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The political possibilities of art and fashion based social enterprise
Abstract
Social enterprise is a growing force in the Australian economy, with great potential for local job-creation and stimulating new entrepreneurship across the service, manufacturing and retail industries. However, the sector also has a ‘dark side’ – whereby its social welfare agendas are sidelined in favour of profit-driven motives, the outsourcing of government services and perpetuation of inequalities between those that manage and those that benefit from the enterprises. In this light, it is perhaps not surprising that social enterprise literature has emerged predominantly from the field of business management, resulting in an over-representation of perspectives that privilege the economic, and technocratic, aspects of social entrepreneurship. This is particularly problematic in the context of the arts, which often challenge, transform and exceed conventional understandings of social value. This paper explores the potential role of art- and fashion-based social enterprises in contributing to sustainable community development while also activating positions of critique and political engagement from inside the mechanisms of contemporary capitalism.
https://www.tandfonline.com/doi/full/10.1080/10304312.2016.1262103?scroll=top&needAccess=true
... Defined by Kerlin (2013, p. 85) as "the use of nongovernmental, market-based approaches to address social issues", social enterprises are hybrid organisations functioning across both the private and public sectors (Reavey and Guarise, 2020). The term fashion-based social enterprise (FSE) was first coined by McQuilten (2017) and refers to social enterprises that aid a social mission via the sale of fashion products on the free market. ...
... FSEs may adopt this approach because they aim to raise awareness of their social mission and/or to gain a competitive advantage in the fashion market by emphasising their altruistic values. Nevertheless, this approach has a flip side of potentially commercialising and commodifying the positions of disadvantage/marginality of the beneficiaries (McQuilten, 2017). While beyond the scope of this paper, the authors encourage further research into the potential commodification of disadvantage, whether inadvertent or not. ...
Purpose
This paper aims to understand how fashion-based social enterprises (FSEs) navigate the marketing communications of fashion products alongside those of their social mission. The authors use the theoretical lens of Consumer culture theory, Collin Campbell’s “Romantic ethic” and the work of Eva Illouz to explore how FSEs weave the emotional appeals of fashion consumption with those of contributing to a greater social cause. The melding of these theoretical approaches to consumer behaviour enables a thorough analysis of FSE marketing strategies.
Design/methodology/approach
Semi-structured in-depth interviews were conducted with 16 founders, marketing directors and managers of FSEs. Open-ended questions were used, and key themes were established through inductive analysis.
Findings
The findings show that FSEs use a form of brand storytelling in their marketing communications; they view their social mission as a unique selling point; FSEs could further incorporate product quality/aesthetic value into brand storytelling; and they could sharpen brand storytelling by further engaging with the positive emotional responses they elicit from consumers.
Originality/value
This research has both theoretical and practical implications in that FSEs that focus on explicit altruistic messaging at the expense of aesthetic hedonism may limit their appeal to mainstream fashion consumers. Accordingly, a promising approach may be to effectively incorporate and link the positive emotional responses of both altruistic and aesthetic value. This approach could similarly apply to other areas of social enterprise retail marketing, particularly for those seeking to attract consumers beyond ethical shoppers.
... For example, in Simplican study [35], they documented how in a care-based community, there's a sense of burden since caregiving is a form of work. However, interestingly, this community acknowledged that burden and, to make the burden visible, they use drawing. ...
... Over time, clothing has performed essential functions related to protecting and beautifying the human body (Treptow, 2013); nowadays, clothing has performed several other increasingly essential purposes, such as developing more inclusive relationships in userproduct interaction (Varnier et al., 2019). Through clothing, it is possible to express desires, feelings, values, identities, and issues related to diversity (Barnard, 2013;Tajuddin, 2018), thus becoming an essential tool for social inclusion (McQuilten, 2017;Busch, 2018). In addition to providing facilities for people with disabilities, inclusive fashion introduces a new concept of comfort to this sector, combined with beauty and style, attributes characteristic of fashion used by people without disabilities (Varnier et al., 2019). ...
... Social entrepreneurship is a mature field of research that has been thoroughly examined by scholars and literature provides enough evidence that the number of social entrepreneurship researchers and publications has been increasing over the last two decades (Hota et al., 2019;McQuilten, 2017;Short et al., 2009;Zahra et al., 2014). ...
