Arts Entrepreneurship Research Papers - Academia.edu (original) (raw)

In what sense is entrepreneurial is a capacity or an attitude that is inherent to the artist? Can artists be entrepreneurs? Do they really want to? Is there a way to keep being an artist if you cross the line to self-promotion? How would it affect your creativity when become your own agent? Does it at all? Are there simple skills and capacities to become a good seller without loosing yourself in the woods of the art system? How are institutions facing the topic to prepare their young artists to succeed? Are they implementing skills, tools, capacities, and even attitudes to help students face those roles? Should art education make bigger efforts implementing entrepreneurship for artists within their academic programs? Are art high education institutions across Europe answering the needs of emerging young artists? Should the teaching of entrepreneurship be considered an ethical instructional imperative in times of mass unemployment? Are teachers equipped to undertake this instruction? In the globalized world, do young artists have the skills to self promote and be visible in the art arena? Are new forms of promotion through social media disrupting traditional hierarchies between the artists and their promoters? Are social critical issues profitable? What are the models for entrepreneurship that engage beyond market dynamic?....

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- Arts Entrepreneurship

Art and entrepreneurship, individually, are not new area of investigation, but are far from constituting consolidated topic 'Artrepreneurship', especially in start-up India and Skill India. Despite the perceptible similarities in processes, as they unfold in the business context, the two areas remained ramified in terms of research and in practice as well. Unemployment, especially among the Indian artists, has become exigency of Indian Government and Education System, to focus on 'Artrepreneurship Skill' development among 'Artists'. This research paper sheds light on the present scenario of raising unemployment among Indian Artists, its adverse effect on economy and developing artrepreneurship skills as possible solution. The results of pilot investigation from artists in selected cities of Maharashtra outlines the field of research. Possible other forms of introducing artrepreneurial thinking, behavior, skills in education system with special reference to Skill India is also discussed. The article ends by outlining the areas of further research.

- by Jasmine P Gajare
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- Entrepreneurship, Education, Performing Arts, Art Economics and Markets

This presentation discusses how technology affects the relationships between genres in a genre system. The effects of technology, particularly Internet-connected technology, on communication have been discussed under many concept names, such as the concept of Distributed Work in Technical Communication, Multimodal Communication in Rhetoric and Composition, and Emerging Genres and Genre Change in Rhetorical Genre Studies. However, it has been hard to isolate the effects of technology on genres of communication amid the shifting professional, personal, cultural and social norms associated with the uptake of technology. Genre has long been studied as a social phenomenon, but I argue that technology imposes more on the social development of new communication techniques and genre use than we have previously allowed. I demonstrate this with an interview-based study of professional musicians' genre systems in the pre-internet and Internet eras.

- by Philipp Peltz
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- Cultural Economics, Music Industry, DIY culture, Arts Entrepreneurship

Art and design are at a crossroads in higher education. The choices we make now will affect the future of our disciplines. How will we move forward, making productive changes that enhance our position as vital and valued contributors to... more

- by James D . Hart
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- Devised Theatre, Physical Theatre, Asian Theatre, Arts Entrepreneurship

The Society for Arts Entrepreneurship Education provides a national inventory of Arts Entrepreneurship programs and currently identifies at least ninety-six institutions offering courses and programs dedicated to the study of entrepreneurship in the context of the arts. Research suggests such courses are commonly associated with new venture creation across the arts and creative sector, as well as the teaching and learning of skills, competencies and behaviors necessary for self-employment in the arts and creative industries. However, despite the existence of such courses and programs, there currently exists no proposed theory or theories of arts entrepreneurship in nascent literature for guiding contextual entrepreneurship pedagogy and practice. In an effort to advance the concept of arts entrepreneurship, this paper identifies challenges to theory building, explores a theory of arts entrepreneurship, and proposes how a theory of arts entrepreneurship can inform program theory development.

