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The paper explores the notion of worker voice in terms of its implications for supply chain justice. The paper proposes the value of the recognition perspective on social justice for framing workers’ experiences in global supply chains and identifies opportunities for the advancement of the worker voice agenda with recognition justice in mind.

The paper adopts a conceptual approach to explore the notion of worker voice in supply chains in terms of the recognition perspective on social justice.

Sustainable supply chain management (SSCM) scholarship has considered worker voice in terms of two key paradigms, which we term communication and representation. To address recognition justice for workers in global supply chains, the worker voice agenda must consider designing worker voice mechanisms to close recognition gaps for workers with marginalised identities; the shared responsibilities of supply chain actors to listen alongside the expectation of workers to use their voice; and the expansion of the concept of worker voice to cut across home-work boundaries.

The paper offers conceptual clarity on the emerging notion of worker voice in SSCM and is the first to interrogate the implications of recognition justice for the emergent worker voice agenda. It articulates key opportunities for future research to further operationalise worker voice upon a recognition foundation.

Our chapter focuses on the disconnect between economic and cultural policies and the needs of individual firms and creative industry professionals, all of which affect creative and cultural industry (CCI) entrepreneurship in the 21st century. After a review of selected policy trends and the overlooked role of creative industries in developing more sustainable liveable communities worldwide, we discuss recommendations by chapter authors in volumes 18A and 18B for useful policy actions, not only in and for their respective countries of study but also for other geographical contexts. Our particular focus is on how the CCIs have contributed to developing sustainable societies and meeting many targets of the Sustainable Development Goals. Thereafter, we provide an overview of the fifteen chapters distributed over five sections: ‘unusual and temporary places for CCI entrepreneurship’, ‘economic perspectives on CCI entrepreneurship’, ‘organising clustering of CCI entrepreneurs’, ‘cognitive aspects of doing CCI entrepreneurship’, and ‘social spaces and placemaking for CCI entrepreneurs’. Topics discussed include CCI entrepreneurship in rural areas (heritage entrepreneuring, book festivals), social work spaces, creativity and neuroentrepreneurship, strategic networking management for creatives, tensions from economic and artistic logics, collaboration challenges, street art and arts festivals. Countries considered include Estonia, Nigeria, Norway, South Africa, the United Kingdom, and Zimbabwe. We conclude the chapter with a selection of policy implications of chapters in both volumes 18A and 18B, and a research programme and manifesto for researchers to develop novel insights for policymakers, aimed at strengthening the important role of the CCIs in creating more liveable sustainable communities and economies.

This chapter explores a practical way of realising Africa’s creative and cultural industries (CCIs) potential as a new frontier for development. It answers the question of how can young African creatives be nurtured to build creative enterprises? Using insights from extant literature identifying some of the key contextual challenges, we developed and deployed a prototype innovative platform called the ‘Creative Village’ to address these challenges in a practical way at one of Africa’s biggest Music reality TV shows in Nigeria. A qualitative multistakeholder data collection approach called the Ecosystem Insights Approach (EIA) was adopted to explore these challenges and the appropriateness of the proposed Creative Village solution.

Findings identify some key constraints that creatives face such as weak structures and infrastructure, weak artist education, low levels of investment, and the underdevelopment of the music value chain. We conclude that the creative entrepreneurship framework called the ‘Creative Village’ and its key features is a viable way of jumpstarting and catalysing the already vibrant yet under-tapped CCI in Africa, but this platform must be built on five philosophical pillars: An inclusive platform for individual talents regardless of their gender, location or disability to find expression; developing a holistic, professional creative entrepreneur who understands their craft and the business of their craft; creating a platform that allows for different dimensions of authenticity to thrive; a platform that unifies different players in the Nigeria music ecosystem through the right partnerships; a platform that enhances local markets and connects musicians to regional and international market.

This study examines the transformation of labour non-governmental organisations (NGOs) operating in Mainland China since the enactment of the 2017 Overseas NGO Management Law, which aims to regulate foreign concerns functioning outside the direct control of the state. It focuses on the extent to which these organisations have responded to the rapidly changing political and social environment by altering their goals and strategies in support of migrant workers. It also considers the relevance of Western social movement theories (SMTs) to China's grassroots labour movement in the 2020s. 

The research is based on case studies of ten labour NGOs operating in Beijing, Tianjin and Yunnan. It draws upon fifteen semi-structured interviews with the founders, leaders and activists affiliated with those organisations, as well as records and documented information of each of those organisations.

While the power and influence of labour NGOs markedly diminished, most have been able to adapt their goals and the strategies remain sustainable amidst both China's changing political and social climates and the global pandemic. It suggests that conventional SMTs can still offer valuable insights into understanding the development of labour NGOs in China, although they might not fully interpret the specific conditions and challenges faced by these organisations.