The present study examines the evolving nature of social enterprise and identifies the most significant factors related to individuals and institutions. Organisations that pursue both profit and non-profit objectives, thus maintaining a mix of market- and mission-oriented practices and beliefs for addressing social and ecological issues, are known as “social enterprises.” The present study examines the methods of identifying, evaluating, and exploiting the principal factors related to social entrepreneurial opportunities. For this purpose, a qualitative research process applying the Delphi technique was conducted. A Delphi sample of 25 experts from Spain and Latin America was included. This study contributes to building a framework of reference for academics and practitioners regarding the key factors influencing the different stages of the social entrepreneurial process. The empirical results of the study offer a testimony of the most significant, both contextual and individual, factors in each stage of the social entrepreneurial process.
... Social entrepreneurship (hereafter, SEship) is defined as an "entrepreneurial activity with an embedded social purpose" (Austin et al. 2006). In recent decades, it has evolved as a significant research domain for firms and academics (Kannampuzha and Hockerts 2019;Kim 2022;Rey-Martí et al. 2016), and the number of studies and publications on this topic have steadily increased (Hota et al. 2020;McQuilten 2017;Short et al. 2009;Zahra et al. 2014). The growth in research covers topics such as the social impact of SEship (Nguyen et al. 2015), social innovation and SEship (Phillips et al. 2015), SEship business strategies and business models (George and Reed 2016;Roy and Karna 2015), comparisons with By addressing the above-stated research objectives, we mainly contribute to the development of women in SEship field in three ways. ...
A recent increase in research on social entrepreneurship (SEship) has been characterized by more focus on gender-based topics, especially women. To address the status of women in SEship, we conduct a rigorous systematic literature review of 1142 papers on SEship and 59 articles on the sub-domain of women. Based on the findings, the article presents several suggestions for future research: (i) reinterpretation of theoretical concepts, (ii) social integration and overcoming gender discrimination, (iii) expansion of sectors and regions, and (iv) operation strategy and performance factors. This study contributes to the development of SEship by providing an overview of women in SEship.
... A wide range of indicators confirm this expansion in entrepreneurial impact beyond the traditional for-profit world: the rate of new non-profit formation has outstripped that of traditional business formation (Austin et al. 2006a); non-profits contributed an estimated $1.1 trillion to the US economy in 2016, comprising 5.6 percent of the country's gross domestic product (Bureau of Economic Analysis 2020); best-selling books lists include numerous accounts of entrepreneurial successes in the social sector (Counts 2019;Harrison 2018;Patrick 2019;Sud et al. 2009). Alongside these broad phenomena, there has also been notable growth in the academic study of social entrepreneurship (Hota et al. 2019;McQuilten 2017;Zahra et al. 2014;Short et al. 2009). Indeed, there was a five-fold increase in academic publications on social enterprise between 2008-2018 (Gupta et al. 2020). ...
In this paper, we propose that unreflective use of the term social entrepreneurship may perpetuate the idea that “entrepreneurship” is largely a financial and private reality and that this view of entrepreneurship will eventually trivialize or perhaps undermine the important benefits and the real intentions behind the social entrepreneurship movement. We believe that Catholic Social Teaching can shed important light on this dilemma by emphasizing three specific strategies inherent to entrepreneurship when assessing the moral contribution of the firm. As a result, we argue for the principles of good goods, good work and good wealth as an alternative framework for all good entrepreneurial venture.
... The literature provides enough evidence that the number of SE researchers and publications has been increasing over the last two decades (Hota et al., 2019;Zahra, Newey, & Li, 2014;Short et al., 2009;McQuilten, 2017). A review of the extant literature on SE confirmed the existence of a variety of already-explored research themes. ...
Social Entrepreneurship (SE) is a popular area of research and practice. An analysis of the existing literature reviews on SE reveals a dearth of studies classifying the existing SE literature into multiple research themes and further presenting popular and less popular research themes. With the aim of bridging this gap, this study presents a systematic review of 188 peer reviewed SSCI journal articles published in last decade. It presents an overview of recent SE research, classifying it in five main themes while identifying the thrust areas of research in each. Based on identified research gaps, we provide future research directions, contexts and methodology.