- by Jason C . White
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- Entrepreneurship, Entrepreneurship Education, Arts Entrepreneurship

This paper aims to illustrate the working and business environment of professional fine artists and to identify the factors to successfully make a living in the arts as both market challenges and success factors have not yet been clearly identified in literature. The identification of artists' business environment and success factors could be particularly beneficial for practising fine artists, prospective fine art students, and higher education institutions (HEIs) in order to provide them with a deeper market insight and knowledge for an effective professional education and preparation. In order to achieve this aim, the paper is first focused on the literature to identify working fine artists' business environment including the different art market segments, entry barriers, and challenges. In a second step, interviews with professional fine artists were conducted as well as surveys distributed to lecturers and students in Fine Art at HEIs and to galleries to determine the challenges and success factors in the art market from their professional experience. The literature and survey findings clearly show that the art market is characterised by different segments of varying market attention and visibility, whose access is controlled by informal market barriers consisting of powerful networks. The vast majority of fine artists are practising in segments excluded from buyers' awareness.

With insight into key pedagogical approaches of theatre training, an understanding of research regarding common psychological characteristics of actors and awareness of identified parallels between arts entrepreneurship and acting course content, arts entrepreneurship instructors can, in their classrooms, increase the likelihood of relating to acting students and subsequently, leverage their students’ inherent and developed skills. Research-based psychological characteristics of actors are offered, as are suggestions to appeal to actors’ general sensibilities (and how they may wish to be engaged). The Stanislavski System is the most popular approach to actor training; its critical structural components are discussed in addition to various offshoots of the original technique. Unique features of acting training such as encouraging imagination, reflection, openness to experience, emotional connections, pursuit of goals and the importance of soft skills are emphasized.

- by James D . Hart
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- Entrepreneurship, Serious Games, Experiential Learning, Arts Entrepreneurship

This article discusses the complex relationship between cultural entrepreneurship and state policy, arguing that (1) policies that stimulate cultural entrepreneurship are both like and unlike policies that encourage entrepreneurship in core business areas; (2) policies that support cultural entrepreneurship are less effective unless attention is also given to the whole ecosystem of the arts; (3) the state cannot limit itself to facilitating and supporting cultural entrepreneurship but must sometimes intervene directly to plug perceived gaps in the support that the field requires; and (4) the state faces unique challenges in developing markets for pre-modern art and culture. Also discussed are the adverse outcomes of state policies that equate support for culture with support for cultural entrepreneurship. Failure and success in the arts are not the same thing as failure and success in the marketing of the arts. The article concludes that governments must recognise that the imperative to protect and promote cultural value, whether in pre-modern or contemporary domains of creative expression, sets limits to any drive to profit from culture.

- by Anmol Vellani
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- Cultural Policy, Cultural Entrepreneurship, Arts Entrepreneurship, Creative Economy

This article aims to define crucial skills for the entrepreneurial success of working fine artists as these skills have not yet been clearly identified for this professional group. The identification could be beneficial for artists' entrepreneurship education at higher education institutions (HEIs) in order to prepare them for their careers as effectively as possible. In order to achieve this aim, the paper is first focused on the entrepreneurship literature to identify the skills that are, in general, important for the entrepreneurial success and failure of entrepreneurs. In a second step, a survey was distributed to lecturers in Fine Art at HEIs in the UK and Germany, all of whom were simultaneously working artists, to determine the crucial skills for fine artists based on their professional experience. Both survey and literature findings show evidence that in particular seven skills, the " five plus two " skills, are crucial for the entrepreneurial success of professional fine artists. Introduction Research Aim The article aims to define crucial skills for the entrepreneurial success of working fine artists as these skills have not yet been clearly identified for this professional group. The identification could be beneficial for artists' entrepreneurship education at higher education institutions (HEIs) in order to prepare them for their careers as effectively as possible. In order to achieve this aim, the paper is first focused on the entrepreneurship literature to identify the skills that are, in general, important for the entrepreneurial success and failure of entrepreneurs. In a second step, a survey was distributed to lecturers in Fine Art at HEIs in the UK and Germany, all of whom are simultaneously working artists, to determine the crucial skills for fine artists based on their professional experience.

