Cultural Entrepreneurship: The Cultural Worker’s Experience of Entrepreneurship
Abstract
This book explores the lived experience of cultural entrepreneurship examining the challenges associated with cultural labour including the insecurities of managing precarious working conditions. Drawing on interviews conducted with cultural workers, Cultural Entrepreneurship focuses on how individuals articulate their experience of entrepreneurship in the cultural and creative industries. Noting the importance of place, the local cultural milieu is examined as a means of situating entrepreneurial practices through cultural and enterprise policies, local networks, and significant relationships. Within this framework, the cultural entrepreneurs’ stories reveal means of subverting or re-interpreting identities and the possibility for ‘rethinking cultural entrepreneurship.’ Aimed at researchers, academics and students investigating cultural entrepreneurship, cultural policy and cultural labour, Cultural Entrepreneurship will additionally be of value to creative industry consultants, cultural policymakers, and those setting up creative enterprises. Researchers from fields such as geography, investigating different aspects of the cultural industries in relation to cultural policy and place, will also find this book to be a useful contribution.
... (Swedberg, 2006, p. 260) Here, Swedberg (2006) primarily aimed to differentiate CE from conventional and mainstream conceptions of entrepreneurship within the understanding of economic rationalism, suggesting that CE differs in scope and teleology: Cultural entrepreneurs address a different crowd and have different objectives than those that traditional, business-oriented perspectives assume entrepreneurs to have. Applying this idea, scholars reviewing the literature (Hausmann and Heinze, 2016;Naudin, 2017) have suggested that CE has also developed in tandem with other movements in entrepreneurship studies seeking to theorize and investigate the socio-cultural factors associated with entrepreneurial change or to approach entrepreneurship as a phenomenon going beyond positive economic activity (e.g., Calás et al., 2009). ...
... High culture has thereby been growing increasingly commercial, which in turn has shaped the conditions of cultural production. Kolsteeg (2013) and Naudin (2017) also noted this development, which they connected to a diminishing government responsibility and financial support for the arts that have prompted cultural workers to engage in enterprising practices. Although AE "imports theories from more 'mainstream' entrepreneurship [research]", such as effectuation, the individualopportunity nexus, or bricolage, and "addresses topics that are familiar to entrepreneurship scholars" (Callander and Cummings, 2021, p. 740), scholars reviewing the literature have noted that entrepreneurship journals scarcely mention the notion of AE until 2010. ...
This paper considers the intersection of arts, culture, and entrepreneurship (ACE) through a novel lens, drawing on Deleuze and Guattari’s dichotomy of arboreal and rhizomatic knowledge structures. First, existing literature reviews on cultural entrepreneurship and arts entrepreneurship are critically explored. This exploration highlights the predominance of arboreal (tree-like, hierarchical, and genealogical) thinking in current ACE research as well as in conventional practices of doing and presenting literature reviews. As a challenge to this norm, a rhizomatically inspired research agenda for the intersection of ACE is proposed. By discussing the challenges of doing research in a transdisciplinary and intersectional research context, the paper ultimately considers how scholars and practitioners can understand this complexity by embracing Deleuze and Guattari’s rhizomatic principles in future research.
... Another major observation is that cultural entrepreneurs in many sectors are reluctant to label themselves as entrepreneurs (Werthes, Mauer, & Brettel, 2018;Haynes & Marshall, 2018) because they do not want to set the emphasis on the economic dimensions of their work at the expense of the cultural values they deliver. They frequently have to negotiate the risks associated with the maintenance of a high level of autonomy in their cultural practices (Naudin, 2017). They sometimes are 'pushed' (Oakley, 2014), 'pulled' (Bridgstock, 2013), or take the risk by the 'necessity of choice' to become entrepreneurs. ...
... Other important assets for cultural entrepreneurs revealed in the academic literature are the significance of place and social networking (Heebels & Van Aalst, 2010;Lange, 2011;Naudin, 2017). The place is a precondition for the creation of networks of cultural workers and entrepreneurs. ...
The field of entrepreneurship education is gaining lot of recognition in higher education in India. Also it is envisaged that the entrepreneurship education would develop the entrepreneurial intentions among female students. To this end, the study aims to identify the impact of entrepreneurship education on entrepreneurial intentions of female students in India. To determine this, sample of 388 female students studying at university
level was taken. Three components of entrepreneurial education (Teaching, Practice Based Teaching and Perceived Teacher Support) are taken for the study.
Structural equation modelling technique is used to identify the relation between the components of entrepreneurship education and entrepreneurial intentions. The findings suggest that all the components have significant relation with entrepreneurial intentions but the effect of Perceived teacher support were found to be low. This study adds to the current literature and also gives an understanding of practical implications and factors to be considered for developing economies like India.
... Another major observation is that cultural entrepreneurs in many sectors are reluctant to label themselves as entrepreneurs (Werthes, Mauer, & Brettel, 2018;Haynes & Marshall, 2018) because they do not want to set the emphasis on the economic dimensions of their work at the expense of the cultural values they deliver. They frequently have to negotiate the risks associated with the maintenance of a high level of autonomy in their cultural practices (Naudin, 2017). They sometimes are 'pushed' (Oakley, 2014), 'pulled' (Bridgstock, 2013), or take the risk by the 'necessity of choice' to become entrepreneurs. ...
