these studies led to the development of exclusion criteria, resulting in a refined list of 32 articles which advance understanding of artisan entrepreneurship. Using an open coding approach, this SLR then identified seven core themes and 16 sub-themes which the extant literature examines.FindingsThis SLR finds that artisan entrepreneurship research contributes to understanding of entrepreneurial behaviour, context, motivation, development, resources, diversity and classification. It provides timely insights into coopetition practices, the reciprocal relationship between place and entrepreneurship and the coexistence of social and economic goals. It also reveals characteristics which facilitate venture development, discovers the mutability of various forms of capital, highlights the necessity of studying diverse experiences and identifies benefits and limits of typologies. Main elements of the resulting research agenda include calls for more quantitative research, further attention to context and more holistic treatment of a wider variety of stories.Originality/valueThis paper presents the first SLR of craft and artisan entrepreneurship research. It not only identifies, analyses and critiques the main streams in the literature, therefore providing an overview of the state of the field, but also highlights areas where this scholarship contributes to understanding of entrepreneurship and upon which future research can build. Artisan entrepreneurship is thus established as worthy of investigation in its own right and as an appropriate context in which to explore entrepreneurial processes. Furthermore, this SLR presents an agenda for future research to advance understanding of artisan entrepreneurship.

Rethinking artisan entrepreneurship in a small island

Purpose There is a growing interest in artisan entrepreneurs around the world. Scholars are increasingly interested in how artisan enterprises use tourism in a resource-constrained resources. Based on the concept of artisan chocolate entrepreneur, the purpose of this paper is to examine the phenomenon of artisanal chocolate making in a small island with limited resources yet influenced by increased tourism. Design/methodology/approach Artisan enterprises are considered relevant in developing countries and their creation merits further attention. This study examines artisan enterprises using in-depth interviews, case studies, and an interpretative approach. The approach enables examining how artisan chocolate enterprises use tourism to develop their businesses in a context characterized by limited resources. Findings The findings show that artisan entrepreneurs are encouraged to start and develop enterprises due to lifestyle choices. The findings reveal a connection between artisan chocolatiers developing place-bound features to address a growing demand of tourists’ expectation for authentic and local products. The approach of artisan entrepreneurs in such conditions can be explained through entrepreneurial bricolage. Originality/value This study contributes to the literature on the initial stages of artisan enterprises particularly in resource-constrained environments influenced by tourism. More specifically, the study provides evidence of the relevance of tourism for artisanal enterprise emergence, which is a relatively overlooked area in tourism and artisanal studies in developing countries. The study highlights the key place bound features that artisanal chocolate entrepreneurs associate to their products based on tourists’ demand for authentic and local products.

Artisan entrepreneurship: a question of personality structure?

PurposeThe purpose of this paper is to examine the role of culture in artisan entrepreneurship. It is argued that culture plays a critical role in entrepreneurial behaviour as culture is a key determinant of what it means to be a person. The concept of culture is explored from a micro level of analysis therefore, conceptualising culture from the perspective of the individual entrepreneur’s personality. The main research question being investigated within this paper is: whether artisan entrepreneurs share common personality traits with other entrepreneur groups, using the five factor model (FFM) of personality as the basis of the conceptual model presented herein.Design/methodology/approachA literature review on the emerging field of artisan entrepreneurship, followed by a review of the literature on personality theory and entrepreneurship. Then, drawing upon the FFM of personality, a conceptual framework is introduced which proposes a relationship between the Big Five personality traits and four dimensions of artisan entrepreneurship such as cultural heritage, community entrepreneurship, craftsmanship and innovation, developed from concepts derived from extant literature.FindingsThe theoretical contribution is in the form of propositions. Four propositions have been formulated around the entrepreneurial personality of artisan business owners for each of the four dimensions: cultural heritage, community entrepreneurship, craftsmanship and innovation.Originality/valueThe paper is the first to propose a relationship between the Big Five personality dimensions and the likelihood of starting and/or running a business among an entrepreneur group rather than explaining personality differences among entrepreneur and non-entrepreneur groups. The focus of the paper is specifically on artisan entrepreneurs and it has been proposed that the personality trait of agreeableness is important in the decision to start a cultural-based business. It has also been proposed that artisan entrepreneurs possess personal characteristics of openness to newness and openness to innovation that are integral to regional development.

Arts Entrepreneurship and Cultural Policy Innovation in Beijing

This article analyzes three cultural entities in Beijing, China: National Centre for the Performing Arts, 798 Arts District, and Today Art Museum using two lenses: Kingdon's Multiple Streams Framework (MS) and concepts of arts entrepreneurship, in order to examine these entities' development and current condition. The performing arts center has become a source of national pride, the arts district now is one of the world's largest, and the museum paved the way for a new kind of “private” institution in China. Concepts including policy streams, policy windows, and policy entrepreneurs ground the analysis. In order to enrich the perspective, we explore theories in the growing field of arts entrepreneurship and their applicability to the changing economic environment of China. We point to the realities of policy formation as well as the innovative economic growth fostered through arts entrepreneurship in China, grounding the analysis in a positivist perspective due to the opacity of the process in that country. While Multiple Streams Framework is a powerful tool with which to understand and interpret policy formation, change, and adaptation, it is the arts entrepreneurship principles that provide important ways to look at creative commerce, both from the perepective of the individual and the organization. We find that, while each arts entity was formed under very different circumstances, they all now incorporate facets of arts entrepreneurship including brand building, market development, and audience growth. Frameworks and theories must be flexible and resilient in order to be adapted to more diverse contexts. By reframing cultural policy and arts entrepreneurship theory to incorporate culturally relevant data, they each can provide valuable tools for scholars, policymakers, and municipal leaders. This allows the understanding of key theoretical components to expand, reflecting political and social realities while ensuring the relevance and viability of these analytical tools in multi-cultural contexts.

Bla(c)k Lives Matter in Australia

Centering around three concepts: artists, money, and entrepreneurial action, Creative Infrastructure: Artists, Money, and Entrepreneurial Action by Linda Essig elaborates on essential concepts, competing theories, and diverse perspectives of arts entrepreneurship as both a scholarly field and creative praxis. By elucidating the conundrums and complexities between the principles of the capitalist economy and the needs of artists to be flourishing, Essig uses a critical lens to free the concept of entrepreneurship and arts from the domination of the hierarchical Western-centric social and economic systems, offering a holistic, sustainable, and equitable approach to perceiving and practicing arts entrepreneurship.

Uganda Asians

Centering around three concepts: artists, money, and entrepreneurial action, Creative Infrastructure: Artists, Money, and Entrepreneurial Action by Linda Essig elaborates on essential concepts, competing theories, and diverse perspectives of arts entrepreneurship as both a scholarly field and creative praxis. By elucidating the conundrums and complexities between the principles of the capitalist economy and the needs of artists to be flourishing, Essig uses a critical lens to free the concept of entrepreneurship and arts from the domination of the hierarchical Western-centric social and economic systems, offering a holistic, sustainable, and equitable approach to perceiving and practicing arts entrepreneurship.