- by Dr Marco Thom
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- Cultural Entrepreneurship, Arts Entrepreneurship

The study’s aim is to show whether and to what extent services of entrepreneurial value
could be provided by arts incubators to nurture fine artists to meet market requirements to make
a living in the arts. In order to achieve this aim, the study is first focused on the clarification of
the question to what extent fine artists are currently educated at higher educational institutions on
how to become successfully self-employed. The answer to this question is needed to outline the
current mismatch between vocational education of fine artists and actual market requirements. A
comprehensive and comparative analysis of Fine Art degree programs and extracurricular
training offerings at higher educational institutions and arts incubation programs in the UK and
Germany was carried out. By using various key performance indicators, this study shows
evidence that fine artists are not educated to successfully meet market requirements and that
professional arts incubators could be a promising alternative or useful addition for fine artists’
vocational preparation.

- by Dr Marco Thom
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- Entrepreneurship, Entrepreneurship Education, Arts Entrepreneurship, Fine Art

In examining the goal of incorporating arts and culture into urban planning, district development and the creation of cultural destinations in cities today, an important element to consider is the role of the so-called " supercreatives, " who are a core part of the creative class. Gaining an understanding of the motivations, expectations , and underlying issues pertaining to these producers of arts and culture – who also may be consumers of creative outputs – can provide a window of opportunity through which to attain valuable perspectives on livabil-ity, policy development, and city building. This paper uses data from a survey of 350 attendees at an arts and music festival in a burgeoning arts district in Columbus, Ohio called Franklinton. The area, once a floundering and financially challenged neighborhood, has begun to redevelop and is in transition in large part because of municipal and community-led efforts focused on attracting the creative community and those who follow them. The study looks at what respondents feel will make an arts district successful. An unexpected finding from this study was that the predominance of respondents fell into the class of " supercreatives, " thus giving a very different meaning to the findings, which can importantly inform policy and planning for cultural destinations in urban centers. We find that aspects including a creative focus, walkability, and safety are the key elements that must be included. In addition, the findings show that, while the creative community needs to be involved in the fostering of an arts district, leadership of these initiatives should come primarily from politicians, arts managers, residents, policymakers, businesses, and researchers.

Purpose - the aim of the paper is to understand why fine art market in Latvia seems to be very slow despite rapidly growing global art market.
Methodology – literature review on contemporary fine art market and affluent society; review of wealth studies and fine art market reports for correlation analysis.
Findings - governments and philanthropists, thus deforming natural market balance of supply and demand, support Fine Art industry. Subsidies in Latvia are directed to art making, thus stimulating the supply. The paper proves that situation in Latvia is different from the global art market epicentres, where demand for the fine arts is high; there is a lack of local art buyers in Latvia, thus stimulating art creation is not supporting local art market. The article describes the ecosystem of fine art market, consisting of primary and secondary market for sales & ownership and support & inspiration environment. Two mandatory elements of the Fine Art market are the artists and the art buyers. This article takes deeper analysis of the art buyers as financial fuel for the whole industry. Recent decades have showed changes in wealth acquisition leading to changes in the art buyer values system, taste and art acquiring. This explains new phenomena in Fine Art market – buying artworks of live contemporary artists. Deeper analysis is done on finding correlation and regression of factors affecting art sales volumes in secondary art market in global art market epicentres. The main finding is that art market is strongly affected by the number of millionaires in certain cities. Since Latvia doesn’t have high number of rich and ultra rich people, Fine Art market is suffering demand deficit and supply overflow, thus leading to “starving artist” phenomena. This means that all the efforts of the artists, galleries and government should be refocused to looking for additional sales channels and sales promotion on all levels of the industry.
Practical and social implications – contemporary fine art artists, their representatives, managers and galleries as well as government offices related to financing the industry and philanthropists willing to help the industry can directly apply the findings.
Originality – first time described contemporary fine art market ecosystem scheme, finding correlation of affluent society and art market sales volumes, redirection of subsidies towards sales and demand stimulation.
Key words: contemporary fine art market; affluent art buyers, fine art ecosystem; fine art subsidies

- by Agnese Aljena
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- Contemporary Art, Art Market, Arts Entrepreneurship

As a conceptual tool, the Artist’s Meta-Praxis depicts commonalities and amplifies profound connections between artistic action and the art of entrepreneurial action. The framework is presented as a step towards empowering arts students for the complexities of effective entrepreneurial action by identifying and ordering the scope of knowledge and skills artists need for entrepreneurial success. Further, the model demonstrates how entrepreneurship education and training can be integrated into higher education arts programs.

