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The paper aims to present the importance of social relationships in cooperation among theaters in the creation of three types of values that characterize arts entrepreneurship (i.e. artistic, economic and social).

The findings are based on qualitative research with the use of 50 semi-structured interviews conducted with 57 representatives of public and private theaters in the performing arts sector in Poland.

The research shows how social relationships among cooperating representatives of theaters are used to create three types of values that characterize performing arts entrepreneurship (i.e. artistic, economic and social). The findings reveal that theater representatives take advantage of social relationships and engage in inter-organizational cooperation in introducing various changes in their institutions. Thus, by fostering innovation, risk-taking and searching for new opportunities they adapt to the dynamic environment. The paper shows how the three groups of values of performing arts entrepreneurship are interrelated but also sometimes conflicted with one another.

The research is not representative as it presents the context of the analyzed theaters in Poland.

Entrepreneurship, although a popular subject of research, has been much less frequently analyzed with regard to the creative industries, such as the performing arts. In the field of management, researchers have focused primarily on business organization entrepreneurship, excluding cultural and arts institutions such as theaters. In this context, so-called arts entrepreneurship has not yet been widely recognized. In particular, there is a lack of research showing how social relationships between cooperating partners are used in the creation of three types of values in performing arts entrepreneurship, i.e. artistic, economic and social. The article fills this gap and presents both a scientific as well as an applicative contribution.

European performing arts companies, intrinsically fragile, have been severely hit by the economic crisis. Within the global search for new economic models in the sector, a growing number of initiatives have been taken in the form of establishing collective and participatory firms. Their forms vary from simple interorganization resource pooling to proper registration of a cooperative. Our research aims to understand the motivations of project initiators for collectively organizing their business. We test the influence of instrumental versus ideologically driven motives as well as the influence of the socio-economic context on the decisions of performing arts entrepreneurs (artists, producers, or directors) to establish participatory firms. We relate these results to the success or failure of collective firms and to the degree of cooperation. We use a qualitative method based on semi-directive interviews conducted in 21 performing arts collective organizations, over two years and in six European countries. Interviews were integrally transcripted and processed using qualitative data analysis software (QSR NVivo 10) in order to realize axial coding. We found that while the context, instrumental logic, and ideologically driven motives influence the decision to establish collective organizations in performing arts, it is the ideological dimensions that are predominant and constitute a necessary condition for the success of a participatory organization. We observe that the more collective organizations are ideologically motivated, the more they are likely to be successful in the long run (success being assimilated to economic sustainability). We also find that the greater the importance of the ideological motive, the more integrated the cooperation. Eventually, these results provide significant information regarding the form of collective firms in performing arts. We observe the emergence of new forms of cooperatives that comprise cooperatives of production and projects or companies, establishing participatory and democratic governance, and pooling resources and financial risk while preserving the artistic freedom of artists. We view these emerging types of cooperatives as a promising avenue both for the sector itself and for the development of the cooperative movement beyond its traditional sectors. The findings suggest that public incentives, as they are currently set up, may miss their objective of promoting shared practices in the arts or even be counterproductive; thus, it would be to their advantage to be modified in light of the above results. We also defend the interest of trans-border cooperative organizations inspired by the cooperatives of production and their governance models and organizations. Despite a number of studies highlighting cooperation in the cultural sector, research on cooperatives in this sector remains embryonic. This paper contributes to this literature. We argue that applied research in this sector can be of contributive value to the literature on cooperatives and participatory firms.

The competitive luxury market raises higher requirements for luxury brands to effectively involve young generations in creating and endowing meanings to products, services and experiences. Several researchers suggest that art experiences create a fertile source of co-creation practices for cultural customers as they could engage in cognitive, emotional and imaginal activities to endowing meanings to products or services. Hence, bridging art and luxury is of significance for luxury brands to create value and engage their customers. This chapter delivers the essence of value for luxury brands and their customers and focusses on how luxury brands deploy art-based initiatives as a favourable technique in which value co-creation takes place.

This paper aims to provide a theoretical guide for preserving ancient books in China.

The paper reviews the history of the damage and preservation of ancient books in China, and analyzes the value attributes of ancient books: archaeological value, historical value and artistic value.

The paper proposes a preservation framework for Chinese ancient books. This framework is composed of three layers. The foundation layer is to preserve the physical entity of ancient books so that the archaeological values are preserved. The middle layer is to preserve the intellectual content of ancient books so that the values for historical research are preserved. The top layer is mainly about preserving the productions process of the artistic format of ancient books, so that not only the static artistic formats are preserved, the techniques and procedures to produce the artistic format are preserved as well.

The paper presents a framework that connects the value attributes of ancient books and the strategies to preserve those values, systematizes them and presents them as a whole. The framework can be used to justify government policies and help identify pitfalls in the preservation strategies for ancient books.

From the perspective of role identity theory, the purpose of this paper is to explain how an artistic creative entrepreneur has set up and operates a business that incorporates a component of social responsibility into the business model.

An explanatory case study approach was followed in analysing the case of Alenka Repic, the founder and creative director of the company Kaaita, which operates from Slovenia. Data were collected through documentation and interviews and content analysis was used to analyse the data.

Kaaita has adopted an innovative and socially responsible business model as an artistic creative enterprise. The case study firstly introduces Kaaita and its innovative business model. Thereafter, it describes and discusses the defining roles of Alenka Repic as an entrepreneur and how these roles have shaped what Kaaita does and how it operates.

