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The purpose of this study is to examine the negotiation tactics used in business-to-business (B2B) negotiations in creative sectors and to shed light on some of the characteristics of creative sectors that might drive these behaviors.

This is a multiple-case study involving interviews with 18 creative sector negotiators engaged in B2B negotiations.

The findings suggest that negotiators in B2B firms in creative sectors use a variety of negotiation tactics to reach agreement, but that there are some differences compared with other sectors. One group of tactics, not represented in existing taxonomies, is identified and termed closure-seeking tactics, referring to tactics intended to speed up the negotiation process and reach agreement as quickly as possible. The reasons for creative sector negotiators’ choice of closure-seeking tactics might stem from their desire to expedite the start of new projects to enable them to fulfill their creative drive.

In addition to the identification of group of tactics observed in creative sectors, but not anticipated by existing research, the findings indicate that negotiators in creative sectors seem to lack interest in, and expertise for, negotiating and might be driven more by the desire to get on with the creative process than by concerns over monetary gains when negotiating. This could reflect unique characteristics of creative sectors and the people who work in these sectors.

This work offers new insights and understanding about tactics used in B2B negotiations in creative sectors. These findings have important implications for both practitioners in creative sectors, who might be too eager to reach closure quickly, and practitioners negotiating with firms in creative sectors, who need to understand the unique characteristics of these firms.

The originality of this work lies in its consideration of tactics used in B2B negotiations in the under-studied context of creative sectors and investigation of the reasons that drive the choice of tactics.

The under‐representation of entrepreneurial women, or women leaders, in the higher levels of organisations is an increasingly debated issue. Comments in the media regarding the lack of women in senior management positions in the creative industries have attracted much attention, both for and against. Despite opposing viewpoints there is little doubt that this is an issue that requires investigation. However, understanding the under‐representation of women in senior management, leadership and ownership roles has been problematic due to a lack of “hard data”. The purpose of this paper is to provide a quantitative understanding of the under‐representation of female leaders in the UK's creative and cultural industries. Based on a study completed by TBR for the Cultural Leadership Programme (CLP) it presents baseline data and groundbreaking analysis to understand gendered leadership in organisations.

The study for CLP established a quantitative evidence base to benchmark the number of women in leadership in the creative and cultural industries. This was possible by utilising a unique data resource, TCR, which enabled detailed analysis of gendered management structures in creative and cultural organisations. We use this evidence base to further understand gender diversity in organisational leadership positions and the characteristics of different leadership styles.

The study generated unique understanding regarding gendered leadership within the creative and cultural industries. It identified that there are 32,800 female and 82,450 male leaders in the creative and cultural industries and despite there being a comparatively high proportion of all‐female managed organisations, there are half the number of female executives per organisation compared to the UK average.

A trend of polarisation of all female and all male led organisations was identified over the last 25 years, which was reflected in recognition of distinct female and male leadership styles. The study proves some assumptions about the leadership approach of men and women and identifies characteristics similar to the transactional and transformational styles described in Women at the Top by Holden and McCarthy. Unless this trend is reversed, it is likely to become increasingly important for women and men to develop skills in both transactional and transformational leadership styles.

The paper provides a new examination of the balance of male and female leadership in organisations and significantly furthers debate about the under‐representation of women in leadership. It provides “hard‐data” to inform future dialogue regarding entrepreneurial women and further investigates the lack of women in leadership.

Kenya leads East Africa in creative goods export and enjoys high internet penetration. Therefore, identifying pathways, missed opportunities for accelerating job creation and development in the sector and strategies for mitigating youth-related challenges are essential. This paper therefore aims to examine the effects of digital media and the cultural and creative industry (CCI) on youth employment and economic development.

The document review and analysis data came from 45 scientific and 23 grey literature articles. While the lack of primary data is a study limitation, secondary data were drawn from the United Nations Conference on Trade and Development Statistics and the 2016–2022 entertainment and media outlook analysis. Microsoft Excel 2021 for Windows was used to analyze quantitative data and generate results.

