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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 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 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.

Increasing evidence from high-income countries has revealed the positive impacts of creative entrepreneurship on the local economy, and these have attracted substantial attention in recent years. Creative industries are considered as the seedbeds for innovation; they are highly innovative and productive and are seen as drivers of economic development and social change. Creative industries are distinctive in that they have several transaction networks and income streams. Although creative industries are generating increasing interest in the minds of researchers and policy-makers in developed countries, the institutional and economic settings in Cameroon and other developing nations may not be so conducive to creative industries. The available evidence is insufficient to understand their performance and sustainability, let alone to estimate their contribution to the rest of the economy. This chapter demonstrates how the creative industries could contribute to the economic and social development of a nation. The chapter further explores the current situation of creative industries in Cameroon, with a focus on the artists of popular and folk music, the challenges they are facing, and provides ways forward.

Cultural and creative industries (CCIs) have been argued to play an important role in achieving the sustainable development goals (SDGs). However, the mechanisms through which CCIs contribute to the attainment of SDGs remain underexplored. In this study, the authors adopt a network perspective to examine how the structure of a local CCI network relates to its local sustainability performance. By examining a database of 210,182 networked firms out of 1.34 million CCI firms across 294 cities in China, the authors conclude that both the scale and the density of a local CCI network improve the city’s performance in terms of attaining SDGs 8–12. The authors discuss the implications of these findings and propose future research avenues in international business.

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 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.

In the contemporary period of an abundance and diversity of offers in cultural tourism globally, the need for new values, such as creativity, has become unavoidable. As well as creativity being the essence of every cultural practice, it is also becoming a tool with which to link and modernize cultural treasures for tourist consumption today. Its inclusion is also useful in territorial plans, whose strategic role is a driving force for local economies. Creativity can support particularly those sectors that have rich foundations but that suffer from general underdevelopment. Cultural tourism in the town of Golubac and its surroundings in eastern Serbia is a prime example. Although Golubac is situated on the Danube and has one of the best preserved old fortresses in the region, it has not been identified as an important site of cultural tourism. The aim of this chapter is to describe recent efforts to facilitate this branch of tourism through the application of creative tools in local planning documents by means of a multi-criteria analysis of crucial territorial plans for Golubac. In establishing these criteria, the theoretical knowledge that links creativity, cultural tourism and territorial planning will be studied. Implementation of this interlinked knowledge in the analysis will provide the backbone to a proposal for improvements in territorial planning which can profoundly facilitate creativity in cultural tourism globally.