- by Jonathan Gangi
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- Entrepreneurship, Cognitive Science, Systems Science, Classical Guitar
- by Shoshanah Goldberg-Miller
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- Arts Entrepreneurship

Arguably, success and failure in arts entrepreneurship does not depend upon one’s 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. As a result, arts entrepreneurship researchers have had to import other theories from outside of the arts literature to provide a rationale for their conceptual frameworks, models, hypotheses, and research conclusions. While a theory of arts entrepreneurship could help answer the recurring question (i.e., What is arts entrepreneurship?), without a theory or theories based on repeated observations that are verifiable, 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.

As the field of Arts Entrepreneurship education continues to grow, the barriers it confronts prevent maximum vitality. Leading scholars and administrators indicate that program development and formal accreditation standards are important components supporting the field's growth. As such, this document explores next steps and examines how to move the field towards academic maturity.
First, notable Arts Entrepreneurship academic programs are compared and contrasted as a representative sample of existing curricular approaches. Second, issues of accreditation are analyzed as barriers preventing growth, followed by recommendations for removing these obstacles. Third, the Artist's Meta-Praxis conceptual framework is presented as a way to describe an artist's motivations and goals. By articulating how entrepreneurial action fits into the "life practice" of artists, this document suggests a synergetic relationship between the two, thus enabling artists to better fulfill their professional goals.
Consequently, the framework focuses on: 1) the complexity of entrepreneurship in music (and by extension, all arts disciplines), and 2) finding specific, sufficient pathways capable of logically placing entrepreneurial action within the broader context of a musician's (and by extension, all artists) professional activities. The Artist's Meta-Praxis is intended to depict commonalities and amplify profound connections between artistic action and the art of entrepreneurial action. Accordingly, the framework is presented as a step towards empowering arts students for the complexities of effective entrepreneurial action, by identifying and ordering the scope of knowledge and skills artists need for entrepreneurial success.
Further, the model demonstrates how entrepreneurship education and training could be integrated into higher education arts programs, serving to help faculty, administrators and students recognize the relationships between content, concept, and context when engaging in artistic and entrepreneurial action. By including the necessary and sufficient elements that an artist -- acting entrepreneurially -- would require, the framework contains explanatory power, both in minute detail and broad categories, regarding the totality of how an arts entrepreneur's system functions. A fourth theme in the document uses classical guitar training as an example, demonstrating that artistic training in general, and guitar in particular, requires the engagement of divergent thinking, which produces artists with the specific skills needed for significant entrepreneurial action.

- by Jonathan Gangi
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- Entrepreneurship, Cognitive Science, Classical Guitar, Divergent Thinking

In this paper, we investigate the ongoing, self-motivated activity called freelancing or self-employment, and explore ideas about the entrepreneurial competencies needed to conduct a sustainable work life in the arts. We present the findings of a comparative concept analysis of three concept clusters concerning working in the arts and creative sector: Portfolio of jobs, Portfolio of hybrid practices, and the Portfolio/Protean career. We relate these concept clusters to ideas about arts entrepreneurship and professionalism in the arts in order to investigate our research questions: How do cultural workers/artists in today's social context create economically and creatively sustainable careers? What can we learn from their experiences about broader questions of the cultural value of art, the ongoing trend toward professionalization, and the changing roles of the worker and the entrepreneur in 21st-century economic life? To begin to answer these questions, we undertake a conceptual literature review and use conceptual mapping as a primary tool. We draw on a critical analysis of research, practice, and policy, as well as numerous discussions and interviews with creative professionals and the authors' own experiences with educating students who aim to become cultural workers in the creative sector. Based on our findings, we developed the Integrated Model for Self-Structuring Portfolio Professions. This model demonstrates how incomes and work practices tend to be clustered into portfolios that are self-structured by individual creative workers, acting as the entrepreneurs in their own career management and sustainability.