... Other important assets for cultural entrepreneurs revealed in the academic literature are the significance of place and social networking (Heebels & Van Aalst, 2010;Lange, 2011;Naudin, 2017). The place is a precondition for the creation of networks of cultural workers and entrepreneurs. ...
... Another major observation is that cultural entrepreneurs in many sectors are reluctant to label themselves as entrepreneurs (Werthes, Mauer, & Brettel, 2018;Haynes & Marshall, 2018) because they do not want to set the emphasis on the economic dimensions of their work at the expense of the cultural values they deliver. They frequently have to negotiate the risks associated with the maintenance of a high level of autonomy in their cultural practices (Naudin, 2017). They sometimes are 'pushed' (Oakley, 2014), 'pulled' (Bridgstock, 2013), or take the risk by the 'necessity of choice' to become entrepreneurs. ...
... Other important assets for cultural entrepreneurs revealed in the academic literature are the significance of place and social networking (Heebels & Van Aalst, 2010;Lange, 2011;Naudin, 2017). The place is a precondition for the creation of networks of cultural workers and entrepreneurs. ...
This paper provides a comprehensive review of Scopus-indexed English language publications on entrepreneurship in cultural and creative industries and the arts, identifies research gaps, and gives directions for future research. The paper analyses 131 publications published in the period 1982 – 2019 through quantitative analysis of frequencies, cross-tables, and Chi-square test, and qualitative thematic analysis of the publications. Eight research domains were identified: 'Characteristics and motivation of entrepreneurs', 'Business models', 'Audience development', 'Use of information and communication technologies', 'Urban development', 'Public policy', 'Incubators and clusters' and 'Entrepreneurial education'. Findings show that two-thirds of the papers are based on empirical research, most of which is conducted in the U.K. From a managerial perspective, the conclusions are that cultural entrepreneur is gradually becoming a central figure in contemporary cultural processes that has the potential to fulfil market and audience needs, fill the emerging business niches, and contribute to the revitalisation of cities and regions. It identifies research gaps and formulates directions for future research.
... Another major observation is that cultural entrepreneurs in many sectors are reluctant to label themselves as entrepreneurs (Werthes, Mauer, & Brettel, 2018;Haynes & Marshall, 2018) because they do not want to set the emphasis on the economic dimensions of their work at the expense of the cultural values they deliver. They frequently have to negotiate the risks associated with the maintenance of a high level of autonomy in their cultural practices (Naudin, 2017). They sometimes are 'pushed' (Oakley, 2014), 'pulled' (Bridgstock, 2013), or take the risk by the 'necessity of choice' to become entrepreneurs. ...
... Other important assets for cultural entrepreneurs revealed in the academic literature are the significance of place and social networking (Heebels & Van Aalst, 2010;Lange, 2011;Naudin, 2017). The place is a precondition for the creation of networks of cultural workers and entrepreneurs. ...
The paper provides a comprehensive review of Scopus-indexed English language publications on entrepreneurship in cultural and creative industries and the arts. The paper analyses 131 publications published in the period 1982 – 2019 through quantitative analysis of frequencies and cross-tables, and qualitative thematic analysis of the publications. Eight research domains were identified: ‘Characteristics and motivation of entrepreneurs’, ‘Business models’, ‘Audience development’, ‘Use of information and communication technologies’, ‘Urban development’, ‘Public policy’, ‘Incubators and clusters’ and ‘Entrepreneurial education’. Findings show that two-thirds of the papers are based on empirical research, most of which is conducted in the UK. From a managerial perspective, conclusions are that the cultural entrepreneur is gradually becoming a central figure in contemporary cultural processes who has the potential to fulfill the market and audience needs, fill the emerging business niches and contribute to the revitalization of cities and regions. It identifies research gaps and formulates directions for future research.
... While decades of feminist critique have variously challenged the hetero-normative masculine ideals implicit in the 'risk-taking', gladiatorial-'Trump-esque'-entrepreneurial figure (see for example Dy et al. 2017;Essers, et al. 2017;Lewis 2013;Marlow and Dy 2018;Naudin 2018;Naudin and Patel 2017;Rouse et al. 2013;Swail and Marlow 2018), a number of commentators are increasingly arguing that contemporary female and post-Fordist -or 'hyper-capitalist' (Yeatman 2014)entrepreneurial subjectivities are actually far less hostile to one another than we may otherwise imagine (Hassoun 2012;Yeatman 2014). Indeed Gill identifies post-feminism as 'a distinctive sensibility linked to neoliberalism ' (2011, p. 64). ...
... A further implicit part of this challenge if not overt resistance to hegemonic understanding of entrepreneurial success, one that cannot be separated from both the artistic and crafts guild legacies of the practices as well as the prominence of women within the sector, is the presence of mutual support and not just competition between designer makers and craftspeople. As also noted by other researchers of cultural entrepreneurialism (Naudin 2018), whether it be through collectively organising studio space, sharing business information or practice-based skills, or more general moral support, a notable feature of the Australian design craft landscape is a sense of solidarity that is a far cry from the combative competition that is such a feature of business enterprise television shows such as The Apprentice. ...