... Focusing on examples of small-scale entrepreneurial practices outside the industrial wage-labour system, Gibson-Graham suggest that a globalized 'ethics of the local' is vital for thinking about 'new possibilities of community' that emerge as the nation 'loses its hold on us' (Gibson-Graham 2003, 49). In this issue, Grace McQuilten uses social enterprise case studies to examine intersections between experimental social agendas and equally experimental economic practices (McQuilten 2017). Women of South Sudanese backgrounds involved in art and fashion-based enterprises in Melbourne use culture in order to articulate their heritage and identity. ...
Critical tools are needed for navigating the concept of minority and its usefulness for the study of culture. This article reflects on the cultural and political purposes that are served when distinguishing between majorities and minorities, and the various historical and intellectual agendas that have shaped these social practices of classification. It begins by examining Deleuze and Guattari’s concept of ‘minor literature’ as an anti-sociological reworking of minor and minority, then turns its attention toward the policy-driven sociological traditions of the Chicago School, and how this has informed the contemporary construction of ‘minorities’ reflected in Australian immigration debates. As a third key paradigm in the study of the ‘minor’, the article revisits cultural studies’ own embrace of the Popular as a site for political struggles over the meanings attached to ‘major’ and ‘minor’ social identities. Finally, we consider the range of transformative cultural practices addressed in this Minor Culture special issue, and reflect on the utility of the minor in holding together disparate political projects. There are a range of ways in which the minor might productively imagine or construct collective identities, in ways that do not anticipate, or even desire, majoritarian endings. It is argued that minoritised social categories do substantive political and cultural work, while acknowledging that numerical descriptions of minorities can hide as much as they reveal.
This chapter retraces the evolution of socially engaged arts as part of a social practice in the arts that emerged in, and has evolved since, the middle of the twentieth century, as well as how this practice affects the initiation, establishment, and sustainability of social entrepreneurship. Artists are assuming new roles, not only as agents that unite the community to confront social issues that affect them, but also as inspirers, instigators, initiators, and participants of social entrepreneurship projects. Typically, these entrepreneurial endeavors are led by the communities participating in the arts projects. We show how socially engaged artists, when developing their activity, become agents that actively interact with the communities where they carry out their projects, and how such projects inspire communities to take charge of their own future. We furthermore demonstrate how the empowerment of communities from the socially engaged arts strengthens human connections and repairs societal fractures, thus fostering sustainability and behavioral change in business and society.
Arts and culture gained multiple presence in individual and social life, with economic presence gaining relevance. We focus on social enterprises (SE) in arts and culture standing between the economic-oriented focus on arts and culture, and its socio-political and cultural roles and embeddedness. SEs are characterized by the centrality of a social mission instead of profit and participatory governance. We asked what are SEs in arts and culture and how they are influenced and aim at influencing institutional contexts. We place the research in the context of the Portuguese cultural mix. Based on five in-depth case studies of organisations oriented to the promotion of arts and culture that have social and community interventions, organisations where arts and culture are the main tools for social intervention and social welfare organisations with arts and culture projects, we describe their trajectories and organisational social, economic and governance characteristics. We argue that there is a mix of institutional entrepreneurship, public policies (and their lack) and societal trends influencing SEs pathways towards hybridisation.
This chapter explores the context in which art-based social enterprises (ASEs) are engaging young creatives in education and training and supporting their pathways to the creative industries. In doing so, it also sets the terms for how this book aims to address the complex intersecting issues of marginality and entrepreneurship, particularly in relation to young creatives from socially, economically and culturally diverse backgrounds. This chapter examines several key issues, including (1) the social turn in contemporary art, in which artistic practices are engaged with the lives of people and communities and with a spirit of collectivism aimed at addressing a range of issues from social exclusion to climate change; (2) rapid growth in social enterprise models across a range of sectors, including the creative industries that has been spurred, in part, by increasing economic pragmatism in the state funding and delivery of welfare, cultural and community services; and (3) significant fourth industrial revolution disruptions and transformations in the nature of work, a shift that has disproportionately affected young people globally in terms of their access to employment and education opportunities.KeywordsArtSocial enterpriseForces of marginalisationCreative industriesYoung creativesEmploymentEducation and training
