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Despite a large volume of theoretical and empirical research, defining the ‘entrepreneur’ and ‘entrepreneurship’ within the cultural and creative sector, a sector with high heterogeneity in organisational and other aspects across its various segments remains challenging. In this regard, there should be a wide variety of differences in the characteristics and challenges of cultural entrepreneurs across industries, countries and regions. Nonetheless, the key role of the arts and cultural sector has increasingly piqued the interest of policymakers and the private sector, and it has been recognised for its importance within the South African economic landscape; as a result, the government has prioritised arts and culture as a pillar in their development strategies. Furthermore, while there has been some consensus over the past decade on what constitutes a creative industry, many questions about defining arts and cultural entrepreneurship still need to be answered, necessitating further definitional and policy coherence. As a result, some efforts at definitions are required to advance the sector and develop useful knowledge in policy formulation.

This chapter proposes an understanding of arts and cultural entrepreneurship as an exploration of a person, a community or a network's artistic resources (arts, creative and cultural) in value creation. It utilises meta-analysis, a non-empirical method, to review and analyse the existing literature. Further research is needed to investigate and evaluate the efficacy of established arts incubators, and the extent to which perceived entrepreneurial competencies affect organisational performance. Moreover, additional research is required to examine the entrepreneurial factors inhibiting or stimulating the influence on start-up financing (capital acquisition) in the South African arts and cultural industry.

The purpose of this paper is to focus on the perceptions of key stakeholders of the human resource management (HRM) practices and challenges in performing arts organisations in Victoria, Australia. Challenges include the precarious nature of employment in the industry; poor wages and conditions leading to financial insecurity and the domination of the industry by small- and medium-sized organisations. The passion and commitment of the performing arts workforce are both a strength and a weakness in that they “buy in” to the expectations of long hours and unpaid work. These challenges impact on managers and administrators as well as performers and raise many challenges for the HRM function and places constraints on even basic HRM practices. Despite the claims of the stakeholders that the large companies have sophisticated HRM practices the early evidence suggests otherwise. Furthermore, many of these problems cannot be solved at the organisational level and need an industry and government response.

A qualitative research approach is used to guide this study as it allows contextual evaluation of the data. Eight key stakeholders interviewed for this study included one official specialising in industrial relations from Live Performance Australia, one official from the Media and Entertainment and Arts Alliance, two government officials from the State government, one with responsibility for working with Performing Arts companies in relation to funding and resources, and the other with responsibility for government arts policy development; two chief executive officers – one from a small arts company and the other from a large arts company; one HR director from a large arts company; and one manager from a small-to-medium-size company. Face-to-face, semi-structured interviews were undertaken to provide an information-rich inquiry.

The study suggests that there are considerable barriers to the effective adoption and implementation of HRM in the performing arts. In particular, the research identified four major features that impact on HRM practices in the arts sector. These are: first, the precarious nature of employment, due to the short-term and project focussed work. Second, the reliance on often limited government funding, supplemented by philanthropy, sponsorship and box office takings, leading to short-term and long-term financial insecurity and limited capacity for long-term planning. Third, limited resources and high levels of casualisation which leads to low income, poor working conditions, lack of training and few opportunities for career development. Fourth, despite these difficult conditions, the sector appears to attract a highly motivated and committed workforce including not just performers but also managers and administrators and the sector appears to rely on their passion, commitment and shared endeavour.

The study has limitations. For example, it focussed at the macro level of key stakeholders rather than at the organisational level which is the usual unit of analysis for HRM studies. The stakeholders made many claims about HRM practices that need to be explored in further research at the organisational level. Also, apart from the trade union interviewee, the employee voice is missing. Again, further research into both performing arts practitioners and managers and administrators would be valuable future research.

This study raises a number of implications for practice. The first is that government policy makers need to focus on the sustainability of their funding models and take account of the myriad of evidence that now exists in regard to the detrimental impact of precarious employment in the increasingly valuable performing arts sector. A policy approach that highlights longevity and development of the sector rather than an emphasis on encouraging competition between small companies for financial survival has much to offer. The second is in relation to industry players who rather than blaming governments could take some control through supporting the growth of networks that could provide training and development and career development opportunities for organisations and individuals (Hennekam and Bennett, 2017).

This study contributes to the understanding of HRM systems and practices in the performing arts.

This paper aims to provide a comprehensive academic literature review on the relationship between knowledge management, knowledge transfer and organizational performance in a specific subset of the creative industry, i.e. arts and crafts organizations. Furthermore, this paper analyzes how knowledge management and transfer within arts and crafts organizations help increase performance and enhance the value of the activity of the so-called “knowledge workers” (i.e. craftsmen), who are the real knowledge owners in the process of value creation.

