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Purpose – This research will design an independent entrepreneurship model through creative economic activities for women. The specific objective to be achieved through this research is to identify the entrepreneurship model for women through creative economy empowerment.

Design/Methodology/Approach – This research was conducted in Lhokseumawe city, with the objects of the research being housewives in Lhokseumawe city. The research method used is as follows: mapping the potential of women’s economic field, identifying creativity activities that can be developed, and determining the selected economic activity.

Findings – The results show that based on the profile of women not working, it is known that they have low educational access and limited income; overall women who are creative economy actors have a high potential in running creative economy.

Research Limitations/Implications – In the creative economy, Triple Helix system became an umbrella that connects the scholars (intellectuals), business, and government within the framework of building a creative economy.

Originality/Value – Empowering women to improve the creative economy by using the Triple Helix model is considered effective because it is like a building that will strengthen the city economy with the foundation, pillars, and roof as the building elements.

This chapter provides creative industries as a sector of the economy that is largely dependent on audiences and in most cases, a shared experience in some form of intimacy. There is no art that does not require an audience – most activities in this space thrive on the energy of audiences. Consequently, our main focus in this chapter is to assess the impact of the restrictive measures around COVID-19 on the Creative Industries in Africa.

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.

This chapter is based on more than a decade of art world research in Singapore but offers a single case of a composer who has composed a work for an orchestra. This study presents the creative reputation dilemma faced by many artists who attempt to be more entrepreneurial. Most countries promote their creative economy, and that has generated a class of artist entrepreneurs or ‘artrepreneurs’. Professional artists are encouraged and challenged to be economically independent and also to make their practice more profitable. For many artrepreneurs, maintaining their creative reputation comes with emotional costs. The thick description in this chapter demonstrates how an artist negotiates with the patron in finalising a new piece of commissioned music. But they failed to close the deal. This case deviates from studies that focus on successes in the creative industries. Creativity entails experimentation and creating new things, but new things may not be well-received. Nonetheless, these ‘unsuccessful’ works are part of the art world and contribute to creating cultural value in society.

This chapter explores the creative industries in Africa from a digital perspective. This ranges from digital advertising, design, fashion, film and music production to digital publishing and photography. There have been quite a range of innovative developments in the global value chain, which are also explored such as the deployment of artificial intelligence and augmented and virtual reality. Everything Digital – Fashion, Film, and Music production and distribution – is considered in the chapter. It also paves the way for further interrogation of the legal landscape and intellectual property challenges in the creative industries – which is the focus of Chapter 6.

This chapter examines emerging theoretical approaches and thematic aspects of creative and cultural entrepreneurship and the significant societal and economic contributions of creative firms. It reviews the concepts and definitions essential to examining creative industry entrepreneurship. The authors then provide framing for this exceptional collection of chapters in Volume 1 (of 2) and discuss existing research approaches from surveys and small-scale qualitative studies. Then, the chapter’s overview showcases the range of international research included in three sections: conceptual reflections on creative and cultural entrepreneurship, resilience and adaptation of creative and cultural enterprises, and insights into creative subsectors. Finally, the chapter proposes a research agenda for developing the field further, addressing methodological gaps (longitudinal studies and cluster research), emerging thematics (rural creative industries and creative placemaking) and sector studies (game and film industries).

The main purpose of this chapter is to discuss the design and development of creative ventures and activities in tourism-related industries. This chapter also aims to provide prospective entrepreneurs with practical guidance to pursue business opportunities and manage creative tourism business.

Literature review was conducted on main conceptual issues and practical aspects of entrepreneurship and creative tourism business. These issues have been illustrated by case studies from the business world.

This chapter outlines and highlights the main components/segments of the creative tourism, the profile of entrepreneurs in this industry, the main elements of creative tourism experiences, as well as the requirements and expectations of creative tourists.

This chapter is explorative in nature based on a literature review and case studies. It takes an entrepreneurial perspective and approach.

An in-depth understanding the concept of creative tourism and its implementation is really useful in designing, managing and marketing the appropriate offering of experience opportunities in the creative tourism business. Therefore, to provide high-quality offering and memorable experiences in this field, prospective entrepreneurs should fully understand and apprehend the characteristics, the requirements and expectations of creative tourists.

This chapter analyses conceptual frameworks and presents practical examples of business ventures through case study development. In doing so, it provides a better understanding of the entrepreneurship in the field of creative tourism.