For fashion-focused art-based social enterprises (ASEs), the notion of ‘pragmatic ambitions’ encapsulates their attempts to navigate the complexity of the global fashion market while prioritising social and ethical goals. This necessary pragmatism is explored in this chapter through the lens of our case study, The Social Studio (TSS): a social enterprise based in Australia that uses the vehicle of fashion to support educational and employment pathways for young creatives who have experienced migration and displacement. This chapter considers the tensions between commercial aspirations, as embedded in much ASE logic, and the realities of operating in ways that are counter to dominant business and cultural norms. Taking a deeper dive into the lived experience of students and staff at TSS, this chapter explores the ambivalent combination of ambition, hope and adaptability that characterises both the day-to-day running of the enterprise and the way that students engage with it in order to envisage their future. For the staff and emerging creatives involved at TSS, there are a number of recurring questions. For management, how does such an organisation constantly forge an enterprise that privileges social impact above all; how is success to be measured against conventional commercial and training benchmarks? For students—who have variously experienced significant trauma, institutional barriers, language barriers and financial stress—what is a realistic hope for a future career in textile design and manufacture; is it the dream of opening a fashion label, or the more realistic step of finding some level of paid work in an aligned industry?KeywordsThe social studioFashionArtSocial enterpriseCraftTextilesMaterial practiceEmploymentEducation and trainingMigrationRefugee experience
Creative material practice, in both differing and similar ways to technological and digital creative processes, has the ability to engage young people who face barriers to mainstream education but who may lack digital literacy skills. This chapter will thus look at art-based social enterprises that engage with textiles and fashion with the specific aim of addressing barriers to employment for young creatives affected by the impacts of migration and displacement. How are craft and textile forms leveraged for learning models that engage young people who have had disengaged prior experiences of education or lacked prior schooling due to the dislocating effects of the migration experience? In the specific context of migration and displacement, material practice draws on cultural traditions and existing creative skills. These skills and aesthetic forms can be deliberately re-oriented to new marketplaces through contemporary fashion, craft and textile design, which in turn support young people to position themselves as creative actors in contemporary global culture/s. This potential is evident in examples of fashion and craft-based social enterprise across both developing and developed economies, and aligns with UNESCO’s advocacy for creative practice that builds on and sustains cultural practice. Yet with the realities of limited funding and the precarious market for fashion retail globally, how ambitious can fashion and craft based ASEs be in imagining their development and growth in terms of the scope and impact of the training programs they offer?
Artists, fashion and foundations can connect in different ways. Operating and independent foundations tell biographies and legacies of artists. During their life and as for their legacy, artists can influence styles, frames, fashion being one constitutive way of life. Fashion corporations and foundations can be inspired by artists and artists can be supported by them. The aim of this article is to estimate how much accounting data of American artist-endowed foundations give evidence of their connections through art-keting with multiple stakeholders in order to support creativity, above all, fashion. Art-keting includes several and complex phenomena, from co-marketing to contaminations and hybridizations. It encompasses both relationship marketing and social media communication. The methodology includes the analysis of economic performance as for data in 990 Forms and a multiple regression analysis of 2016’s accounting main lines of a sample of the biggest US artists-endowed foundations. If artist-endowed foundations connect with fashion thanks to multiple projects, their assets grow thanks to art-keting.
This article is an analysis of critical fashion practices in Israel/Palestine based on interviews conducted with two design teams: Israeli-Palestinian brand ADISH and Palestinian brand tRASHY. These two brands share a commitment to fashion design and fashion image-making as tools of community building: a project that goes hand in hand with a rethinking of systems of production and labor. The aesthetic and political dimension of their practices, however, are inevitably marked by the different experiences and positionalities (as Israelis or Palestinians) of their respective founders. I situate their creative practices in the wake of the post-Oslo Accords and suggest that such practices should be understood as part of a broader creative solidarity movement that contests nationalism, oppression, and separation. The affective labor involved in the development of community-building design projects, the cooperative creative process, and the generation of capital used to support local female workers as well as refugee and/or LGBTQ populations in Palestine are the constituents of a larger grassroots mobilization aimed at fostering change. This article contributes to ongoing scholarly work on art practices of world-making and explores how fashion could provide a stage for rethinking both the aesthetic and the political in a contested sociopolitical landscape.