Craft and design-led creative practices are presently enjoying a zeitgeist moment of popularity, driven by consumer demand for unique, innovative and/or handmade objects. However despite the capacity to scale-up, craftspeople and designer makers continue to challenge conventional capitalist ideas of what entrepreneurial “success” looks like. Drawing upon data from a 4-year study of Australian designer makers, this article problematizes the digital content-friendly growth and enterprise discourses at the heart of governmental desires for the creative economy; discourses that seemingly presume every entrant into the creative field aspires to be the multi-millionaire director of their own creative success story. It examines how the complex intersectionality of old understandings of artistic value and “doing what you love”, today mingle with ethical consumption values, environmental attentiveness, non-urban creative practice, the gendered exclusions of the creative workforce, and human desires for “good work” (Hesmondhalgh & Baker, 2011), to present a more complex, socially embedded picture of the contemporary creative economy. One where the more-than-capitalism values of the arts and cultural industries persist.
... Devido às singularidades do empreendedorismo cultural, os(as) empreendedores(as) que atuam nesse contexto enfrentam diferentes desafios para sustentar seus empreendimentos, incluindo a necessidade de inovar buscando o equilíbrio entre a novidade e a familiaridade (Islam et al., 2016), criando bens culturais e artísticos por meio de processos de criação de sentido e construção de valor (Khaire, 2019). Esses desafios fazem com que os(as) empreendedores(as) culturais precisem construir um conjunto de relacionamentos com parceiros externos e saibam como atuar em rede (Konrad, 2013;Naudin, 2017). Para os(as) empreendedores(as) culturais, o desejo de cooperação com outros atores favorece a formação de redes, que podem ser caracterizadas pelos laços de amizade, apoio e colaboração (Lounsbury & Glynn, 2001), além de servirem como espaços que proporcionam a combinação de talentos, a cocriação e a inspiração mútua (de Klerk, 2015) entre os atores. ...
Objective: to explain how affective networks support cultural entrepreneurship.
Theoretical approach: theories of cultural entrepreneurship and affective networks, pointing out the relevance of networks and affectivity in this context.
Method: a multi-sited ethnography was conducted in popular food markets, using ethnographic interviews, participant observation, documents, and visual and audiovisual records.
Result: explaining cultural innovation, how affective networks support that process, and how the networks’ affectivity inspires the singularities of cultural entrepreneurship.
Conclusions: the results contribute to advancing research on (a) cultural entrepreneurship as affective networks, (b) affectivity in entrepreneurship, and (c) cultural entrepreneurship as affective networks.
Keywords:
cultural entrepreneurship; affective networks; food markets; multi-sited ethnography
... Σύμφωνα με τους Werthes, Mauer και Brettel (2018), ένας σημαντικός παράγοντας για την πολιτιστική επιχειρηματικότητα σε βιομηχανικά κτίρια είναι ότι πολλοί πολιτιστικοί επιχειρηματίες διστάζουν να αυτοχαρακτηριστούν ως επιχειρηματίες, καθώς δεν θέλουν να δώσουν έμφαση στις οικονομικές διαστάσεις του έργου τους ή στο κόστος των πολιτιστικών αξιών που παράγουν. Ταυτόχρονα, συχνά πρέπει να διαπραγματευτούν τους κινδύνους που συνδέονται με τη διατήρηση της αυτονομίας στις πολιτιστικές πρακτικές τους (Naudin, 2017-Ο Bridgstock (2013 σημειώνει ότι οι πολιτιστικοί επιχειρηματίες συχνά "ωθούνται" ή "έλκονται" να αναλάβουν κινδύνους λόγω της "αναγκαιότητας της επιλογής" να γίνουν επιχειρηματίες, ενώ η αβεβαιότητα και η βασισμένη σε έργα εργασία στις πολιτιστικές και δημιουργικές βιομηχανίες επηρεάζει την απόφασή τους να αναλάβουν επιχειρηματικές πρωτοβουλίες. ...
