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This paper aims to explore how Maori entrepreneurs in Aotearoa New Zealand negotiate cultural and commercial imperatives in their entrepreneurial practice. Culture is integral to Indigenous entrepreneurship, an example being tikanga Maori (Maori cultural values) and Maori entrepreneurship. This study discusses the tensions and synergies inherent in the negotiation of seemingly conflicting imperatives both theoretically and practically.

This study reports on a thematic analysis of semi-structured interviews involving ten Maori enterprises of the Ngati Porou tribe on the east coast of Aotearoa New Zealand.

This study finds that depending on their contextual and cultural orientation, Maori entrepreneurs use tikanga to help negotiate cultural and commercial imperatives. The contingency of entrepreneurial situations and the heterogeneity of Maori perspectives on whether (and in what way) tikanga influences entrepreneurial practice appear influential. The authors propose a typology of Maori entrepreneurs’ approaches to explain the negotiation of cultural and commercial imperatives comprising the “culturally engaged Maori entrepreneur”; the “culturally responsive Maori entrepreneur”; and the “culturally ambivalent Maori entrepreneur.”

This study proposes a typology to analyse entrepreneurial practices of Indigenous entrepreneurs’ negotiation of cultural and commercial imperatives.

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.

Women entrepreneurs contribute significantly to Asian economies. However, women in this region face an alarming array of barriers to entrepreneurship. This research study aims to examine the factors, i.e. government support, family social support, financial literacy and managerial skills, in building the entrepreneurial capacity of women entrepreneurs under the lens of the person–environment (P-E) fit theory. Furthermore, the study also examines the moderating effect of socio-cultural barriers in the said relationships.

For the study, the data was collected from the owners of 311 women-owned manufacturing and services sector enterprises from the northern Indian community.

Findings suggest that all the factors significantly affect the entrepreneurial capacity of women entrepreneurs, and the barriers work as a moderator between the relationships.

Based on P-E fit theory, this unique research study proposes a model to test the role of factors such as government support, family social support, financial literacy and managerial skills in developing women entrepreneurs’ entrepreneurial capacity along with examining the moderating role of socio-cultural factors contributing to the entrepreneurial capacity of women.

With the historic rise in globalisation, there is more contact between countries and businesses than ever. Not only due to globalisation, technological change, and shorter product life cycles lead entrepreneurs to adopt internationalisation strategies. Internationalisation is a creative activity conducted by global entrepreneurs who seek to operate part of their businesses in international markets. Entrepreneurs, economists, policymakers, and researchers have long observed that international business success depends upon global entrepreneurial activity.

Over the past 30 years, diversity in the global market has been among the most researched topics in international business literature. However, since the entrepreneurship system consists of interwoven elements, such as an entrepreneur, management system, culture, market, region, customers and workers, diversification in one piece directly or indirectly affects the other components within the system. Therefore, diversity in global entrepreneurship should be examined by considering the dynamics of every element within the system.

In this chapter, the author reviewed and commented upon the development of the literature on diversity, global entrepreneurship, internationalisation, and multinational organisations. In an overview of previous studies, this study aims to analyse the nexus between diversity and global entrepreneurship, the importance of this connection in the international business domain and how this connection can evolve in the future.

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.

The very soul of cultural and arts entrepreneurship (CAE) is aesthetic. However, what is the importance of being aesthetic in CAE? An understanding of aesthetics substantially improves both our comprehension of CAE and our capacity to theorise about entrepreneurship and creative industries. Furthermore, when seeking to understand CAE, the authors expand their knowledge about aesthetics, an ordinary but complex and neglected kind of knowledge. The authors mobilise three perspectives in organisational aesthetics theory (sensible knowing, connection, and judgements) to develop and propose initial ways to connect aesthetics to CAE. These perspectives help to explore and explain the vital importance of aesthetics in CAE and its innovation process. Aesthetics is a source of innovation in CAE, and the authors propose to perceive entrepreneurial innovations as aesthetic learning, persuasion, and flow.

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).

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.