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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 paper develops a new model of policy development for the creative industries in a transitional economy setting. These sectors could potentially make a significant contribution to the continuing growth of the Vietnamese economy; however, they are currently held back by a lack of policies designed to support them

The paper uses data collected from a mixed-methods study of the creative and cultural sectors in Vietnam. The paper combines quantitative results from a mapping project with ethnographic observations and several qualitative interviews to identify the policy needs of the sector.

The paper develops the INCITE model of policy development composed of four parts: education and human resources, infrastructure, intellectual property rights and freedom of speech.

The paper contributes to our understanding of the kinds of policies needed to support the creative industries by exploring their development in an economy transitioning from a state planned economy to a market-driven one.

Book review by Lori Wagner. Henry, Colette, ed. Entrepreneurship in the Creative Industries: An International Perspective. Cheltenham, UK and Northampton, MA: Edward Elgar Publishing, 2007. ISBN 9781845426101

The purpose of this paper is to re-examine the economic models and assumptions that have given rise to current day tourism. It suggests alternate models based on new values to help tourism emerge from the current COVID crisis and “come-of-age.”

The paper delineates the assumptions of neoliberal economics upon which much of tourism has been based. It then summarizes the work of progressive economists in developing new models that value capital other than financial. Six of these models are briefly described and applied to tourism.

Some assumptions underlying the neoliberal economic model that need re-examining are the ideas that: self-interest drives ideal economic behavior; success comes from competition, not cooperation; encouraging consumption for its own sake; giving owners priority over other stakeholders; and more income translates into more happiness. Redesign of economic systems requires consideration of social capital, natural capital, intellectual capital, compassion capital, trust capital and spiritual capital to name a few. Examples of alternate systems using these capitals are the collaborative economy, the circular economy, the creative economy, the gift economy, the sacred economy and the regenerative economy.

The paper’s approach is to interlace modern economic thought with the future maturation of tourism and to suggest that tourism policymakers and leaders learn from these thinkers to create a new model for the future of tourism.

This chapter presents the many premises of this book. It first discusses the book’s central questions and lays out the design of the large multi-national and multi-method study, carried out across Northern Europe. It also places the book at the interdisciplinary space between contemporary innovation economics and cultural and social theory. It then discusses the complex set of social processes that have conditioned the phenomena that the book studies – how and why are the contemporary audiovisual media industries co-innovating and converging with other sectors including education, tourism and health care? Within this framework, it discusses the effects of the broader individualisation and mediatisation processes, of media convergence, of the emergence of cross-media or transmedia strategies, of the evolution of the service and experience economies and of the emergence of creative industries policy frameworks.

The rise of the coronavirus disease 2019 (COVID-19) pandemic has enabled researchers and industry professionals to reinvent their strategies for basic economic understanding. Two years after the outbreak of the pandemic, businesses are now trying to adapt to the impact it has brought, hoping to receive support as it did in the past. However, before this feat can be accomplished, it is imperative to understand the recovery hurdles created by the pandemic. This research aims to fill the literature gaps by examining the challenges during recovery within the creative small and medium-sized enterprise (SME) industry, as there are few relevant studies that focus on this field.

Through a methodical bibliometric literature review and network analysis, the paper intends to critically explore relevant recovery challenges within the field while providing answers to the appropriate research questions. A total of 43 articles were selected for an in-depth review. Using the analysis from the selected articles as a guide, a framework was developed to address the recovery challenges alongside the recommended propositions.

The findings from this paper suggest that a lack of synergy among four major categories (governmental, supply chain, organizational and stakeholders) contributes to recovery challenges within the field of research.

The review also offers clarification in understanding the current and upcoming trends within the creative industry, SMEs and COVID-19. This paper can thus help researchers, industry practitioners and managers discover and analyze the recovery challenges brought about by the COVID-19 pandemic.