Στην παρούσα εργασία θα ερευνηθεί η σημασία της αξιοποίησης των βιομηχανικών κτιρίων της Λέσβου, λαμβάνοντας ως μελέτη περίπτωσης το Μουσείο Βρανά στον Παππάδο της Γέρας. Στόχος της μελέτης αυτής είναι να δείξει τον τρόπο και την σημασία των κτισμάτων η συγκροτημάτων, τα οποία λειτούργησαν ως ελαιοτριβεία, σαπωνοποιία και βυρσοδεψία τον 1 9ο και 20ο αιώνα στο εν λόγω νησί, με βάση το σπουδαίο προϊόν της ελιάς και πως αυτά θα μπορούσαν σήμερα να αποτελέσουν στοιχεία πολιτιστικής επιχειρηματικότητας και πόλο λέξης εσωτερικού και εξωτερικού τουρισμού. Βιομηχανικά κτίρια με σπουδαία αρχιτεκτονική, τα οποία κατά το παρελθόν αποτέλεσαν ζωντανό και χρηστικό σημείο του τόπου, επαναχρησιμοποιούνται λειτουργικά και συμβάλλουν στη βιωσιμότητα των λεσβιακών χωριών και την περαιτέρω ενίσχυση της τοπικής οικονομίας. Το Ελαιοτριβείο-Μουσείο Βρανά αποτελεί δείγμα ενός από τα Αρχαιότερα Ατμοκίνητα Ελαιοτριβεία της Λέσβου, το οποίο άνηκε στην οικογένεια του Νομπελίστα ποιητή Οδυσσέα Ελύτη και οι εργασίες αναστήλωσης του ολοκληρώθηκαν το 2009. Μετα την ανακαίνιση, τον προαύλιο χώρο του μουσείου κοσμούν εκθέματα του 19ου και 20ου αιώνα από τα οποία ο επισκέπτης έχει τη δυνατότητα να ζήσει μια εμπειρία στον χρόνο ενώ τον εσωτερικό χώρο αποτελεί ένα πλήρες λειτουργικό ελαιοτριβείο του 19 ου , έργα του Θεόφιλου ενώ παράλληλα υπάρχουν αίθουσες, οι οποίες φιλοξενούν εκθέσεις, διαλέξεις, συνέδρια, συναυλίες. Το συγκεκριμένο αρχιτεκτονικό και βιομηχανικό μνημείο της Λέσβου αποτελεί πολιτιστική κληρονομιά και παράδειγμα πολιτιστικής επιχειρηματικότητας κυρίως την τελευταία διετία με συναυλίες επωνύμων και με την πραγματοποίηση διεθνούς συνεδρίου με επίκεντρο την «ελιά», που βοήθησε στην προβολή της περιοχής και κυρίως στην ενίσχυση της τοπικής οικονομίας και ανάπτυξης. Λέξεις Κλειδιά: Πολιτιστική επιχειρηματικότητα, πολιτιστική κληρονομιά, βιομηχανικά κτίρια, Μουσείο Βρανά, Γέρα Λέσβου, βιώσιμη ανάπτυξη. ΕΙΣΑΓΩΓΗ Η πολιτιστική επιχειρηματικότητα, η οποία αναφέρεται ως ένας σχετικά νέος επιστημονικός κλάδος στη διοίκηση και τις πολιτιστικές σπουδές. Προς το παρόν επικρατούν δύο τρόποι κατανόησης της πολιτιστικής επιχειρηματικότητας στα βιομηχανικά κτίρια. Ο πρώτος είναι οι επιχειρηματικές δραστηριότητες στις πολιτιστικές και δημιουργικές βιομηχανίες καθώς και στις τέχνες. Υπό αυτή την έννοια, ο πολιτισμός γίνεται αντιληπτός ως ένας συγκεκριμένος τομέας που σχετίζεται με τις πολιτιστικές και δημιουργικές βιομηχανίες και τις παραδοσιακές 5
... Due to the singularities of cultural entrepreneurship, entrepreneurs operating in this context face different challenges to sustain their ventures, including the need to innovate by seeking a balance between novelty and familiarity (Islam et al., 2016), cand creating cultural and artistic goods through processes of meaning-making and value-building (Khaire, 2019). These challenges mean that cultural entrepreneurs must build relationships with external partners and know how to network (Konrad, 2013;Naudin, 2017). For cultural entrepreneurs, the desire to cooperate with other stakeholders favors the formation of networks, which can be characterized by bonds of friendship, support, and collaboration (Lounsbury & Glynn, 2001), as well as serving as spaces that provide the combination of talents, co-creation, and mutual inspiration (de Klerk, 2015) between stakeholders. ...
Objective: to explain how affective networks support cultural entrepreneurship. Theoretical approach: theories of cultural entrepreneurship and affective networks, pointing out the relevance of networks and affectivity in this context. Method: a multi-sited ethnography was conducted in popular food markets, using ethnographic interviews, participant observation, documents, and visual and audiovisual records. Result: explaining cultural innovation, how affective networks support that process, and how the networks’ affectivity inspires the singularities of cultural entrepreneurship. Conclusions: the results contribute to advancing research on (a) cultural entrepreneurship as affective networks, (b) affectivity in entrepreneurship, and (c) cultural entrepreneurship as affective networks.
... Devido às singularidades do empreendedorismo cultural, os(as) empreendedores(as) que atuam nesse contexto enfrentam diferentes desafios para sustentar seus empreendimentos, incluindo a necessidade de inovar buscando o equilíbrio entre a novidade e a familiaridade (Islam et al., 2016), criando bens culturais e artísticos por meio de processos de criação de sentido e construção de valor (Khaire, 2019). Esses desafios fazem com que os(as) empreendedores(as) culturais precisem construir um conjunto de relacionamentos com parceiros externos e saibam como atuar em rede (Konrad, 2013;Naudin, 2017). Para os(as) empreendedores(as) culturais, o desejo de cooperação com outros atores favorece a formação de redes, que podem ser caracterizadas pelos laços de amizade, apoio e colaboração (Lounsbury & Glynn, 2001), além de servirem como espaços que proporcionam a combinação de talentos, a cocriação e a inspiração mútua (de Klerk, 2015) entre os atores. ...
RESUMO Objetivo: explicar como as redes afetivas sustentam o empreendedorismo cultural. Marco teórico: teorias de empreendedorismo cultural e redes afetivas, apontando a importância das redes e da afetividade nesse contexto. Método: foi realizada uma etnografia multissituada em mercados populares, utilizando entrevistas etnográficas, observação participante, documentos e registros visuais e audiovisuais. Resultado: explicação sobre o processo de inovação cultural, sobre como esse processo é sustentado pelas redes afetivas e sobre como a afetividade das redes inspira as singularidades do empreendedorismo cultural. Conclusões: os resultados contribuem para o avanço nas pesquisas sobre: (a) o empreendedorismo cultural como redes de empreendedorismo, (b) a afetividade no campo do empreendedorismo, e (c) o empreendedorismo cultural como redes afetivas. Palavras-chave: empreendedorismo cultural; redes afetivas; mercados populares; etnografia multissituada.