Since the CCI sector is characterized by limited financial opportunities, low youth participation in the labor force and weak policy frameworks, success in the industry requires key pathways. These include investment in digital-led innovations, developing innovative models, building partnerships with the private sector, strategic investment by government in the potential creative industry sub-sectors and identifying successful scaling-up models.

Information gathered through this study is crucial to counter the youth unemployment challenge and strategy identification, which could be used in skills and capabilities development in the potential creative economy. Future researchers must explore how to apply the proposed creative capacity theoretical lens to inform research in the sector.

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 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.

This paper seeks to report on the current state and attitudes towards Enterprise Curriculum within higher education (HE) for the creative industries sector. It is based on preliminary findings from the Creative Enterprise Conference (2006) held at UCE Birmingham, which examined the role of HEs in developing future entrepreneurs in this important sector of the UK economy.

This paper explores issues related to enterprise curriculum development in HE through in‐depth qualitative analysis of plenary sessions, focused discussions and workshops. A number of stakeholders, including policy makers, academics, researchers and practitioners were invited to explore relevant issues appertaining to “creative enterprises” in the UK.

This paper presents a critical evaluation of the growing specialist literature, activity and research in creative industries, notably: research needs, paucity of pedagogical materials, characteristics of “creative entrepreneurs” as well as how, when, where and in what way should “creative” students be taught about entrepreneurship and self‐employment.

The study offers stakeholders a critical perspective on current attitudes and practices within creative industries. This paper offers interested parties an opportunity to consider and reflect on how HE can develop relevant curriculum and deliver enterprise education that is pertinent to students who intend to operate in this important sector of economic activity.

By capturing current attitudes and good practice in creative industries, this paper emphasises enterprise curriculum development and implementation in a relatively underdeveloped aspect of educational research. It makes tentative suggestions and recommendations on how HE and policy makers might respond to current and future enterprise education needs.

This paper aims to identify firm and entrepreneurial team characteristics that may contribute to resilience in the creative industries (CI) under adverse economic conditions.

It provides case study evidence based on 19 in-depth interviews with small and young creative enterprises in Greece in 2014 that is at the peak of the Greek economic crisis. New information was collected from two follow-up waves conducted in 2017 and during the recent coronavirus disease 2019 (COVID-19) pandemic crisis.

The results suggest that highly internationalized entrepreneurial teams with extensive working and studying experience abroad, which also combine creative expertise with managerial and marketing expertise, are key resilience drivers during economic downturns. Moreover, being export-oriented, serving a diverse customer base and investing in digital technologies seem to allow CI firms to effectively adapt to challenging conditions.

This study adds to the firm-level research on the resilience drivers of small and young enterprises in the CI context. It proposes and empirically tests a conceptual framework to advance the limited knowledge on entrepreneurship and resilience patterns in the CI during crisis periods, emphasizing specific entrepreneurial team and firm characteristics.

In-person film festival experiences have faced uncertain futures since the spread of COVID-19. Snap-lockdowns, unclear and rapidly changing rules to public density allowances in theatres, distribution and challenges of “working-from-home” have become prominent issues to creative and cultural workers employed within the film festival ecosystem. The purpose of this paper, drawing from a series of interviews with film festival directors, organisers and workers within Australia, offers insight into the working lives of those employed within the film festival sector during 2020.

Using the research team's existing professional networks and a targeted approach of participant recruitment, this paper draws upon interview data from 5 semi-structured interviews with participants located in various Australian capital cities, who were working in the film festival sector during 2020. Participants were all mid-career, having at least 5 years of employment experience within the film festival ecosystem (directors, programmers and content creators) as well as having experience in other adjacent cultural and creative work.

The results in this study highlight common concerns of the legacy precarity has on professional and creative practice for those engaged in creative and cultural work, but also of unusual and unexpected opportunities for creativity and new film festival delivery beyond the dominant mode of in-theatre only experience pre-COVID-19.

The originality of this study lies in its qualitative exploration of the various employment experiences of Australian film festival workers during COVID-19.

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.