Strategies, management and entrepreneurship in the arts, culture and entertainment industries Research Papers (original) (raw)

In this assignment, you will demonstrate how to best understand and evaluate the critical features of your external environment.

This thesis explores the challenges and opportunities of cultural entrepreneurship, exploring current conceptualisations of cultural entrepreneurs and to find new perspectives and recommendations for cultural entrepreneurs of the future. Cultural entrepreneurship is a contested, yet essential aspect of the growth of artists and arts organisations globally. Though there are similarities, this research demonstrates that cultural entrepreneurs from different backgrounds, industries and of varied sizes need different things and have different barriers so cannot be understood in the same way. Digital technologies and local networks do offer new possibilities for innovation however these are limited in scope and require further investigation and investment. Despite psychological, political and financial barriers to entrepreneurship in the creative industries, finding a balance between artistic, social, economic and institutional innovation for the various actors throughout the arts offers key insights to how artists and arts organisations can be more entrepreneurial.

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

MERGING IS SEX OBVIOUSLY, NORMAL MERGING IS KNOWING THE PAST, PRESENT AND FUTURE OF BOTH BEINGS, NO YOU OR I = ONENESS, THE TWO ANUs MERGE – IF ONE IS AN ATTACK, THEN THE ORIGINAL ANU BECOMES SMALLER, DUMBER AND WEAKER, WHICH IS WHAT IS... more

- by MIKE EMERY
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- Critical Theory, Sex and Gender, Sexual Dysfunction, Sexual Abuse
- by James D . Hart
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- Devised Theatre, Physical Theatre, Asian Theatre, Arts Entrepreneurship

 Primarily, Auckland`s Zoo marketing strategy should focus on experiential activities of its audiences, such as educational events and seminars, as well as, scientific research from students in related fields. In particular, all the above-mentioned activities should be offered in more competitive prices, so as to achieve a better audiences engagement.

Development seen from a more holistic perspective looks beyond the expansion of material means and considers the enrichment of people's lives. The arts are an indispensable asset in taking a comprehensive approach toward the improvement of lives. Incorporating aspects of international trade, education, sustainability, gender, mental health and social inclusion, The Creative Wealth of Nations demonstrates the diverse impact of applying the arts in development to promote meaningful economic and social progress. Patrick Kabanda explores a counterintuitive and largely invisible creative economy: whilst many artists struggle to make ends meet, the arts can also be a promising engine for economic growth. If nations can fully engage their creative wealth manifested in the arts, they are likely to reap major monetary and nonmonetary benefits from their cultural sector. Drawing from his own experience of the support music provided growing up amidst political and economic turmoil in Uganda, Kabanda shows us the benefits of an arts-inclusive approach to development in Africa, and beyond.

Report from 1991 on the position of Dutch pop- and rockmusic on the domestic and foreign market based on marketstatistics, airplay data and a survey among Dutch bands and artists. The projcet was commissioned by the Dutch ministery of... more

- by Paul Rutten
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- Popular Music, Music Industry, Entertainment, Media and Entertainment

In recent years, culture and cultural heritage have been more and more clearly visible in the market in terms of products (including for example the design inspired by folk art motifs) and services (as evidenced by cultural tourism) to be bought or sold. Cultural heritage has ceased to be of interest only to museum curators and cultural anthropologists (whose work the very concept of cultural heritage stems from) and has also become an important area of concern for local communities, which are increasingly aware of its role in shaping their cultural identity, for entrepreneurs, who see it as an opportunity to develop their businesses and profits, and for politicians, who more often perceive it as a development resource essential for regional strategic management. Although quite intensively discussed in literature, this broad concept is still not really clear. The following paper is an attempt to take a closer look at the multi-dimensional nature of cultural heritage and at how cultural heritage should be governed, but also at the variety of expectations different stakeholders have about cultural heritage and how they can be reconciled.