The literature review follows the model suggested by Vom Brocke et al. (2009). The review follows a five-phase approach so as to be systematic, transparent and replicable. Academic contributions published over two periods are taken into consideration. The first period covers the years 1990-2000, when the concepts of creative industry and knowledge-based economy were developed. The second period covers the years 2000-2016, when scholars started to investigate how to effectively transfer knowledge (very often in the form of “tacit knowledge”) retained by master craftsmen in arts and crafts organizations and the critical role played by craftsmen in the performance of such organizations.

Three main issues have emerged: how arts and crafts organizations manage and transfer knowledge internally; the effects of these activities on organizational performance; and the prominent role of craftsmen. The literature review shows how in arts and crafts organizations there is a considerable link between the concepts of “performance" and "tacit knowledge", even though addressing such link is somehow hard to realize, for several reasons discussed in the paper. The measurement of performance in arts and crafts organizations has become an area of academic investigation only when both the role of knowledge management and transfer and the role of knowledge workers (i.e., craftsmen) have become evident for obtaining a competitive advantage.

This paper has been an attempt to organize existing studies on knowledge management and transfer and to investigate the relationship existing between knowledge and performance in arts and crafts organizations. Nevertheless, the relationship between knowledge and performance is yet to be explored, as well as the development of techniques for measuring arts and crafts organizations’ performance effectively. The present contribution calls for a systematic reflection on how the transfer of traditional craftsmen’s skills impacts organizational performances in the long run. The definition and implementation of new performance evaluations criteria tailored to enhance the tacit knowledge of craftsmen as a real source of differentiation and competitive advantage for the arts and crafts organizations is somehow still missing.

By pursuing its objectives, the present contribution aims to represent a step toward enabling arts and crafts organizations to play a vital role in the modern society in a more structured way. This would help to build awareness of the potential of arts and crafts organizations for promoting economic growth, proposing a value proposition different from the one dictated by the globalization and by the triumph of product standardization and mass production.

Analyzing the knowledge management and transfer within arts and crafts organizations with a historical perspective, it appears that the recognition in academic literature of the centrality of knowledge management and transfer within arts and crafts organizations is only recent (i.e. from 2011 onward). Indeed, for approximately 20 years (i.e. 1990-2010), knowledge has been constantly related to technological paradigms and standardized results, with very little research and debate on craftsmanship and the role of craftsmen. Nevertheless, the research shows that over the years, the focus on knowledge in arts and crafts organizations and knowledge transfer has become progressively more detailed and precise: some authors have studied the role of craftsmen in the knowledge economy according to a historical perspective, while some others have analyzed different types of knowledge more thoroughly. For example, Sveiby (1997, 1996), analyzing the concept of "knowing talent" and "tradition", outlines a more prominent role of craftsmen in the knowledge economy and explain how, in sectors with a strong traditional background, the transfer of tacit knowledge is a meaningful challenge for many organizations.

Why should businesses invest in the arts? Why ‘sing for your supper’ when you can earn much more by coding? In an era when artificial intelligence (AI) is forecast to eliminate millions of jobs, many educators and policy-makers advocate scientific, technology, engineering and mathematics (STEM) education as the solution to future unemployment. They envision a workforce of diligent coders who automate everything, including their own jobs. While useful for finding tech jobs today, this myopic approach ignores the coming ‘Cambrian explosion’ of content and services that are being catalysed by exponential technologies. In Silicon Valley, virtual reality (VR) and augmented reality are already being applied to surgery, warehousing, retailing, architecture, construction, cars, therapy and concerts. Top VR managers and developers come from the social sciences and humanities, which provide the analytical and social skills for understanding customers and identifying new use cases and business models. STEM alone cannot answer the complex ethical and policy issues facing businesses: companies need employees with ‘soft skills’ who can integrate STEM with the arts (STEAM). In Silicon Valley today, the most challenging jobs are going to people who can offer practical answers to bottom-line questions about the value of social, cultural and artistic soft skills. What is the value of the arts for business growth? What can businesses learn from the creative industries? How can return on investment in the arts be measured? How will STEAM and exponential technologies enable new business models? How can STEAM education prepare people for the AI era?

This chapter provides insights into country-level case studies on the creative sub-sectors such as the Domestic Tourism Development Strategy in Nigeria and the Year of the Return initiative in Ghana – showcasing architectural feats and innovative cultural artefacts. This chapter also features Burkina Faso (film), Djibouti (Animation and sustainable tourism), Kenya (animation and Arts), Nigeria (photography, film), Ghana, Mozambique, South Africa, Zambia and Zimbabwe.

The learning outcomes of this paper are as follows: to assess the extent to which a new business concept or entrepreneurial idea represents a commercial success or practical failure, to estimate the complexities associated with the management of a partnership-based venture in the context of emerging markets, to demonstrate understanding of entrepreneurial action and strategic adaptation under the condition of uncontrollable external shocks (e.g. COVID-19) and to evaluate the pros and cons of different strategic options and provide viable recommendations for the future.