- by Margaret Wyszomirski and +1
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- Cultural Policy, Arts Entrepreneurship

The purpose of this study is to examine the perceptions and attitudes of pupils (N=263), studying at Music & Art Schools in upper secondary education in Greece, about the role of schools and their communities in promoting of Creative Entrepreneurship. Specifically, a model is tested to identify the impact of some "intraschool", "out of school" and "personal" factors on young potential artists' Creative Entrepreneurial Intention towards the Creative Industries. An empirical research was carried out. Data gathered from an administered questionnaire. The results of the Hierarchical Regression Analysis broadly confirm the model. Pupils, who are educated in the arts, seem to incline towards the Creative Entrepreneurship. The Entrepreneurial Education that they occasionally receive at their schools and their Prior Entrepreneurial Experience seem to have a positive effect on their Creative Entrepreneurial Intentions. Our results strongly highlight the necessity for the integration and promotion of Entrepreneurial Education in their schools, oriented towards the Creative Industries.

A topic not often addressed in entrepreneurship literature is the broader similarities and differences between arts and non-arts entrepreneurs and the implications these analogous distinctions have in the classroom. This article is an initial exploration of the topic and outlines a minimal, broad-based hierarchy of the artistic process. Further, we attempt to identify the fundamental similarities of the two entrepreneurs and suggest they both engage not only in an analogous process, they are somewhat distinct in the
“meta” materials used. Through comparison, we posit that the “meta” process used by artists is also used by non-arts entrepreneurs. By drawing attention to these analogies, educators will likely discover components applicable to traditional entrepreneurship courses; the inverse is already occurring within the medium of creative and arts entrepreneurship.

The continued creation of new arts entrepreneurship programs at the university level highlights the need for consensus among arts entrepreneurship researchers and educators about what we are teaching and researching. This article explores the possibility of consensus among business entrepreneurship scholars and arts entrepreneurship scholars, and suggests that a general conception of entrepreneurship is a unifying principle and foundational building block. A theory of entrepreneurship, effectuation, is presented as another building block for arts entrepreneurship research and education, resulting in potentially profound implications. Finally, a proposed unified vision for the field of arts entrepreneurship education is presented, formulated from existing arts entrepreneurship scholarship. There is a steady increase in the development and implementation of higher education arts and design programs focused on arts entrepreneurship education (Korzen, 2015). The addition of these new programs is an encouraging sign for the field, and demonstrates that decision makers now generally view entrepreneurship training as an important component of arts training. This growth, however, accentuates the need for those of us who research and teach arts entrepreneurship to find consensus about what we are referring to and what is most helpful for our students. Can arts entrepreneurship faculty truly be effective as pedagogues if, as researchers, no agreement exists regarding what arts entrepreneurship " is " in terms of definitions and theories to inform teaching, and the emergent field of arts entrepreneurship education struggles to articulate a unified vision? To address these concerns, I have two goals in writing this article. The first goal is to demonstrate that at least some business entrepreneurship scholars and some arts entrepreneurship scholars are, in my opinion, actually in agreement at a foundational level. The second goal is to present the work of one business entrepreneurship scholar and make a case for why this work is incredibly important to arts entrepreneurship researchers and pedagogues. I present my contextual frame of arts entrepreneurship, examine currently existing concepts from business entrepreneurship and arts entrepreneurship literature, and add to the discourse by showing how these concepts fit together to form a robust foundation. Framing Arts Entrepreneurship The reason I teach arts entrepreneurship and generate research on this topic is to help artists, and non-artists who desire to work in the arts, to create their own opportunities and ventures that result in sustainable careers. I believe entrepreneurial action is valuable to artists if it empowers them to remain artists and generate an income capable of supporting their desired lifestyle. Entrepreneurial action is valuable to non-artists who desire to work in the arts if it empowers them to generate an income capable of supporting their desired lifestyle by starting a business with an arts-related product or service. In particular, my focus is on university students at the undergraduate and graduate levels.

