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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.

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.

An inexorable pursuit of economic gain has ushered in fashionable, entrepreneurial manoeuvres in the arts. This has led not only to the acceptance of new sectoral categories, such as the creative industries, but also to a form of creative industrialization that encourages additive injections of market logic and notions of entrepreneurial value to an erstwhile dependent culture of the arts. Normative silo-based analyses continue unabated in the gnostic worlds of both the arts and entrepreneurship, with a tendency for the latter to ‘rescue’ the ‘failing’ arts. Application of market logic can, however, ignore the multivalence of entrepreneurship or the rich textures of meaning provided by the arts. It is suggested that a consideration of the centrality of imagination offers insights into different forms of value creation in entrepreneurship and of the creative entrepreneurial dimensions in the arts. A review is presented of how entrepreneurship has positioned itself in the arts and questions are raised about the constraints of a market logic approach. It is argued that such an approach promotes a deficit model of the arts and a stagnant, status quo understanding of entrepreneurship. By exploring various arts movements, such as the Bauhaus project, the legacy of Joseph Beuys’s philosophy and the unique, needs-focussed work of the Japanese architect Shigeru Ban, creative latitude can be found in the meaning of entrepreneurship as the mobilization of the resources of imagination.

The purpose of this paper is to elucidate the current state of arts entrepreneurship education at higher educational institutions (HEIs) by reviewing the relevant literature and surveying lecturers in Fine Art.

The analysis of fine art students’ educational situation at HEIs in the UK and Germany is conducted in two steps: first, a literature review provides an overview of the current state of arts entrepreneurship education, followed by the second step of a cross-sectional survey by questionnaires among fine art lecturers to capture their perspectives of fine art students’ professional preparation.

The study confirms the assumed poor state of arts entrepreneurship education at HEIs by showing evidence that an entrepreneurial education of fine art students is definitely not implemented at HEIs, neither in the UK nor in Germany.

The findings stimulate the discussion of HEIs’ task and responsibility to professionally prepare fine art graduates for their entrepreneurial and professional career.

The study contributes to knowledge by presenting relevant findings related to fine art curriculum and current state of fine art graduates’ vocational preparation.

The purpose of this paper is to report on the current state of arts entrepreneurship education at higher educational institutions (HEIs) in the UK and Germany. It is based on findings from questionnaire surveys among 210 lecturers in fine art at 89 HEIs in the UK and Germany.

This paper explores issues related to fine art curriculum in higher education in the UK and Germany via survey questionnaires among 210 fine art lecturers with focus on arts entrepreneurship.

The study shows evidence that an arts entrepreneurship education, although considered by lecturers to be important and necessary for the professional and entrepreneurial preparation of fine art graduates, is definitely not implemented at HEIs, in neither the UK nor Germany.

The findings stimulate the discussion in the field of arts entrepreneurship and the redesigning of fine art curriculum to prepare fine art graduates for their entrepreneurial and professional careers.

There is still a marked paucity of research that focusses on arts entrepreneurship education. This study contributes to the knowledge by presenting specific findings related to fine art curriculum.

The very soul of cultural and arts entrepreneurship (CAE) is aesthetic. However, what is the importance of being aesthetic in CAE? An understanding of aesthetics substantially improves both our comprehension of CAE and our capacity to theorise about entrepreneurship and creative industries. Furthermore, when seeking to understand CAE, the authors expand their knowledge about aesthetics, an ordinary but complex and neglected kind of knowledge. The authors mobilise three perspectives in organisational aesthetics theory (sensible knowing, connection, and judgements) to develop and propose initial ways to connect aesthetics to CAE. These perspectives help to explore and explain the vital importance of aesthetics in CAE and its innovation process. Aesthetics is a source of innovation in CAE, and the authors propose to perceive entrepreneurial innovations as aesthetic learning, persuasion, and flow.

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.

This paper aims to provide clarity on arts marketing during COVID-19 by undertaking a critical review and theoretical integration of published cultural and creative industries (CCIs) data on the pandemic.

The study draws on the findings from a content analysis of published refereed journal articles and research reports, between 2020 and 2022.

This study clarifies how scholars in the arts marketing field have examined the concept and identified core dimensions. It also brings together these conceptual categories into an integrative multilevel framework of relevance for arts marketing during COVID-19. The framework outlines interconnected processes as well as dualities, such as digitisation, monetisation and sustainability of the CCIs and poses a future centred on entrepreneurial actions.

The originality of the paper is that it provides clear-cut evidence for new frontiers for research in the field during a period of discontinuous change due to COVID-19, through a literature review that has not been undertaken previously. It links the need to be entrepreneurial as a means for the CCIs to survive and thrive during and after a global crisis.

This study aims to explore the motivations and business ideation processes of 776 entrepreneurs from three diverse cohorts of technology, youth and arts entrepreneurs.

Using an inductive approach inspired by grounded theory, observations resultant from the use of a Web-based digital test environment are openly coded, in which 776 individual entrepreneurs have stated their objectives for engaging in entrepreneurship and performed a business ideation process.

The study inductively derives a typology of objectives types – “GET GIVE MAKE LIVE” – and finds that beyond the pursuit of profitable opportunities, there is considerable variation, complexity and combinations to the reasons why individuals engage in entrepreneurship. A total of 76 percent of the population in this study have more than one objective, with 48% having more than one type of objective. While the arts entrepreneurs tended to engage in entrepreneurship to “LIVE” and the tech entrepreneurs were more inclined to “GET,” the most frequently observed objective type in all cohorts was to “MAKE.” A total of 74 percent of the entrepreneurs took an effectual approach and began defining their business idea with their core competency, yet technology entrepreneurs were the most likely to start by defining their key market.

Entrepreneurship educators, trainers and helpers should refrain from a standardized approach which assumes that entrepreneurs share the same set of singular motivations. Interventions might benefit from a student-centered program which promotes reflection and articulation of the entrepreneurs’ objectives and their diversity.

This study answers the call for research to embrace entrepreneurial diversity and compliment previous explorations of entrepreneurs’ motivations through an empirically grounded study of three diverse cohorts of entrepreneurs.

This paper is a study of creating organization in the case of cultural projects; cultural entrepreneurship. This includes taking advantage of opportunities and using ones social capital through networks. It is a case study of Vandalorum which is an Swedish international art and design centre with a strong regional connection. They want to offer close collaborations between artists, designers and the creative industry. It is located in Värnamo in the south of Sweden and was inaugurated in April 2011 after an establishment process running over 15 years. Renzo Piano has created the architectural concept of Vandalorum, inspired by traditional Swedish materials and building techniques. The paper aims to discuss these issues.

Through interviews with significant actors over many years and secondary analysis of data collected by others the authors describe and analyze the establishment process of Vandalorum Art and Design Centre.

The case of Vandalorum shows that organizing a cultural project like Vandalorum is characterized by no well-defined starting and stopping point, but – quite typically for entrepreneurship as an organization-creation process – builds momentum and legitimacy narratively.

The originality lies in answering the question that the authors chose to focus on, which is embedded in the opening story of Vandalorum: how can such a cultural project become legitimized in a place like that, outside and rather far from any large city? In a changed cultural landscape with reduced public contributions, the claim is that it is crucial to legitimize the idea and project in relation to the main/key stakeholders. Such legitimization is a key entrepreneurial achievement.