This study stands out as one of very few to offer empirical evidence on the inner workings of China's labour NGOs over the last six years. It also contributes to our understanding of social movements in a non-Western context.

This research aims to explore the role of banks in supporting women agriculture entrepreneurs (WAEs) to contribute towards achieving the Sustainable Development Goals (SDGs). It focusses on the experiences of women entrepreneurs in the agriculture sector, recognising their vital role in driving economic growth and achieving the SDGs.

The study utilises the role congruity theory and the feminist agri-food systems model as its theoretical framework. Qualitative data from 35 WAEs and 7 bank managers (BMs) responsible for agricultural financial services and business development are collected and thematically analysed to achieve the research objectives.

Although BMs claim they offer specialised financial products with dedicated support teams, WAEs express scepticism due to fears of unfavourable deals and excessive requirements. WAEs need more understanding of SDGs but recognise their substantial contributions. BMs acknowledge the need to enhance efforts, improve communication of offers and integrate SDGs across all business operations beyond agriculture and women-centric initiatives.

Banks must prioritise gender sensitivity and inclusivity for WAEs, offering tailored financial products and flexible loan structures. Microfinance and strategic marketing can enhance outreach. WAEs benefit from forming associations, accessing support networks, collaborating with banks, government agencies, non-governmental organisations and agricultural associations for mentoring and networking, and achieving the SDGs and sustainable agriculture.

The study connects WAEs and banks in achieving SDGs.

The tertiary environment in Aotearoa New Zealand presents challenges that can affect the wellbeing of Māori students, members of the Indigenous peoples of Aotearoa New Zealand. This is because the values and practices that are normative in the tertiary environment do not always sit well with Māori, who also, in tertiary spaces, are in a numeric minority. Māori leadership and wellbeing are holistically intertwined so that changes that address issues of Māori leadership can support Māori wellbeing and consequently lead to valued outcomes. This chapter describes one change-making endeavor in which Māori leadership is normalized and developed as the “Academy Space.” The Academy Space is approached through one of its research and development arms, the video project Telling It Like It Is.

The creative industries are often perceived as intrinsically creative and innovative, primarily due to the nature of their output. However, the size of many organisations may mean that whilst product innovation is part of their value proposition, process innovation may be more difficult to achieve due to time constraints and relatively small staff sizes. This can lead to short-term ‘survival’ heuristics rather than a more strategic approach to personal/organisational development and learning. Alliances are an important means to add capacity and build new competencies and foster new ideas, and creative clusters have emerged as an important means to develop and strengthen alliances in the sector. However, research has shown that many small organisations and freelance artists may struggle to adapt practices accordingly to connect with clusters which often have a high growth orientation. This chapter explores a case study of facilitated collaboration between academic and non-academic partnerships in the creative industries as a means to help catalyse transformative strategies for change and innovation amongst micro and small and medium sized creative enterprises. The aim is to understand how practice-based participants of the University of Leeds Creative Labs Programme perceived their involvement over the twelve years of its delivery and to propose a theory of creative collaboration.

This systematic review of the current gender inequality issues in operations and supply chain management (OSCM) seeks to illuminate the multifaceted aspects of this issue and their various implications for the field.

Employing systematic literature review and Preferred Reporting Items for Systematic Literature Reviews and Meta-Analyses (PRISMA) methodologies, this research delves into an analysis of 238 journal articles spanning a 47-year period. The objective is to discern existing voids and put forth actionable suggestions that align with the United Nations’ Sustainable Development Goal Number 5 (SDG5) in the context of men and women, which pertains to realizing gender equality and empowering girls and women.

The results show a significant increase in published articles over the period. However, only five literature review articles were found that specifically address gender inequality in OSCM. The five common themes impacting gender inequality in this field are gender issues, mindset, transportation disparities, human resources and gender roles in OSCM, alongside sustainability, mobility and government policy intersections. The paper emphasizes the need for further research on these themes. It also suggests implications for educators, researchers, companies, OSCM departments and policymakers to achieve SDG5.

This study offers valuable insights by comprehensively reviewing and systematically analyzing the prevailing gender inequality issues within OSCM. It accentuates the significance of gender equality in OSCM, augmenting the burgeoning discourse and catalyzing concerted endeavors for gender equality.

This chapter offers a conceptual framework to explicate the current configurations of temporary art spaces in the United Kingdom and how they seek to support the interests of artists as self-employed individuals. This chapter begins with a review of the literature on artists’ (temporary) spaces. Next, we present a conceptual framework of the dimensions of temporary art spaces and explore how they support or hinder entrepreneurs in the cultural and creative industries to create and sustain their businesses and their wellbeing. The framework questions notions of temporary art space design that are often taken for granted by putting the most fundamental facets of the space (time and use) under a microscope. It can be used as a basis for future research into temporary art spaces and as a way to design better spaces that prioritise artists and their ways of working.