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The purpose of this paper is to examine the precarious nature of creative industries (CIs) work in Australia, Canada and the Netherlands, with a focus on job security, initial and on-going training and education, and access to benefits and protection.

The paper reports from a largely qualitative study featuring an in-depth survey answered by 752 creative workers in the three locations.

Survey data identified common themes including an increase in non-standard forms of employment and the persistence of precarious work across the career lifespan; criticism of initial education and training with particular reference to business skills; the need for and challenges of life-long professional learning; and lack of awareness about and access to benefits and protection. Respondents also reported multiple roles across and beyond the CIs.

The presence of common themes suggests avenues for future, targeted creative workforce research and signals the need for change and action by CIs educators, policy makers and representative organizations such as trade unions.

While precarious labour is common across the CIs and has attracted the attention of researchers worldwide, a lack of comparative studies has made it difficult to identify themes or issues that are common across multiple locations.

While there has been an abundance of research on the positive outcomes of creative environment, little work has been done on how creative environment influences the general work outcomes of noncreative specialist workers. The paper aims to fill this void by examining the influence of creative environment on absenteeism among garden variety workers and the mediating role of job satisfaction.

The paper uses cross-sectional data of 116 noncreative specialist workers to empirically test the hypotheses. The authors used covariance-based structural equation modeling (SEM) through the lavaan package for the statistical software R.

Results found that, for a cross section of noncreative specialist workers, a one standard deviation increase in a worker's creative environment would decrease that worker's absenteeism by 0.447 standard deviation. The creative environment also explained 11.3% of the variance in absenteeism. Subsequent analysis showed that job satisfaction fully mediated the relationship between the creative environment and absenteeism and that the results were resistant to omitted variable bias.

The study contributes to theory and practice by showing empirically that creative environment leads to positive work outcomes, despite the innovation level required by the job. This study advances research on creative environment by targeting the garden variety workers, underscores the importance of cultivating a creative environment and calls attention to the complexity of the creativity–job affect link.

The purpose of this paper is to investigate the impact of organisational business acumen and social network structure on the earnings and labour precarity experienced by creative industry workers.

Results from a survey that collected data from a random sample of 289 creative workers are analysed using structural equation modelling. Mediating effects of social network structure are explored.

Results support the qualitative findings of Crombie and Hagoort (2010) who claim that organisational business acumen is a significant enabler for creative workers. Further, social network structure has a partial mediating effect in mitigating labour precarity.

This exploratory study is novel in its use of a quantitative approach to understand the relationship between labour and social network dynamics of the creative industries. For this reason, developed scales, while robust in exploratory and confirmatory factor analysis, warrant further application and maturity.

The organisational business acumen of creative workers is found to mitigate labour precarity and increase perceived earnings.

The results from this study call for policy and management shifts, to focus attention on developing business proficiency of creative workers, in an effort to curb labour precarity in the creative industries, and enhance positive spillovers into other sectors.

The paper fills a gap in knowledge regarding the impact of organisational business acumen and social network structure on the pay and working conditions of people working in a sector that is dominated by self-employed and freelance arrangements.

This paper aims to marry Michael Porter’s industrial cluster theory of traded and local clusters to Richard Florida’s occupational approach of creative and routine workers to gain a better understanding of the process of economic development.

Combining these two approaches, four major industrial-occupational categories are identified. The shares of US employment in each – creative-in-traded, creative-in-local, routine-in-traded and routine-in-local – are calculated, and a correlation analysis is used to examine the relationship of each to regional economic development indicators.

Economic growth and development is positively related to employment in the creative-in-traded category. While metros with a higher share of creative-in-traded employment enjoy higher wages and incomes overall, these benefits are not experienced by all worker categories. The share of creative-in-traded employment is also positively and significantly associated with higher inequality. After accounting for higher median housing costs, routine workers in both traded and local industries are found to be relatively worse off in metros with high shares of creative-in-traded employment, on average.

This work points to the imperative for the US Government and industry to upgrade routine jobs, which make up the majority of all employment, by increasing the creative content of this work.

The research is among the first to systematically marry the industry and occupational approaches to clusters and economic development.

The purpose of this paper is to provide a model for how leaders can nurture and develop worker garden variety creativity.

This model was created by synthesizing existing research and literature on leadership and garden variety creativity.

Findings' synthesis yielded a testable and implementable model for improving worker garden creativity through leader interventions.

This paper provides a specific examination of leader potential for garden variety creativity enhancement. This focus is different from most research that examines organizational structure interventions, high‐level creativity, or both.

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.

As competitive pressures mount, firms are attempting to do more with less – and far more quickly. They are downsizing, using teams, and pushing the time to market. These trends promote polychronic behavior in that they require additional variety in the tasks, activities, and roles that individuals must handle simultaneously. Although evidence suggests that creativity and polychronic preferences are positively related, demands for polychronic behavior appear to be defeating – and resisted – in creative venues such as R&D. This paper addresses this apparent disjunction by focusing on the definition of polychronicity, emphasizing the critical role of agency and the need to count as activities the not particularly visible workings of the mind. The paper proposes, in part, that among creative workers, individual creativity is more related to polychronicity than to monochronicity. Further, volition will play a moderating role in that the relationship between creative performance and either chronicity will be stronger the higher personal agency is in choosing tasks and schedules.

The purpose of this paper is to examine the challenges of older self-employed workers in the creative industries and ways of dealing with these challenges. This is important in the light of the aging population and the increase in entrepreneurship among older workers.

In total, 43 older self-employed creatives in the Netherlands were interviewed by telephone. Once the data were transcribed, content analysis was conducted.

The findings reveal that older self-employed creatives are often forced into self-employment, experiencing a vicious circle that pushes them away from the creative industries. They have to deal with multiple identities. Successful older self-employed creatives dealt with these challenges by creating synergies between their identities, focussing on their strengths and using their existing networks. They also stressed the transferability of their skills and knowledge.

Older self-employed creatives have to deal with some specific challenges. Although these challenges are difficult to deal with, some successful strategies emerged.

Older self-employed creatives are an under-researched group of workers. Other industries can learn from the success stories of older entrepreneurs in the creative industries.

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 primary objective of this study is to examine the nexus between transformational leadership (TL) and followers' radical creativity (FRC). In contrast, creative process engagement (CPE) and leader creativity expectation (LCE) was employed as a mediating and a moderator role, respectively.

A quantitative exploratory survey was applied as a research design, and 293 valid responses were collected from industry-university collaborative team leaders-followers. The authors performed descriptive and partial least square based structural equation modeling (PLS-SEM) analysis using the SPSS 23 and Smart-PLS 3.0 package program to test the hypothesis.

Empirical results revealed that the TL positively and significantly influences the FRC. Therefore, the mediation of CPE bridges the relationship between TL and FRC, while the moderating role of LCE was insignificant. TL with higher CPE indirectly enhances the FRC.

Unlike the prior conventional componential theory of creativity (CTC), this study extends the scope of CTC addressing CPE and LCE to investigate the nexus between TL and FRC and contributes to the current literature leaders-followers relationship.

Practically, this research contributes to the growing body of the literature demonstrating how organizations might foster radical creativity in their employees and how to inspire followers to participate in radical creativity activities that might enhance organizational performance.

This study has broadened the scope of the CTC by emphasizing the mediating function of CPE in promoting particular aspects of followers' creativity.