... Cultural policies, crafted and managed by governments and public cultural institutions, shape the opportunity structure and the environment in which cultural entrepreneurs drive. Cultural public policies can incite funding mechanisms, support intellectual property regulations, and influence the overall ecosystem for creative enterprises (Lounsbury and Glynn, 2019), whilst cultural entrepreneurship, driven by the private sector (here including the individuals and the civil society), can boost cultural policy goals by fostering innovation, economic development, and the dissemination of diverse expressions (Naudin 2018). ...
This article seeks to explore two main conceptual dimensions — cultural policies and cultural entrepreneurship — as well as its impacts in the framework of creative cities in the European Union Outermost Regions (ORs). Through a comprehensive analysis, in this article are considered general trends and goals for the cultural world settled in different institutional levels of political discourse, such as the strategic partnership between UNESCO and the European Union. Tackling the post-pandemic political agenda facing global challenges, this article seeks to explore in what extend cultural entrepreneurship enhances governance systems for cultural and creative industries focused on resilience and sustainability.
... Due to the singularities of cultural entrepreneurship, entrepreneurs who work in this context face different challenges to sustain their ventures, namely to innovate pursuing a balance between novelty and familiarity (Islam et al., 2016), creating cultural and artistic goods through processes of meaning-making and value construction (Khaire, 2019). These challenges require cultural entrepreneurs to build a set of relationships with external partners and develop know-how to operate in a social network (Konrad, 2013;Naudin, 2017). For cultural entrepreneurs, the desire for cooperation with other actors favors the formation of networks, which can be characterized by relationships of friendship, support and collaboration (Coulson, 2012), besides serving as environments that provide the combination of talents, co-creation and mutual inspiration (de Klerk, 2015) between the actors. ...
... Participants, especially mentees, are extremely grateful for the access and support (financial, professional and personal) provided by the mentoring programme and thus their comments reflect a general feeling of positivity and gratitude. These claims largely confirm the findings of previous research on arts mentoring (Bacon, 2016;Bilton et al., 2021;Haugsevje et al., 2021;Hope et al., 2020;Naudin, 2018;Rupra and Janmohamed, 2019;Yoon, 2021). ...
The challenges of building and sustaining a creative career are well-established, as is the degree to which opportunities are either opened or foreclosed through the complex intersectionality of inequalities. Yet creative aspirants persist in pursuing creative work, sustaining themselves through survival strategies variously theorised as ‘hope labour’ and ‘aspirational labour’. Drawing upon data from an arts mentoring programme, this article explores how ideas of ‘luck’, ‘chance’ and ‘opportunity’ are implicated within such labour as sense-making resources for managing difficulties and justifying persistence in the face of precarity. It argues that the take up of these resources can function as a valuable discursive tool that also contributes to an enabling ‘repertoire of shared myths’ which sustains the career work of artists and many creative workers.
... Due to the singularities of cultural entrepreneurship, entrepreneurs who work in this context face different challenges to sustain their ventures, namely to innovate pursuing a balance between novelty and familiarity (Islam et al., 2016), creating cultural and artistic goods through processes of meaning-making and value construction (Khaire, 2019). These challenges require cultural entrepreneurs to build a set of relationships with external partners and develop know-how to operate in a social network (Konrad, 2013;Naudin, 2017). For cultural entrepreneurs, the desire for cooperation with other actors favors the formation of networks, which can be characterized by relationships of friendship, support and collaboration (Coulson, 2012), besides serving as environments that provide the combination of talents, co-creation and mutual inspiration (de Klerk, 2015) between the actors. ...
Despite the importance of networks in entrepreneurship, past studies have often neglected their affective dimension, especially in the context of cultural entrepreneurship and creative economy. Drawing a practice theory perspective and using an ethnographic method including participant observation, ethnographic interviews, documents, visual and audiovisual records, we show how affective practices support network dynamics in the context of food markets. Our
findings contribute to (a) advancing research on cultural entrepreneurship by expanding the importance of affectivity in network dynamics; (b) research on entrepreneurship and networks by demonstrating the role of affectivity in forming ties between actors; and (c) the literature on the emerging topic of entrepreneurship-as-practice, by examining affective practices and proposing ways to operationalize empirical research with a focus on affectivity.
... The role of external network ties is central to effective cultural entrepreneurial success (Konrad, 2013). Naudin (2018) believes that a flexible approach to labour in cultural economies is crucial. Dobreva and Ivanov (2020) note how the impact of the cultural entrepreneur is steadily growing as a central figure in contemporary cultural processes in addressing market and audience needs. ...
Purpose
This paper aims to provide clarity on arts marketing during COVID-19 by undertaking a critical review and theoretical integration of published cultural and creative industries (CCIs) data on the pandemic.
Design/methodology/approach
The study draws on the findings from a content analysis of published refereed journal articles and research reports, between 2020 and 2022.
