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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).

With the continuous improvement of social and economic development as well as the rising level of demand for spiritual life, the design of cultural and creative products has ushered in new opportunities and challenges. Therefore the research related to cultural and creative products design is an inevitable choice for industrial innovation and market competition. The article aims to analyze the frontier hotspots and trend evolution of theoretical research on cultural and creative design in China by presenting different research fields, personnel and institutions embodied by cultural and creative products, thus providing a forward-looking development reference for China's special cultural and creative product design practice.

In this paper, the visualized citation analysis tool — CiteSpace V is used to analyze and map the relevant literature of Chinese cultural and creative design in CNKI (Chinese National Knowledge Infrastructure) as the data sources, through bibliometric methods, in order to study the application development of Chinese cultural and creative design and provide reference for the application research of Chinese cultural and creative industries.

With the improvement of China's comprehensive strength, cultural self-confidence and strategy are being paid more and more attention by scholars; with the future research of China's cultural and creative design theory, cross-integration becomes the future trend; with the gradual maturity of China's cultural and creative design methodology, how to choose the right method for pioneering research is a difficulty for the future development of cultural and creative design; with the continuous development of China's economy, the method construction of innovative cultural and creative industry system becomes the focus of future research; with the continuous progress of science and technology, the integration of emotion and product industry is the mainstream of future development on cultural and creative design.

Through an objective empirical analysis of the development of Chinese cultural and creative products, it will broaden the research horizons of relevant scholars, understand the development direction of China's cultural and creative industries, enrich the design practice application of Chinese cultural and creative products, enhance the understanding of international counterparts on Chinese cultural and creative design research and promote the exchange among international counterparts.

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.

The policies in creative and cultural industries (CCIs) are often based on an implicit assumption that work in the cultural and creative sectors is ‘good work’ and dominant discourses tend to over-celebrate entrepreneurship. The authors argue that enough attention has been paid to the real work in CCIs. The stake is to better address the symptoms observed for a sustainable and inclusive economy in the CCIs. Through the entrepreneurship-as-practice perspective, the authors document the professionalisation difficulties in music sector, with a qualitative study in a French city, with a particular focus on the marginalisation experienced by the young artists. With the identification of their work specificities and the tendencies for the twenty-first century, the authors point out the diversity of the tasks, the multi-activity and collective practices and the need for some innovative support organisational forms to develop training and skilling (both artistic and entrepreneurial).

The data for the case is a mix of both primary and secondary data, from the following sources: – personal interviews with the protagonist, Sofana Dahlan; – Tashkeil website; – official documents provided by the company: ■ “Tashkeil – Corporate Brief,” ■ “Saudi National Creative Initiative – Activities Report 2016”; and ■ “Tashkeil Global Company”. – published media sources.

The case outlines the story of Sofana Dahlan (Sofana) (she/her), a social entrepreneur and one of the first few women lawyers in the Kingdom of Saudi Arabia. She established Tashkeil as a social enterprise, helping creative entrepreneurs (creatives) with strategic, operational and legal inputs, thus enabling the creative industry in different parts of the Arab world, focussing on Saudi Arabia and Lebanon. Her story can be used to inspire students on how a female entrepreneur fought against an extremely restrictive social and cultural environment and achieved her goals. It helps them to understand the challenges faced by women in the context of the Arab world and the key attributes required for them to succeed as an entrepreneur, especially in the context of certain social and cultural barriers. It also helps to understand the importance of resilience in entrepreneurs and to discuss how entrepreneurs can become more resilient.

The case can be used mainly in undergraduate Business Management Programs in courses such as Entrepreneurship, with specific reference to Women Entrepreneurship. The case would be a good fit for courses on Social Entrepreneurship and Creative Businesses.

From Batik cities to woven textile regions, Indonesia possesses several fashion destinations with remarkable textile heritage. The rise of fashion heritage destinations is characterized by avid textile lovers and fashion followers that promote the regions. Several diversifications of tourism alternatives are analyzed, such as rural tourism with experiential textile-making workshops, urban destinations connected to contemporary fashion heritage, architectural works inspired from/to textile heritage, as well as fashion week cities that spark the interests of global fashion designers to visit the country. This chapter evaluates the current state, its rising challenges, and to what extent it may be promoted through digital technologies, based on local practitioners and the governmental perspectives.

Inequality in the creative industries often serves as the starting point for public debates over culture in the UK. Academic literature has long recognised the precarious nature of the fashion industry. This chapter offers a critical review of the relationships of power existing in the support offered to ethnic minorities in disadvantaged communities in the fashion and creative sectors in the UK. In addressing these issues, a Foucauldian perspective is adopted. The chapter focuses on Black, Asian, and minority ethnic (BAME) fashion entrepreneurs’ challenges in promoting young designers from disadvantaged communities.

Our findings show that the BAME entrepreneurs are active agents who are essential in identifying and shaping new creative and talented young designers. The chapter contributes to the debate through a critical review of the relationships of power existing in the support offered to ethnic minorities in disadvantaged communities in the fashion and creative sectors in the UK.

The aim of this chapter is to provide a relevant theoretical contribution to the field of entrepreneurship in cultural and creative industries (CCI) and suggestions for a research agenda. Entrepreneurship research is characterised by an apparent fragmentation, even if scholars advocate the development of a ‘stronger paradigm’ to strengthen the discipline. Rather than making explicit what is specific to entrepreneurship in CCI, or delineating the boundaries of a new community of scholars, in this chapter, the author attempts to identify certain key ingredients of a ‘hodgepodge’. The Schumpeterian entrepreneur, the opportunity seeker, and the everyday entrepreneur are introduced as well as an action model in which the reciprocal agency–structure relationship finds a place. It is highlighted how theories such as the Theory of Planned Behaviour, Social Identity Theory, Institutional Theory, Practice Theory, and Paradox Theory (can) inform research on entrepreneurship in CCI.