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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.

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.

This chapter explores street art as a form of creative and cultural entrepreneurship from two perspectives. Firstly, in relation to placemaking during a pandemic (COVID-19) and secondly, from the experiences of the artist-entrepreneur, in terms of taking opportunities. Drawing on a single, in-depth case study, it analyses how the art entrepreneur is able to take opportunities through ‘necessary combined capabilities’ (Wilson & Martin, 2015). Further reflection from the artist then explains how internal capabilities are used to sustain the entrepreneurial process. The discussion gives insight into how creative entrepreneurship is enabled by context and the entrepreneur’s self-motivation and learning during COVID-19. It has implications for how art entrepreneurs can develop their skills and reputation through taking placemaking opportunities.

This chapter investigates performance management and competition within the creative and cultural industries (CCI) in a developing country like Zimbabwe. The chapter is a critically reflective piece that aims to develop an in-depth understanding of the complexities of performance management and competition in CCI. Lived experiences reveal distinct differences in performance criteria between creatives from developed and developing countries. Zimbabwean creatives’ perception of performance, its management and competition are influenced by economic pressures such as high unemployment, low demand for creative products, and oversupply due to high concentration of creative producers in the market. As a result, the application of performance criteria is dynamic and dependent on external pressures beyond the sector. The chapter makes recommendations for future studies in this area.

Entrepreneurship is not limited to managing and creating a business; other diverse domains have been explored by various scholars. The concept has been defined and explored in various aspects including cultural entrepreneurship (Gupta & Anandaram, 2022) ethnic, feminist, institutional, and various others. To obtain further insights into entrepreneurship, Krueger and Welpe (2014) sought to collaborate on the cognitive and emotional aspects and termed it neuro-entrepreneurship. Literature trends on neuro-entrepreneurship are generally confined to opportunity recognition, risk-taking measures, and decision patterns. It is too early to reach any conclusion as no empirical research has been undertaken on the topic yet. Neuroscience techniques such as fMRI and Magneto-encephalography (MEG) are trying to reveal the hidden phenomenon behind the decision-making process in entrepreneurs. The COVID-19 pandemic forced entrepreneurs to face a new reality: That is not only the crisis in physical resources but also caused a disrupted mental state. Entrepreneurs are seeking new ways to get back on track and potentially neuroscience will assist them. This chapter discusses the background literature on neuro-entrepreneurship and an overview of the rationales of neuro-entrepreneurship in organisational settings. It explains the cognitive and emotional dimensions of the brain controlling decision-making in entrepreneurs. This chapter establishes a connection between decision-making and creativity at the workplace with the help of neuroscience techniques of entrepreneurs and future directions towards achieving a creative entrepreneurial system by amalgamating neuroscience techniques and decision-making for improving entrepreneurial activities.