Entertainment is often undervalued but its links with show biz, advertising, politics and consummation cultures are by now very strong. In media, advertising, tourism, cruises, food and beverages, gambling, fitness, theme parks, malls we... more

- by Enrico Menduni
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- New Media, Digital Humanities, Digital Humanities, Digital Media
- by Bruce M Mackh, PhD
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- Art History, Performing Arts, Humanities, Educational Leadership

The co-editors of Artivate, Gary Beckman and Linda Essig, have shared an interest in advancing arts entrepreneurship as a field of study since Beckman first interviewed Essig as part of his research toward what has become a foundational article (2007) in the field, ""Adventuring" arts entrepreneurship curricula in higher education: An examination of present efforts, obstacles, and best practices." The current article presents a dialogue between them in which they discuss the nature of the discipline and the challenges and opportunities presented by the launch of Artivate.

How to realize effective cooperations and spillovers (Schramme, 2014) between creative and non-creative firms has been a subject of political debate in the Netherlands for years. Several subsequent governmental programs have attempted to ignite the sequence of creativity, innovation and economic growth. The architecture of these programs has been criticized for their inaccessibility to creative partners and lack of real innovation effects. Explaining this in theoretical terms is the central objective of this contribution.

Entrepreneurial thinking is a new concept in the Serbian cultural and creative sector. Although the term entrepreneurship is often used in public discourse, it is usually related to female entrepreneurs and small social enterprises. This is a consequence of traditional perception, which holds that in order to work in culture, one must have a relevant educational background, while social or female entrepreneurship does not require formal education. The second reason is that the cultural field is not seen as economically valued. Therefore, when the term entrepreneurship is used in the context of artistic or cultural organizations, it usually does not have positive connotations. During the communist regime in Yugoslavia, entrepreneurship was associated with entertainment with the single goal of accruing revenue (Dragicevic Sesic and Stojkovic, Kultura, menadzment, animacija, marketing. Beograd, Clio, 2011). In the present day, it is linked with the tendency of the state to push cultural workers toward the market and commercial culture. Despite the lack of specific public policies (fiscal, labor) related to the creative sector, a creative class (Florida 2002) is arising, reflecting a post-transitional cultural model. This cultural model can be described as a hybrid of a neoliberal economy and a welfare state and is characterized by a traditional system of cultural institutions inherited from the previous state (Yugoslavia), non-existent market regulations, low budgets for culture and arts, almost non-existent inter-sectoral policy relations, (Compendium of cultural policies and trends in Europe, http://www. culturalpolicies.net/web/index.php) and a lack of specific education in the field of creative entrepreneurship. The focus of this research will be to define the main features, issues, challenges, and prospects for creative entrepreneurship in a metropolitan area by using a multiple case study methodology.

- by Kyle Edwards
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- Film Studies, Horror Film, Media Industries, Film Industries

Alle rechten voorbehouden. Niets van deze uitgave mag worden vermenigvuldigd, opgeslagen in een geautomatiseerd gegevensbestand, of openbaar gemaakt, in enige vorm of op enige wijze, hetzij elektronisch, mechanisch, door fotokopieën, opname of op enige andere manier, zonder vooraf schriftelijke toestemming van de uitgever: Hogeschool INHOLLAND. Voorzover het maken van kopieen uit deze uitgave is toegestaan op grond van artikel 16b en 17 Auteurswet 1912 dient men de daarvoor wettelijke vergoeding te voldoen aan de Stichting Reprorecht, Postbus 882, 1180 AW Amstelveen. Voor het overnemen van één of enkele gedeelte(n) uit deze uitgave in bloemlezing, readers of andere compilatiewerken dient men zich tot de uitgever te wenden. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, mechanical, photocopying, recording or otherwise, without prior permission of the publisher.

- by Paul Rutten
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- Social Psychology, Media Studies, New Media, Journalism

The article (in French) compares 18 leaders of artistic organizations to 36 business owners and finds surprising similarities between the two groups. The study uses qualitative analysis as a method of investigation.