This explanatory case study has presented the unique case of an artistic creative social entrepreneur, and the innovative business model that has been adopted. However, because only one case has been presented here, it is recommended that additional case studies be conducted. It is also recommended that additional research be conducted in the area of sustainable business model innovation.

The case illustrates how a more deliberate consideration of their role identity could assist entrepreneurs in aligning their personal values and beliefs with how they create, operate and develop their enterprise. It also serves as a reminder to both scholars and aspiring entrepreneurs that the essence of entrepreneurship is to have the passion and courage to be innovative and disruptive and that educators should focus on cultivating skills that are related to identifying and exploiting opportunities for innovative disruption.

The study draws on role identity theory to gain insight into the roles that are exercised in developing an innovative business model that combines diverse types of entrepreneurship.

The development of artistic services is often unsuccessful because quality artistic services are characterized by offering new experiences to customers and pursuing excellence of the performing services in the details. To successfully facilitate developing artistic services, this study builds an ambidextrous service innovation and service effectiveness (ASISE) model that describes the processes and steps of art-oriented services development.

A case study was conducted on Relais & Châteaux (R&C) hotel membership in Taiwan to better understand the steps and activities that describe service innovation processes. Triangulation was performed by compiling secondary data (e.g. official R&C notebooks and documents relating to Volando) and conducting field investigations and semi-structured interviews (with managers, employees, customers, artists).

This study combined the ambidexterity perspective with the Plan-Do-Check-Action (PDCA) principle and expanded the application range of the model from improving the service process to addressing the overall service innovation process, and included the gradual construction of the eight steps of scanning, linking, designing, performing, assessing, feedback, improving and adjusting.

Hotels can use the ASISE model developed by this study to simultaneously create new artistic service activities and enhance the effectiveness of current artistic services.

Based on the ASISE model, which emphasizes an art-oriented and continuous cycle, this study thoroughly analyzed the obstacles of integrating art into hotel service processes, and successfully established a series of steps for developing art-oriented services.

This study aims to understand the characteristics and formation of artists’ production sensibilities and relations with other actors within an emerging hybrid art market structure.

To unravel senses and map out relationships and structures in the context of this study, qualitative methods, including in-depth interviews and analysis of secondary data sources, were applied.

The authors describe three art production sensibilities and market-based relationship logics rooted in the artist and the artwork’s diverse role in the market.

The findings suggest that artistic sensibilities motivate managers working in the hybrid art market to develop a more nuanced positioning of artists and their creative outputs to improve harmony and collaboration.

This study demonstrates that the hybrid structure of art markets allows for the harmonious separation and collaboration of non-market (artistic) and market logics. This study uncovers how artists combine their non-market creative position with market needs in the process of marketization and hybridization.

In recent years there has been a welcome growth of interest in learning how artists understand, engage with and respond to aspects of business practice such as marketing. In the case of music it has been suggested that artists are by no means universally motivated by commercial success, and in many cases find the practices of mass marketing repellent. However, there is general agreement that the study of attitudes of artists is still in its infancy, not just in terms of identifying the research agenda, but just as pressingly in identifying a range of appropriate methodological tools for understanding the phenomenon. This paper aims to address these issues.

This paper describes a study where the focus was narrowed to a single genre (jazz), a single country (Poland) and a single artistic level (acts which have been successful both commercially and artistically). In total three biographical interviews were completed, involving four jazz musicians.

The research found many points of convergence with earlier studies, in particular the primacy of the artistic ideal over commercial imperatives. The evidence of this study, though, suggests that jazz musicians can engage with markets through a variety of different methods, which are heavily influenced by their desired and actual artistic identities.

This study sought to make a contribution to a growing area of research into musicians' identities outside the USA.

The purpose of this conceptual paper is to deepen the theoretical understanding on value (co-)creation particularly in the context of arts.

Through critical readings of the current theories on co-creation and co-production, we analyse literature relating to the network and service-dominant logic from the perspective of the arts field.

It is argued here that the context for value co-creation might be better analysed through network relationships, allowing a better identification of actors and their roles. We highlight the role of non-expert consumers through their co-creational experiences. In addition, we question the implicit assumption that the outcome of value co-creation is always progressive.

The paper provides deeper understanding for art managers of the mechanisms of value (co-)creation.

The paper provides new knowledge of the variety of levels of relations in the value co-creation.

The novelty of the paper lies in the new conceptual framework that offers both a wider perspective for theory building of value (co)creation in the context of arts management and deeper understanding for art managers of the mechanisms of value (co-)creation.

The purpose of this paper is to show the potential of cultural projects which could become a source of inspiration in terms of refreshing and adjusting traditional project management to modern times and making it more flexible. However, as research indicates, this potential is limited by cultural policies forcing artists and cultural managers to implement project-related techniques which have been already identified as inefficient and faulty in the progressive discourses on project management, mainly in the for-profit area.

The analysis is based on three case studies of Polish and Polish-German theatrical co-productions. The research was conducted in Poland and Germany in 2012-2014. It involved 21 individual in-depth interviews with artists, managers and administrative staff working on projects as well as an analysis of project documentation.

It has been found that project management could draw a lot of inspiration from cultural projects in terms of, e.g. the processual nature of activities, motivating project teams and inclusive leadership. Based on the research, the authors also argue that it is worth considering spectators/other stakeholders as part of project teams, which will help build a non-oppressive social mechanism of control.

Advantages of replacing the just-in-time approach to project management with the work-in-progress approach; increased motivation and commitment of project teams to their work; building a unique team spirit; inclusive leadership based on passion.