This article addresses the fashion movement referred to as 'clothing upcycling' and the observations of textile practitioners and designers in Otago, New Zealand utilising these methods to further understand the upcycling movement and how these local actions connect to the global upcycling movement. This article is informed by a more substantive sociology masters project which interviewed local designers about what they were upcycling and why they were using this approach in their design. This research centres on a group working in a somewhat obscure and isolated region of the world yet because fashion is a globally connected industry, all designers, textile practitioners, and textile workers working conditions, production and sales are constrained by the current state of global economics and the global fashion industry even if the local environment and responses of various communities to these factors is distinctive. This makes clothing upcycling in Otago, an interesting comparison to the industry forces and fashion initiatives other writers and critics are witnessing in their local fashion scene. The term 'clothing upcycling' is chosen for its current relevance within fashion theory especially theories discussing the human and environmental ethics of both fashion production, fashion consumption and textile and clothing disposal and recycling. She is a Dutch Pākehā born in Dunedin spending her childhood on a native tree farm in Portobello, Dunedin. Kirsten holds an MFA in Textiles, an MA in sociology and anthropology, a graduate diploma in indigenous development and a postgraduate diploma in anthropology. Kirsten's interests include the intersection between cloth-ing/culture and identity politics. She is particularly interested in the potential adornment offers to reflect on and express the multiple aspects of our overlapping identities. She is also interested in the material reality of art and culture construction and examining the creative yet underfunded and often underexposed realities of local creative practitioners.
This article examines the relations of creativity, enterprise, and activism that define Aranya, a luxury fashion brand based in Dhaka, Bangladesh. It argues that these relations disrupt existing theorizations of the local and global in fashion scholarship, and help to undo the knowledge practices which position the global North as fashion’s centre. The brand is instructive for understandings of ethical and sustainable fashion because it reveals the interdependencies and productive engagements between diverse people and places that underpin sustainable fashion-making. These practices are described as ‘more than local’ because they embed mobile, intercultural relations of scale and reciprocity. It is argued that maintaining these relationships across scales is a form of labour that can generate intercultural knowledge and is integral to a model of entrepreneurship that can encompass generosity and solidarity.
In the wake of multiple global crises, fears of terrorism, rising nationalistic sentiments globally and the pervasive impacts of gender-based violence in public spaces, contemporary urban cities are permeated with surveillance, anxiety, fear and division. In this context, what role can (and should) public art be playing? This article explores this question in the context of Melbourne, a major metropolitan centre in Australia, which has been ruptured by the multiplying effects of highly publicized episodes of street violence, isolated terrorist attacks, high-profile murders and politically driven narratives about youth gangs. Looking at the work of female artists Maryann Talia Pau, Amy Spiers and Catherine Ryan, and artists from African Australian communities including Ez Deng, Atong Atem and Asia Hassan, the article addresses questions about agency and marginalization for artists working in public space, and considers how marginalized community groups may face barriers to creating artworks that engage directly in mainstream public spaces.
This article examines the relationship between traditional and creative research methods through the case study of The Social Studio (TSS), an art-based social enterprise in Melbourne, Australia. TSS aims to address systemic barriers to employment and education for people from refugee and migrant backgrounds through training and work experience in fashion and textiles. Specifically, the article reflects on the embodied, co-making learning space and model of TSS which addresses some of the barriers faced by migrant and refugee students in accessing formal education. Our research brings together traditional research methods, such as interviews and observation, as well as a creative workshop where both research subjects and researchers were taught a weaving activity. The article reflects critically on the limitations of traditional research methods, the challenges of researching in creative community contexts and also the need to document and analyse how material and embodied experiences impact on social and community development.
Several North American Sikh millennials are creating online values-based fashion enterprises that seek to encourage creative expression, self-determined representation, gender equality, and ethical purchasing, while steeped in the free market economy. Exploring the innovative ways young Sikhs of the diaspora express their values and moral positions in the socio-economic sphere, one finds many fashionistas, artists, and activists who are committed to making Sikh dress accessible and acceptable in the fashion industry. Referred to as “Sikh chic”, the five outwards signs of the Khalsa Sikh—the “5 ks”—are frequently used as central motifs for these businesses (Reddy 2016). At the same time, many young Sikh fashion entrepreneurs are designing these items referencing contemporary style and social trends, from zero-waste bamboo kangas to hipster stylized turbans. Young Sikh women are challenging mainstream representations of a masculine Sikh identity by creating designs dedicated to celebrating Khalsa Sikh females. Drawing on data collected through digital and in-person ethnographic research including one-on-one interviews, participant observation, and social media, as well as fashion magazines and newsprint, I explore the complexities of this phenomenon as demonstrated by two Canadian-based Sikh fashion brands, Kundan Paaras and TrendySingh, and one Canadian-based Sikh female artist, Jasmin Kaur.