- by Kong Ho and +1
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- Arts Entrepreneurship

While many professional arts training programs prepare students to excel at the practice and performance of the arts, evidence suggests that many professional arts training programs may be failing to prepare students to be professional artists. A total of 11.1% of all recent college graduates with undergraduate arts degrees are unemployed (Carnevale, Cheah, & Strohl, 2012, p. 7). Fifty-two percent of arts undergraduate alumni reported being dissatisfied with their institution’s ability to advise them about further career or education opportunities (SNAAP, 2012, p. 14). Eighty-one percent of all arts undergraduate alumni reported having a primary job outside of the arts for reasons of job security (SNAAP, 2012, p. 19). Many arts higher education administrators address the situation by advising arts students to attend business and entrepreneurship courses. However, these courses are often taught or presented outside of an arts training context. Arts entrepreneurship education can serve as contextual business/career/technology education for arts students; however, barriers make it difficult for administrators to create adequate curricular room for arts entrepreneurship education. Furthermore, the teaching and learning of contextual business/career/technology education in professional arts training programs may often be thought of as helpful but not essential, as evidenced by the National Office of Arts Accreditation (NOAA) classification of these types of courses as general education units. This essay supports the need for arts entrepreneurship education, and discusses key barriers to recognizing arts entrepreneurship education as essential to professional arts training.

- by Jason C . White
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- Performing Arts, Higher Education, Visual Arts, Fine Arts

This chapter looks at arts entrepreneurship from a narrative perspective: areas of contact where the arts entrepreneur interacts with the sociopolitical context are viewed
as opportunities for conversation, or fields of discussion. The chapter examines characteristics of present discourses in which arts entrepreneurs are involved, and elaborates on how they could increase their visibility and more effectively shape
these discourses.

- by Johan Kolsteeg
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- Arts Management, Arts Policy, Narrativity, Arts Entrepreneurship

An outline I once created for a PhD Program in Arts Administration.

- by Bruce M Mackh, PhD
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- Design education, Arts Education, Arts Administration, Arts Management
- by Özge Gökbulut Özdemir
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- Business, Marketing, Social Entrepreneurship, Creative Industries

The purpose of this study is to lay a foundation for comparative analysis of arts entrepreneurs' demographics and shared characteristics in a given U.S. arts sector. Guided by a conceptual framework for the U.S. arts sector, I utilized a cross sectional survey design to generate data for analysis. In this article, I reflect on the research process, interpret findings, and utilize new understandings as a catalyst for guiding and informing directions for the emerging arts entrepreneurship research field.

Digital technologies offer new possibilities to entrepreneurs in cultural industries in linguistic minority societies. Paradoxically, they also pose a threat by exacerbating the precariousness and uncertainty experienced by them. However, there is a lack of literature on the ways in which these entrepreneurs adapt to the paradoxes brought about by digital technologies. This study aims to address this gap in the literature through an analysis of 50 semi-structured interviews carried out in the music recording industry in Canadian francophone societies and in Catalonia (Spain). Using an abductive approach, we suggest that the attitudes and practices implemented by music entrepreneurs in these societies can be interpreted according to the four principles of the effectuation theory (Sarasvathy, 2001): 1) by predetermining affordable losses; 2) by harnessing contingencies rather than avoiding them; 3) by relying on strategic alliances rather than competition; and 4) by drawing on the means rather than the ends, these entrepreneurs are able to take advantage of the possibilities offered by digital technologies while mitigating the threats. Thus, our research contributes to the literature on cultural entrepreneurship by highlighting these practices and attitudes using the effectuation theory.

Purpose-This paper seeks to report on the current state of arts entrepreneurship education at higher educational institutions (HEIs) in the UK and Germany. It is based on findings from questionnaire surveys among 210 lecturers in Fine Art at a total of 89 HEIs in the UK and Germany. Design/methodology/approach-This paper explores issues related to fine art curriculum in higher education in the UK and Germany via surveys by questionnaires among 210 fine art lecturers with focus on arts entrepreneurship. Findings-The study shows evidence that an arts entrepreneurship education, although considered by lecturers to be important and necessary for the professional and entrepreneurial preparation of fine art graduates, is definitely not implemented at HEIs, neither in the UK nor in Germany. Practical implications-The findings stimulate the discussion in the field of arts entrepreneurship and the redesigning of fine art curriculum to prepare fine art graduates for their entrepreneurial and professional career. Originality/value-There is still a marked paucity of research that focuses on arts entrepreneurship education. This study contributes to knowledge by presenting specific findings related to fine art curriculum. Citation: Thom, M. (2017) Arts Entrepreneurship Education in the UK and Germany: An empirical survey among lecturers in Fine Art. Education + Training, 59 (4), pp. 1-22.