Findings
This study clarifies how scholars in the arts marketing field have examined the concept and identified core dimensions. It also brings together these conceptual categories into an integrative multilevel framework of relevance for arts marketing during COVID-19. The framework outlines interconnected processes as well as dualities, such as digitisation, monetisation and sustainability of the CCIs and poses a future centred on entrepreneurial actions.
Originality/value
The originality of the paper is that it provides clear-cut evidence for new frontiers for research in the field during a period of discontinuous change due to COVID-19, through a literature review that has not been undertaken previously. It links the need to be entrepreneurial as a means for the CCIs to survive and thrive during and after a global crisis.
... According to him, other reasons are the general requirements of individual creativity and flexibility of work, which are typical especially in cultural sector. According to Annette Naudin (2017) and Susan Marlow et al. (2017) artists often start enterprises for being able to do arts and pursue their creative ideas professionally as multiple ways as possible in today's versatile cultural labour markets. Sometimes entrepreneurship also makes income flows flexible in changing conditions (e.g. in the case of unemployment). ...
In this article, we examine the views that young (under 35 years) freelancers and entrepreneurs who work as professional artists in Finland have of their work. We refer to them as artrepreneurs. Our data sample is composed of the responses of entrepreneurs and freelancers (n = 209) from a survey data on young artists (n = 565) collected in 2017. By using a set of quantitative methods we study the impact of different factors on the job satisfaction experienced by freelancers and entrepreneurs, the nature and motivation factors of their work, as well as their status and livelihood. In our interpretative framework, central concepts are the “hybridity” and “precarity” of artists’ work and “autonomy paradox”. The most important results of our study are that artrepreneurs’ work is more multidisciplinary and they have more sources of income than other young artists. They also handle the uncertainties of precarious working life better than other artists.
... As a consequence, scholars and policy makers alike have paid close attention to scalable, specific strategies and policy instruments that boost both public and private investment in cultural activities and creative occupations (Florida, 2002;Hagoort, 2003;Kooyman, 2011;Oakley, 2004;Sorin & Sessions, 2015). Furthermore, the question of educating a digital creative workforce has resulted in considerable dialogue concerning how to develop culturally specific or culturally sensitive entrepreneurship training curricula for the creative economy and to make these accessible, for broad community audiences, online (Naudin, 2017;Röschenthaler & Schulz, 2015). ...
... Et mer kritisk kunnskapsperspektiv finner vi i den forskningen som undersøker de meningsbaerende sidene ved det å ha sitt levebrød innenfor kreativ naering (Abbing 2002;Campbell 2014;Campbell et al. 2018;Caves 2000;Ellmeier 2003;Mangset og Røyseng 2009;Naudin 2017;Oakley 2014;Røyseng 2011;Scott 2012). Flere har belyst hvordan arbeid i kreative bransjer på den ene siden tilbyr stor frihet og selvstendighet, men på den andre siden også representerer utsatte jobbvirkeligheter med stor økonomisk usikkerhet og svake sosiale rettigheter (Hesmondhalgh og Baker 2010;Hesmondhalgh 2013;Hesmondhalgh et al. 2015;McRobbie 2016). ...
This chapter explores the presence of migrants in the Australian ‘cultural and creative industries,’ framing accounts of their experiences in terms of a search for creative community and kinship. The chapter asks: What are the stories that creative migrants tell about themselves? Which notions of migration and mobility as well as integration and inclusivity do they narrate? How do they reflect upon their role as migrant creatives in the cultural sector? Exploring the concept of the ‘cultural migrapreneur,’ the chapter surveys online communities of practice, narrating experiences and issues encountered by creative migrants in ‘making it,’ drawing also on semi-structured interviews with individuals at work in supportive intermediary organizations. The chapter documents how migrants seek to affirm and maintain their creative status by seeking professional opportunities while weighted with expectations, obligations, and continuing challenges of arrival, acculturation, and settlement.
With breaking set to debut at the 2024 Paris Olympic Games, apprehensions have emerged around the World DanceSport Federation’s scope of control and representation of the dance. However, some of Japan’s breaking communities have placated these concerns as they hastily organize in anticipation. With the multidimensional appreciation for hip hop in Japan – visible across cultural communities, creative industries, non-governmental organizations, government agencies, small- to medium-sized businesses, global conglomerates and educational institutions – the work of passionate community leaders and cultural intermediaries is critical as ever in navigating institutional interventions in breaking’s Olympic co-option and representation. This article draws on ethnographic research and a series interviews conducted in Japan during 2016–21 to explore the conditions that foster favourable local reception to breaking in the Olympics. Using the case study of b-boy Katsu One – the director of the Japan DanceSport Federation Breaking Division and Japan’s breaking Olympic Coach – this article explores how Japan, an East Asian centre for hip hop globalization, is repositioning breaking as a cultural disruptor within institutional frameworks as the art form enters the world of sport. Katsu’s work highlights the importance of exerting agency between institutions and cultural communities in negotiating new perspectives and prospects for generations to come.
This chapter explores the contradictions of work and identity in postindustrial cities by constructing a constellation of dialectical concepts to cast light on the dialectic of art and economy and the conditions of work in the cultural and creative industries. It is argued that people working in the cultural and creative industries have to negotiate this contradictory terrain and construct artistic identities in order to engage with the dialectic of art and economy and its expressions in cultural work, identity, and urban spaces.