Purpose
The aim of this paper is to develop understanding of how open-access (OA) studios as creative social enterprises (CSEs) can negotiate coexisting creative, social and economic missions, and manage the motivations of stakeholders. In particular, it explores how this affects management practices and ways in which diverse social actors engage with the organisation and each other. This paper expands on the existing literature on social enterprises in relation to multiple value and stakeholder management and also contributes to the makerspace and wider creative industries literature.
Design/methodology/approach
This paper uses a qualitative, single-case case study of an OA studio established as a social enterprise based on analysis of secondary texts, interviews and observation.
Findings
It is identified that a multifaceted value system creates both challenges and opportunities in relation to communal resource management and community development. Tensions between the creative and economic priorities of members and both the economic imperatives of the organisation and its social mission are also highlighted. It is suggested that despite these challenges, the OA model presents an opportunity to develop more collective forms of creative practice and support a reframing of the creative economy.
Research limitations/implications
As a single case study in the geographical context of the United Kingdom, limited generalisations on OA management in other countries can be made without further investigation.
Practical implications
There are practical implications for OA and other CSE founders in relation to resource and membership management and facilitating inclusive access. There are creative industries policy implications in the encouragement of more sustainable collaborative approaches.
Originality/value
This paper contributes to the literature on social entrepreneurship, makerspaces and the creative industries by developing the understanding of OA studios and CSE management and the internal dynamics that influence organisational and social outcomes.
In Australia, migrant youth have become a site of significant political contestation in debates about multiculturalism. This chapter is concerned with the provisional and material practices of belonging that take place among migrant youth against the backdrop of disciplinary policy agendas which position them as problematic and risky subjects. It argues that policies and categorisations forged on the basis of ‘nationality’ and ‘country of birth’ cannot adequately capture the complex and highly dynamic nature of youth affiliations and patterns of belonging. Drawing on data from the first census of Australia’s migrant youth, the Multicultural Youth Australia Census 2017, this chapter affirms the need for broadening official definitions of cultural and ethnic identification. The data reveals that migrant youth are optimistic and engaged, despite experiencing high levels of discrimination, and highlights the ways in which they practice ‘belonging-in-difference’ through cross-cultural dispositions that enable them to navigate diversity in cultures, norms and values.
The paper investigates how Czech social economy has currently been performing. In the text, the authors mainly focus on an analysis of various financial indicators of social enterprises in the Czech Republic as well as on different relations between these indicators. The performed analysis comprises descriptive statistics, correlation matrix using Pearson correlation with a two-tailed test of significance for dependent and independent variables, and multiple regressions for significantly dependent variables. The main outcome of the research reveals that a high variance is present between the given SEs in productivity and debt-to-equity ratio.
Work on social entrepreneurship constitutes a field of study that intersects a number of domains, including entrepreneurial studies, social innovation, and nonprofit management. Scholars are beginning to contribute to the development of this new discipline through efforts that attempt to trace the emergence of social entrepreneurship as well as by comparing it to other organizational activities such as conventional entrepreneurship. However, as a nascent field, social entrepreneurship scholars are in the midst of a number of debates involving definitional and conceptual clarity, boundaries of the field, and a struggle to arrive at a set of relevant and meaningful research questions. This paper examines the promise of social entrepreneurship as a domain of inquiry and suggests a number of research areas and research questions for future study.
In this article, the author applies complex systems theory (CST) to help understand why, after 14 years of management scholar advocacy for a paradigmatic shift in management behavior, the field of management has been unable to move away from a technocentric paradigm. Using four principles of complex adaptive systems (CAS), the author shows that focusing exclusively on business behavior limits our attention to symptoms rather than the broader system of interacting agents whose collective behaviors legitimize and support an economic paradigm. By drawing on complexity and critical systems theory, the author then develops a three-phased process model that provides a preliminary conceptualization of what it might take to shift the business paradigm. The success of this shift is dependent on a consequential shift at the societal level, the interaction of which speaks to the implications for business as a recipient of this broader shift and, more important, its role as an agent in the process of creating new opportunities that sustain the life-supporting environmental and social systems. Through this model, the author presents important implications for policy makers and management theory.
