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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.

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).

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.

The purpose of this paper is to develop a more comprehensive understanding of why social inequalities and discrimination remain in the creative industries.

The paper synthesizes existing academic and industry research and data, with a particular focus on the creative media industries.

The paper reveals that existing understanding of the lack of diversity in the creative industries’ workforce is conceptually limited. Better understanding is enabled through an approach centred on the creative industries’ model of production. This approach explains why disadvantage and discrimination are systemic, not transitory.

The findings suggest that current policy assumptions about the creative industries are misguided and need to be reconsidered. The findings also indicate how future research of the creative industries ought to be framed.

The paper provides a novel synthesis of existing research and data to explain how the creative industries’ model of production translates into particular features of work and employment, which then translate into social inequalities that entrench discrimination based on sex, race and class.

This paper aims to identify the nature of creative tourism and the roles of interrelated concepts especially those of creative industries in the value creation process, by analyzing the trends in existing practices.

Based on a thorough literature review of the multidisciplinary “creative” related research, this paper provides a conceptual insight of the value creation process in creative tourism.

A conceptual framework is provided to consolidate the value creation process of a creative economy by considering the nature of creative tourism and interrelated concepts.

This study contributes to the literature because it provides a valid research base and insights for future research, based on a clear perspective that amalgamates essential information.

Creative tourism offers immense opportunities in the global context as tourists are constantly looking for new experiences and opportunities. This study provides insights for creative workforces, entrepreneurs and organizations in formulating appropriate management and marketing strategies by considering all relevant components and the roles they can play to capitalize on this opportunity.

Creative industries play a critical role in introducing new strategies in the service sector by enabling an upgrade of value-added activities to those that are currently offered, in a sustainable manner. However, studies so far have not taken into consideration the nature of the sector and have not attempted to clarify its relevance (for example, creativity, creative industries and creative workforces) in the value creation process. The study contributes to filling the gap from a conceptual perspective.

The purpose of this paper is to contribute critically to understanding the structure of creative industries in Isfahan.

The authors first gather needed information about the case study and then analyze the data according to three measures of gross value added, employment and the dynamics of business for each sector of creative industries.

Results indicate that creative industries are medium-sized domestic enterprises which are comparatively weak in productivity in some sectors.

This paper illustrates the model of creative industries assessment for Isfahan city and, finally, provides a good understanding of the concept of the creative industries as a key element of the creative city.

The paper aims to examine the role of creative industries in general and the film industry in particular for place‐making, spatial development, tourism, and the formation of creative cities.

The article reveals the preliminary findings of two case studies from Beyoglu, Istanbul, and Soho, London.

The research found a relation between place and creativity and the positive contribution to creativity of being in a city center. Among the creative industries, the film industry plays an important role in the economic and spatial development of cities by fostering endogenous creativeness, attracting exogenous talent, and contributing to the formation of places that creative cities require.

The paper raises interesting questions about the importance of place to creativity, also questioning whether creative industries can be a driver for regeneration.

The purpose of this paper is to investigate whether predicting factors of conventional ventures’ performance are appropriate in interpreting the creative industries context. Moreover, this paper introduces a way to measure venture performance in creative industries.

A structured questionnaire was used to address this research objectives, based mainly on scales tested in previous studies. Data were collected from a sample of 371 female entrepreneurs of creative industries. A hierarchical linear regression analysis was conducted to examine the research hypotheses.

In congruence with the hypotheses, the findings demonstrated that venture performance in creative industries can be predicted by factors that affect conventional venture performance. Creative personality and professional network ties are regarded according to the empirical analysis presented in this paper as the factors with the highest impact.

Data were pulled from female entrepreneurs in Greece, especially from the two biggest cities Athens and Thessaloniki. Consequently, it was precarious to fulfill the condition of generalizability. Additionally, a snowball sampling method was used, because of the absence of creative industries firms’ directory in Greece.

Based on authors’ knowledge and review, no prior study has examined predictors’ effect on creative industries venture performance.

The purpose of this paper is to build up an evaluation framework for selecting creative industries into the new cultural creativity centre in Tainan city, Taiwan.

This study applies the Analytic Hierarchy Process (AHP) method to evaluate the creative industries for the introduction and development in the new cultural creativity centre in Taiwan. Then, a sensitivity analysis is carried out to determine the critical factors that affected the priority of the alternatives.

In the seven evaluation criteria, “market potential” has the highest weight, followed by “regional development” and “culture improvement”. In the six industries, creative lifestyle, crafts, and creative design are the three most favourable industries chosen for the introduction and development in the new centre.

One possible limitation is the selection of experts in the research design. Although the participants selected in our study are experienced in the development of the cultural creativity centre and are across several disciplines, the representative of group members is still a critical issue.

The application of the model provides an avenue for government policy makers and researchers to deal effectively with the industry selection issue.

The model developed in this paper is a useful decision‐making tool for solving the selection problem of creative industries.

The rich history and cultural heritage in Africa have been arguably a missed opportunity, which the region is now seeking to leverage following many years of neglect. Evidently, a new direction of travel is warranted, especially as far as the creative economy of Africa is concerned. This chapter provides a background at-a-glance insight into what may seem like disparate fields – that is, international business and the creative industries – bridging them into a single narrative. This fusion is also, in a pioneering effort, taken from the purview of Africa.