- by Dr Marco Thom
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- Arts Entrepreneurship, Arts Entrepreneurship Education
- by Kong Ho
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- Arts Entrepreneurship

INTRODUCTION: The ECAS (Entrepreneurial Cultural Affinity Spaces) framework seeks to transform social design theory and practice, through an emergent instructional paradigm of heritage-led, local learning ecosystem approaches, to leverage on diverse assets of people in community settings. OBJECTIVES: This paper addresses the theoretical backdrop of how such ecosystems can be co-designed, implemented, and evaluated, to include disadvantaged and underrepresented groups. METHODS: We seek to introduce the ECAS framework and how it can present an inclusive and open instructional paradigm that improves design for social change, innovation, and entrepreneurship in practice. RESULTS: In this paper, we address implementation through an Erasmus Plus, Adult Education research project, discussing the framework, conditions, and support mechanisms developed. CONCLUSION: Reconfiguration of design for social change and our collective mind-set, will create the conditions for more dynamic and powerfu...

- by Sunday Okafor
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- Entrepreneurship, Business Innovation, Arts Entrepreneurship

- by Stefania Savva and +2
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- Design for Social Innovation, Multiliteracies, Cultural Entrepreneurship, Social Design

Due to its focus on business topics such as entrepreneurship and management, arts entrepreneurship education has often focused on economic motivations and market-driven rationales (Beckman, 2007; Manjon and Guo, 2015). The same often holds true for the community development field (Phillips, 2003). This article examines an interdisciplinary collaboration between courses in two disparate units of a university: music and community development. Creative placemaking activities are presented as pedagogical tools for connecting arts entrepreneurship and community development goals. At the heart of the experiences described was a desire to extend beyond the dominant paradigm of both arts entrepreneurship and community development in relation to economic development of the individual and collective. In so doing, it is suggested that these projects represent a soulful approach to learning and community building (Westoby, 2016; Westoby and Dowling, 2009) via creative placemaking.

- by Roger Mantie and +1
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- Arts Entrepreneurship

The study's aim is to show whether and to what extent services of entrepreneurial value will be provided by arts incubators to nurture fine artists to meet market requirements to make a living in the arts. In order to achieve this aim, the study is previously focused on the clarification of the question to what extent fine artists will be educated in their studies at higher educational institutions on how to become successfully self-employed. The answer to this question is needed to outline the current mismatch between vocational education of fine artists and actual market requirements. A comprehensive and comparative analysis of Fine Art degree programmes and extra-curricular training offerings at higher educational institutions and arts incubation programmes in the UK and Germany was carried out. By using various key performance indicators this study shows evidence that fine artists will not be educated to successfully meet market requirements and that professional arts incuba...

Purpose – The study seeks to extend the comprehension in entrepreneurial marketing (EM) and social value creation through searching the entrepreneurship process in the socially valued art industry. Design/methodology/approach – The study is based on a qualitative method: multiple case study. In total, six art-related innovative enterprises are chosen in different categories (art school, museum, art fair, art gallery, art media) in the art industry. Common properties of the cases are; creating social value in different scopes; and being pioneer and changing the rules in their fields as the entrepreneurial marketers. Findings – The result of the case study is based on the comprehensive model of entrepreneurship process and the findings are introduced in sub titles: antecedents of the entrepreneurship process; antecedents of non-profit and for-profit enterprises; ambidextrous entrepreneurship process; and ambidextrous dimensions of social value creation. Research limitations/implications – The study provides a new insight on social value creation and EM literature. Social implications – The art industry is closely related with social value creation and the study is valuable for filling the gaps between art and the entrepreneurship in this context. Originality/value – The study is valuable since it focuses on opportunity-related phases of entrepreneurship and introduces a holistic and process-based model in the context of cognitive and institutional environmental factors. The Ambidextrous Model of Entrepreneurship and Social Value Creation is valuable in order to inspire future researches, especially in EM.

- by Özge Gökbulut Özdemir
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- Entrepreneurship, Marketing, Turkey, Arts and Heritage Marketing