Purpose
Twelve years ago, the concept of social enterprise was rarely discussed in Europe, however it is now making significant breakthroughs in European Union (EU) countries. Within this context, the purpose of this paper is to synthesize major evolutions experienced by social enterprises across Europe and the key challenges they are facing; and specific members of the EMES European Research Network provide a more in‐depth update as to current trends and debates in their respective countries
Design/methodology/approach
This paper is based on a comparative analysis of the different institutions (legal frameworks, public policies, supporting structures, public procurement policies …) which support the development of social enterprises in the different EU countries. To delimit the field, the paper relies on the “ideal‐type” social enterprise as defined by the EMES network: “Social enterprises are not‐for‐profit private organizations providing goods or services directly related to their explicit aim to benefit the community. They rely on a collective dynamics involving various types of stakeholders in their governing bodies, they place a high value on their autonomy and they bear economic risks linked to their activity”.
Findings
It was found that although the concept of social enterprise itself has not gained the same recognition in all EU countries (and is even still poorly understood in several of them), the reality is that growth and social enterprise are being experienced in most EU countries.
Originality/value
If the concept of social enterprise is on the public agenda of several EU countries, the understanding as well as the institutions to support their development vary from one country to the other. This paper provides a comparative analysis of this heterogeneous but rich landscape.
This article compares the emerging concept, practice, and context of social enterprise across seven regions and countries of the world. Broadly defined as the use of market-based approaches to address social issues, social enterprise provides a "business" source of revenue for civil society organizations. However, within these broad parameters, world regions have come to identify different concepts and contexts with the social enterprise movement in their areas. Largely lacking in the social enterprise literature are explanations of what these regional differences are, and whether and how socioeconomic context may play a role in these variations. Drawing on social origins theory, recent social enterprise comparative research, and socioeconomic data, this article examines the different factors shaping social enterprise in seven regions and countries. It finds that variations in socioeconomic contexts appear to account for international differences in social enterprise. These findings have practical implications for the development and transfer of social enterprise internationally.
Social enterprise and social entrepreneurship are topics of growing interest among academics and practitioners. This paper discusses the background and current configuration of discussions on these subjects. Issues related to social enterprise have been debated for some time, but questions remain about the impact of earned income on nonprofit organizations and corresponding sectors. Considerations of social entrepreneurship are relatively more recent. Topics of interest include appropriate definitions, the degree to which entrepreneurship may differ between nonprofits and for-profits, and the potential of social entrepreneurship to address significant social problems.
In the early 1900s, and in spite of the principles of the White Australia policy, Australia was forced to treat Māori crossing the Tasman in largely the same way as Pākehā New Zealanders. This served, first, to encourage New Zealand to federate and, second, to maintain healthy trans-Tasman diplomatic relations. However, extending uninhibited rights of entry to Pacific Island (and Asian) New Zealanders long remained a bridge too far for Australia. This was a cause of increasing tension with New Zealand, which had embraced closer ties with the Pacific and had, from the 1960s, allowed the immigration of thousands of Pacific Islanders. As late as 1971, the Australian cabinet agreed that Pacific Islanders were too ‘unsophisticated’ and ‘unsuited’ to settle freely in Australia. The election of the Whitlam government in 1972, though, led to the abandonment of this and other final vestiges of the White Australia policy. However, in the four decades since, Australia has progressively curtailed the rights of New Zealand migrants entering the country. There is good cause to believe that Australian dissatisfaction with New Zealand’s more liberal rules of entry for Pacific Island migrants is one of the reasons behind this.
"In this take-no-prisoners analysis, [the author] frames the moral failures of the modern world in terms of the epoch-making events of the first decade of this century. What he finds is the old one-two punch of history: the jab of tragedy, the righthook of farce. In the attacks of 9/11 and the global credit crunch, liberalism died twice: as a political doctrine and as an economic theory"--P. [4] of cover
While multiculturalism has been central to the Australian political and social landscape since the 1970s, it has been recently challenged, with the (re)emergence of discourses of ‘social cohesion’ and ‘integration’. In this paper, we engage with these contests by focusing on newspaper coverage of Sudanese Australians around the time of the 2007 Federal Election. We ask: how did the Australian print media represent Sudanese people during this period? In addition, what do such representations suggest about contemporary media discourses around multiculturalism? Drawing on a content analysis of 203 newspaper articles published in The Age, The Herald Sun and The Australian, we argue that dominant media discourses are both influenced by and contribute to integrationist agendas that situate Sudanese Australians as outsiders to the Australian mainstream, thereby providing a significant challenge to contemporary multiculturalism.