This chapter explores the relationship between culture and work in the ‘new cultural economy’ of postindustrial society. The chapter traces a brief history of the cultural and creative industries starting with the origin of the concept of ‘culture industry’ in the work of Adorno and Horkheimer, highlighting their concerns with commodification and standardization and with cultural criticism. The chapter surveys the conditions of work in the cultural economy, which it is argued are characterized by detraditionalization, and a ‘creative fetish’ that makes cultural and creative work emblematic of the postindustrial economy. The chapter then problematizes the conditions of the cultural economy through the concepts of subjectivization and Entgrenzung. This is then explored in relation to the significance of identity and autonomy in the cultural economy.
This paper investigates the Continuing Professional Development (CPD) experiences of performing arts professionals during the COVID-19 pandemic in Italy. The research is aimed at examining actors’ approaches and challenges to inform current and future CPD strategies, better suited to address the uncertainties of the social and economic juncture. The following four main themes are elicited by the research: the renewed need for self-directedness in CPD, the struggle to overcome the decrease in CPD opportunities in the workplace environment, the intensification of the use of social media for CPD purposes, and the role of CPD in the diversification of competencies. The investigation shows that CPD is still a relatively underdeveloped subject in the performing arts sector and that the attitudes towards, environments of, platforms for and focus on CPD will benefit from a critical re-evaluation in the postdigital context. Implications of these results for practitioners, policymakers, and public and private organisations are discussed.
This paper investigates the role of local development consultants, which are described as cultural interpreters, in promoting institutional reforms in Tanzania and Uganda. The empirical analysis seeks to answer the question how cultural interpreters translate new formal institutions into a specific context. The results show that they adapt their training programs to the specific context in order to ensure successful implementation. Furthermore, they have to consider how the participants of the training perceive the newly introduced institutions. The way in which they communicate with the participants is a central factor to ensure the application of new concepts. JEL Codes: O22, O17, B59
The article explores and unfolds the conflicting narratives of the work and competences of creatives in the era of creative industries. Based on a French pragmatic approach, the analysis sheds light on a mismatch between how bureaucrats in the Norwegian business support system valuate creative work, and how creatives valuate their own work. I find that the bureaucrats mobilise a narrow and stereotyped grammar when talking of creative work, while the creatives themselves seem to express far more complex and pragmatic understandings. I argue that the Norwegian creative industries policy seems to have limited capacity to embrace the hybridity and complexity of creative work, which also reduces its relevance and accuracy. The analysis is based on qualitative interviews with creatives and bureaucrats on a local level and contributes to the knowledge on the individual bureaucrats as non-creative outsiders, but still, actors highly significant to creative industries.
This article introduces a new creative industry actor, the ‘producer-host’, whose novel cultural practices combine several roles: that of performing artist, music production educator, event manager, livestream broadcaster, and community manager. Producer-hosts use the livestreaming platform Twitch (alongside other digital technologies) to run online beatmaking events with communal and participatory dynamics that indicate expanding uses of streaming platforms. Drawing upon 18 months of ethnography, active community participation, and interviews with three producer-hosts, we provide a nuanced analysis of the political economy of Twitch and developments in the contemporary creative industries during the COVID-19 pandemic. We analyse and discuss the outcomes of participation in music production communities on Twitch according to five themes: income and sustainability; personal and professional gratifications; online followings; community identity and belonging; and informal education.
As an occupational group characterized by their responsiveness, resilience and innovation, freelancers make a vital contribution to the UK’s creative economy. However, although there has been a general acknowledgement of their importance, a number of existing studies abstract freelancers from the localities in which they work. Based on twenty in-depth interviews with freelancers working in Bristol’s film and television industries, this article contends that freelance work is strongly situated in place and locality and, as such, defining the nature of freelance work also requires understanding the local cultural, political and economic contexts in which it is situated. In making this argument, this article situates precarity as not only an occupational issue, but also a place-based, policy issue. It concludes by arguing that, rather than instrumentalist approaches, policy interventions designed to promote growth in local production centres should be informed by the place-based nature of how freelancers negotiate precarious careers.
This study addresses a possible mismatch between political rhetoric on creative industries and tourism relations and the experiences and expectations that artists and workers in the creative industries have of their artistic work and their sector. In semi-structured interviews, we asked if and then how creatives and developers in Norway relate to the concept of tourism and whether they see tourists or the tourism industry as a target market for cultural products. Our findings suggest that developers are likely, but creatives unlikely to see a relation between creative’s work and tourism or tourists, and the tourism industry as a target market for cultural products. Tourism is in other words a blind spot in the business practices of creative entrepreneurs.
The article sheds light on an often neglected group of professionals in creative industries, namely the facilitators who work on a local level in order to support and stimulate individual artists and creative microbusinesses. We discuss what characterises the practices of local facilitators, and how they act in order to ensure legitimacy within different contexts. Based on qualitative interviews and participant observation in Norwegian creative industries, and a theoretical approach based on Alexander’s theory on cultural performance and French pragmatic sociology, we argue that the facilitators are networking entrepreneurs with multi-contextual competencies operating in the gaps between art, business and bureaucracy.