Startup entrepreneurship constitutes the backbone of the socioeconomic activity of any nation and a driver of innovation, industrial diversification and wealth generation, particularly in emerging market settings. Drawing upon narrative storytelling techniques, this case study immerses the reader into the intricacies of entrepreneurial venture creation within the dynamic startup ecosystem in the Middle East. It follows the story of a young serial entrepreneur, Omar, who decided to launch a business in the creative industry of arts in the United Arab Emirates in partnership with his friend, Ahmed. Their common venture, Mont8, showcased and promoted the artwork of budding and well-known Arab talents and was on track to become a recognizable brand in the Middle Eastern business of arts until the COVID-19 crisis shook the world taking everyone by surprise. In an attempt to build a successful post-pandemic future, Omar was convinced that Mont8 needed to fast-track its digital transformation. He envisioned an e-commerce marketplace that would empower Arab artists, designers and photographers to create customized virtual galleries on their own web-stores through the Mont8’s digital platform. Yet, Omar’s vision diverged drastically from the very conservative mindset of Ahmed, who did not want to disrupt tradition and argued in favor of a back-to-business-as-usual approach. It remains unclear whose option would be selected and whether the two partners would stay in this makeover together or rather part ways.

Upper-level undergraduate courses.

Teaching notes are available for educators only.

CSS 3: Entrepreneurship.

Upon completion of the case, students will be able to reflect the forces, which may disrupt the art industry through Artientifique initiatives and the ability to apply Phoenix encounter method with proactive scanning to remain competitive; create various multi-functional roles as a youth entrepreneur in the micro, small and medium enterprises (MSMEs) capacity and be able to understand the level and review the competition and business trends from an art industry perspective; analyze how innovation clubbed with sustainability will create a competitive advantage in a circular economy; determine the leadership style most appropriate for MSMEs to indulge in innovation and sustainability in the fine arts business; and design and discover opportunities to promote women’s entrepreneurship in the art industry, especially in emerging markets.

On a cold Friday morning in November 2020, Aisha Mir was in utter confusion written all over her face. She had to decide on a prosperous pathway. Should it be customization or standardization of artwork? Also, whether she should continue investing in the existing in-house supply chain or outsource this to a third party. Being practicing sustainability in her personal and professional life, she had designed her art studio herself by using upcycled materials. While enjoying the pigeons and sparrows chirping and eating grains on her wide windowpane, she looked at the world map with keen interest and imagined herself flying to each country along with her gray and white pigeons. While sitting in Madina city, Saudi Arabia, she was concerned about the expired makeup collection hub being set up in Abu Dhabi, UAE. The collection and the painting processes had to be monitored; the artworks needed auditing, framing and packing before they were shipped to a customer. Centralizing would add unnecessary hassle, and outsourcing needed distribution of authority. Keeping the challenges in mind, she was struggling to find a solution for efficient community engagement.

This case has been particularly focused on undergraduate and postgraduate early-stage level students pursuing business or commerce programs, particularly those studying entrepreneurial and management courses in innovation and sustainability.

Teaching notes are available for educators only.

CSS 3: Entrepreneurship.

The 1922 Supreme Court anti-trust exemption awarded to organized baseball was quick to grasp the prerogatives of the emerging U.S. popular culture industries, and displays the anomalies of performance in the law. The trade and commerce in cultural performances yield contradictory opinions about the distinctions between the functions of work and play, as well as the properties of work and the performing arts. The interconnecting functions of a sport like organized baseball, as an industry, an art, and a popular cultural entertainment makes baseball a rich object for analysis in the perplexing historical puzzle of decentralized U.S. cultural policy.

The overall aim of this chapter is to investigate whether the notion of cultural value can have utility as a context for urban and regional development strategies. It does this by proposing a conceptualisation of ‘cultural assets’ that encompasses both tangible and intangible resources, as well as resources existing and yet to be created. The purpose of the conceptualisation is to establish a framework within which we can better understand how cultural value might be activated or generated in urban and regional areas and so become a context for developmental strategies. Importantly, this paper also sets out to provide further insight into the notion of cultural value itself, particularly in relation to matters of definition, and the notion's utility in other areas of theory and practice.

This study aims to determine the influence of relationship marketing on consumer behavior in the fine arts sector. Specifically, it examines the relationship marketing dynamics that significantly impact art enthusiasts' intention to purchase and their satisfaction with the artist.

The proposed model was tested through the “structural equation modeling” technique to explain how and to what extent each variable affected purchase intention and satisfaction. Using a paper-based and online survey method to gather data, the authors analyzed 303 responses from art students, art collectors and art dealers in Mongolia. Eight hypotheses, including two mediating hypotheses, were developed and tested.

The results indicated that relationship investment and communication significantly influence trust, satisfaction and purchase intention, while trust significantly influences satisfaction and purchase intention. The study also assessed the vital role of trust as a mediator.

The study's results provide insights that may help artists, art collectors and art dealers promote and improve the sales of their art products. The interactions demonstrated between the construct reveal essential implications for art marketers interested in relationship marketing strategies.

This study is the first to explore the application of relationship marketing in the fine arts industry.