Australia's relations with its neighbours in the South Pacific challenge theories of international relations and foreign policy analysis. Most existing analysis eschews an explicitly theoretical approach in favour of empirical description and ‘common sense’ explanations. Yet repeated patterns of interaction suggest that there is scope for developing a more theoretical understanding of the relationships between Australia and the Pacific islands. Moreover, lying at the margins in several dimensions of interstate relations, these relationships test theories and thus provide a basis to delimit or refine them. This article explores three important ways in which theories of international relations and foreign policy analysis and the study of Australia–Pacific island relations can benefit each other. First, Pacific island resistance to the projection of Australian power tests theories about the tactics available to ‘micro-powers’. Australia's frequent reorientation of and regular distraction from its approach to the Pacific islands provide evidence about ‘under-institutionalised’ policy making. Finally, the interaction of Australia's global ‘middle power’ status with its regional dominance challenges ideas of ‘middle power leadership’ and ‘strategic personalities’. These three insights lead to novel hypotheses about the conduct of foreign policy by non-great powers under conditions of extreme asymmetry.
As culture and creativity become an increasing driving force in the international marketplace, it is essential to measure their impact not only on the economy but also on society at large. UNESCO has always been at the forefront of addressing the dual cultural and economic nature of cultural goods and services, working on both the theory and the practice. The Organization's Institute of Statistics (UIS) is currently seeking to redefine international data collection standards for the culture and creative sector so that they take into account the needs and specificities of the developing world. Providing an overview of the main approaches to assessing the economic and social importance of culture, this paper highlights the numerous limitations in current statistical information. It also includes a series of proposals based on the pragmatic approach currently being developed at UIS. Introduction: Increasing role of cultural and creative industries In this era of extraordinary change and globalization, many acknowledge that creativity and innovation are now driving the new economy. Organizations and even economic regions that embrace creativity generate significantly higher revenue and provide greater stability into the future. Based on ideas rather than physical capital, the creative economy straddles economic, political, social, cultural and technological issues and is at the crossroads of the arts, business and technology. It is unique in that it relies on an unlimited global resource: human creativity. Growth strategies in the creative economy therefore focus on harnessing the development potential of an unlimited resource and not on optimizing limited resources (as in traditional manufacturing industries). Many stakeholders are involved in this process: the public sector which includes cultural institutions, e.g. museums, public service broadcasting organizations, etc.; the private sector which covers a wide range of commercial operations in all fields of cultural production and distribution; the non-profit sector including many theatre and dance companies, festivals, orchestras, which may receive government subsidies; and non-governmental organizations such as advocacy agencies, actors and musicians' unions. Culture and creative industries have been increasingly integrated into the policy agenda of both developed and developing countries. In 2005, the United Kingdom's Commission for Africa reported that there was a 'real danger that a lack of attention to culture in policy making (…) will overwhelm many of the collective mechanisms of
Social enterprise has emerged as a businesslike contrast to the traditional nonprofit organization. This article develops an explanatory direction for social enterprise based on institutional perspectives rather than more traditional rational economic concepts. Through Suchman's typology of legitimacy (1995), the article argues that the origin and evolution of social enterprise is put into dramatically different focus, particularly through the concept of moral legitimacy. Moral legitimacy not only connects the overall emergence of social enterprise with neoconservative, pro-business, and promarket political and ideological values that have become central in many nations in the Organization for Economic Cooperation and Development but also explains the observation that social enterprise is being more frequently understood and practiced in more narrow commercial and revenue-generation terms.
Book description: Introducing the fundamental theories and debates in the sociology of art, this broad ranging book, the only edited reader of the sociology of art available, uses extracts from the core foundational and most influential contemporary writers in the field. As such it is essential reading both for students of the sociology of art, and of art history. Divided into five sections, it explores the following key themes:
* classical sociological theory and the sociology of art
* the social production of art
* the sociology of the artist
* museums and the social construction of high culture
* sociology aesthetic form and the specificity of art.
With the addition of an introductory essay that contextualizes the readings within the traditions of sociology and art history, and draws fascinating parallels between the origins and development of these two disciplines, this book opens up a productive interdisciplinary dialogue between sociology and art history as well as providing a fascinating introduction to the subject.
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