There is a common misconception that entrepreneurship in the cultural and creative industries can be characterised by the tension between artistic aspirations and the economic…
Abstract
There is a common misconception that entrepreneurship in the cultural and creative industries can be characterised by the tension between artistic aspirations and the economic sustainability of the enterprise. The image of a bohemian artist, associated with Paris of the twentieth century, remains a significant aspect of the contemporary creative worker’s identity. Yet, a more nuanced understanding of creative entrepreneurship situates creative practices in a relational environment and allows us to analyse diverse non-economic values and motivations. Through qualitative research, this chapter explores the distinctive practices of a small group of cultural and creative industry entrepreneurs based in studios in a post-industrial heritage building. Framed by the impact of COVID-19, this research situates entrepreneurs within social communities: a milieu for developing their creative entrepreneurial identities. The research suggests that workspaces and personal values play a significant role in shaping entrepreneurial practices, and that these are entangled with a sense of responsibility to locality and community.
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Charlotte Carey and Annette Naudin
This paper seeks to report on the current state and attitudes towards Enterprise Curriculum within higher education (HE) for the creative industries sector. It is based on…
Abstract
Purpose
This paper seeks to report on the current state and attitudes towards Enterprise Curriculum within higher education (HE) for the creative industries sector. It is based on preliminary findings from the Creative Enterprise Conference (2006) held at UCE Birmingham, which examined the role of HEs in developing future entrepreneurs in this important sector of the UK economy.
Design/methodology/approach
This paper explores issues related to enterprise curriculum development in HE through in‐depth qualitative analysis of plenary sessions, focused discussions and workshops. A number of stakeholders, including policy makers, academics, researchers and practitioners were invited to explore relevant issues appertaining to “creative enterprises” in the UK.
Findings
This paper presents a critical evaluation of the growing specialist literature, activity and research in creative industries, notably: research needs, paucity of pedagogical materials, characteristics of “creative entrepreneurs” as well as how, when, where and in what way should “creative” students be taught about entrepreneurship and self‐employment.
Practical implications
The study offers stakeholders a critical perspective on current attitudes and practices within creative industries. This paper offers interested parties an opportunity to consider and reflect on how HE can develop relevant curriculum and deliver enterprise education that is pertinent to students who intend to operate in this important sector of economic activity.
Originality/value
By capturing current attitudes and good practice in creative industries, this paper emphasises enterprise curriculum development and implementation in a relatively underdeveloped aspect of educational research. It makes tentative suggestions and recommendations on how HE and policy makers might respond to current and future enterprise education needs.
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Inge Hill, Sara R. S. T. A. Elias, Stephen Dobson and Paul Jones
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…
Abstract
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.