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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.

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.

The purpose of this paper is to investigate the role of intersectoriality within the cultural, creative and tourism industries in Italian local development.

The research design builds on the literature on culture-led development and adapts the established body of empirical research on industrial districts to tourism and cultural development. The quantitative analysis of intersectoral specialization and the clustering of cultural, creative and tourism industries in Italian local labour systems (LLSs) combines specialization indexes with principal component analysis and cluster analysis.

About 50 per cent of Italian LLSs specialize in the economy of culture and tourism, mostly in material culture, although tourism has the highest level of specialization. There are three main patterns of agglomeration and clustering. The largest cluster is that of the cultural heritage and content and information industries, which coincides with the systems of medium-sized and large cities, followed by systems of tourism monoculture. The smallest is made up of material culture, typically made-in-Italy sectors. The tourism and material culture industries are monocultures – where tourism agglomerates, but material culture does not.

The analytical approach is quantitative and based on Istat’s Industry and Trade (2012) data set. Further studies are needed on the interaction between agglomerated specialized industries.

This paper contributes to the theoretical and political debate on the value generation and innovation potential of culture and creativity, and bridges the knowledge domains of local development and managerial studies. Novel statistical evidence on intersectoral specialization and the clustering of the cultural, creative and tourism sectors in Italy at the inter-municipal level is provided. This study helps to identify an Italian model of the economy of culture and tourism.

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 aims to investigate the European and Latin America urban cultural policies that could enhance cultural and creative sustainable tourism products development.

The methodological framework is based on a comparative case study regarding the importance, dynamics and policies associated to cultural and creative tourism in four Ibero-American cities, namely, Brasilia, Buenos Aires, Lisbon and Madrid.

This exploratory analysis underlines the growing importance of cultural and creative tourism in the four capital cities. On one hand, cities reveal different tourism impacts and, on the other hand, they are associated to different cultural and creative sector structures. Cities cultural and creative performance put in evidence that sustainable cities index, global talent competitiveness index and cultural and creative cities monitor, tend to position Madrid in the first place followed by, Lisbon, Buenos Aires and Brasilia.

In general, and despite the importance of space in the creative process, there is little research on the geography of the creative industries and there is a lack of cross-country comparative studies so that it is difficult to assess the particularities of each model of creativity.

Cities could enhance more efforts in investing, not only in the traditional cultural infrastructures but also on the new forms of culture, new technologies, new makers, new audiences based on their attributes, activities and labels, in a framework of urban sustainable policies based on “innovation,” “inclusiveness” and “interconnectivity.”

The originality of the paper lies in the comparative analysis of four cities based on cultural and creative sector and tourism interconnections. Simultaneously, it lies in an exploratory model application.

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).

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.

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.

In Latin America and the Caribbean (LAC), the challenge of economic recovery is now more pressing than ever after the impact of COVID-19. The cultural and creative industries (CCI) are one of the sectors that can contribute to a long-term strategy of inclusive and sustainable growth. Nevertheless, the pandemic has created new challenges for CCI, and it has also intensified those faced by the sector before the health crisis, highlighting its fragile foundations. These challenges can be grouped into four areas: employment, digitalization and new business models, access to finance, and a narrative for the sector.

A survey conducted by MERCOSUR Cultural, the United Nations Educational, Scientific, and Cultural Organization (UNESCO), the Ibero-American General Secretariat (SEGIB), the Organization of Ibero-American States (OEI), and the Inter-American Development Bank (IDB) showed this reality and gave guidelines for future initiatives and policies to be implemented to take advantage of these sectors in the long-term strategy of economic recovery. The CCIs are made up of many sectors, different from one another. Intersectoral and interministerial work is essential for the CCIs. And also, a single approach won't work across sectors and countries.