Cet article propose une conceptualisation alternative de l’entrepreneuriat culturel. Partant d’une étude qualitative par entretiens semi-dirigés menée dans l’industrie musicale de minorités linguistiques, il offre un modèle inscrit dans la perspective de la pratique, qui tient compte de la relation mutuellement constitutive entre le contexte et les pratiques entrepreneuriales. Ce modèle émerge des histoires de 35 entrepreneurs musicaux. Il invite à observer les pratiques telles qu’elles répondent aux tensions induites par un contexte social, entre la création musicale et la subsistance, par exemple, et telles qu’elles transforment ce contexte. Il a conduit à identifier 14 pratiques qui permettent aux entrepreneurs d’assurer la viabilité de la création et de la production de musique vocale dans leur langue. En révélant la logique relationnelle qui sous-tend l’émergence de ces pratiques, l’article rejoint les efforts de théorisation de l’entrepreneuriat culturel. Il élargit et diversifie aussi nos connaissances de cet entrepreneuriat en dévoilant des pratiques informelles déployées dans des contextes sociaux marginaux. Comprendre ces pratiques peut s’avérer utile à tout organisme ou toute personne en position de soutenir les entrepreneurs culturels de ces contextes.
This article concerns individualism, collective awareness and organized resistance in the creative industries. It applies the lens of John Kelly’s mobilization theory (1998), usually used in a trade union context, to “TV WRAP,” a successful nonunionized campaign facilitated through an online community in the UK television
(TV) industry in 2005, and finds that Kelly’s prerequisites to mobilization were all present. It explores previously unpublished questionnaire data from a 2011 survey of over a 1,000 UK film and TV workers, which suggests that such prerequisites to mobilization are still present in the TV workforce. Finally it examines recent and
ongoing mobilization by video game workers as a modern comparison, updating the relevance of Kelly’s theory to explore and consider potential models for a new politics of resistance in the digital age.
This chapter explores the character and specificity of Impact Hub Birmingham (IHB) through the lens of its online presentation, assessing its objectives, organisation and activities. Analysis frames IHB in terms of its status as social enterprise, detailing how this manifestation of ‘the hub’ idea engages individuals in debate and supports a particular idea of entrepreneurship that connects to wider of issues and urban disjuncture. The chapter explores the specificity of Birmingham as a setting for IHB and its commitment to place in relation to a discussion of the hub and co-working idea. A penultimate section locates projects cultivated within IHB in the context of critical perspectives on social enterprise initiatives. Conclusions reflect on the ambition of this iteration of the Impact Hub network, as well as the commitment and verve of its participants that offers a progressive space for social innovation whatever its limits in addressing the city’s considerable social and economic problems.
Entrepreneurialism is widely encouraged across many industrial sectors in the ‘knowledge-based’ economy of the late twentieth and early twenty-first centuries. Entrepreneurialism, including self-promotion and work on the self, has been held up as the key for success across a range of cultural and creative industries.. Universities present entrepreneurship as increasingly significant in graduate options and outcomes for students. Pursuing more critical accounts of entrepreneurship, this chapter presents findings from a co-designed research project with higher education students and established entrepreneurs. The project employed design thinking and creative methodologies to examine pathways into creative work and careers. The chapter sets out in detail the methods used to facilitate discussion and debate amongst educators, entrepreneurs and students. It discusses how these activities were instrumental in helping to challenge and contest dominant understanding of creative entrepreneurship. The activities and critical reflections presented in the chapter are relevant for practitioners, educators and policymakers with an interest in understanding, shaping and contesting pathways into creative work.
This article considers the analytical potential of a concept of care that foregrounds human interdependencies, relational ties and the needs of others as the basis for action in analysing work, such as creative work, which is neither directly nor obviously associated with care provision. Work in the creative industries has recently become a central concern in sociology. Much of this scholarship reproduces or extends the idea of creative work as a paradigm of individualized work in contemporary societies that is characterized by high levels of worker autonomy, passion, self-expression and self-enterprise. This article challenges such theorizations by calling attention to the role of caring in creative work, understood both as an ontological phenomenon and as a relational practice of sustaining and repairing the world. Drawing on a qualitative study of socially engaged art in South-East Europe, I argue that creative work manifests itself as a labour of care and compassion.
Studies of creative industries typically contend that creative work is profoundly precarious, taking place on a freelance basis in highly competitive, individualized and contingent labour markets. Such studies depict creative workers as correspondingly self-enterprising, self-reliant, self-interested and calculative agents who valorise care-free independence. In contrast, we adopt the ‘ethics of care’ approach to explore, recognize and appreciate the communitarian, relational and moral considerations as well as interpersonal connectedness and interdependencies that underpin creative work. Drawing on in-depth interviews with creative workers in a range of marginal socio-cultural contexts, we argue that creative workers cultivate and sustain a diverse array of practices of care arising from an affective concern with the well-being of others. Far from being merely individualistic and crudely competitive actors, creative workers enact practical ethical responsibilities and affectivities towards a range of human and non-human others, including families, local communities and neighbourhoods, colleagues, artistic scenes and their adjacent genres, and surrounding national and linguistic cultures. In emphasizing the fundamental and structuring role of care in contingent labour markets our approach accords with recent trends in the social sciences that ‘affirmatively’—as opposed to ‘negatively’ and ‘suspiciously’—recognize that mutuality, solidarity and affectivity are powerful drivers of action on a par with or even exceeding market-driven self-centredness.
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