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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.

“Marketing, as it relates to the arts, is not about intimidation or coercion or abandoning an artistic vision. It is not ‘hard‐selling’ or deceptive advertising. It is a sound, effective technology for creating exchanges and influencing behaviour that, when properly applied, must be beneficial to both parties involved in the exchange” (Kotler and Scheff, 1997). The focus of this paper is on how owners/managers of small and medium sized Independent businesses in the music industry (“cultural entrepreneurs”) create exchange and influence behaviour when accessing finance for their businesses. The paper is based on Leadbeater and Oakley’s (1999) description of a “new” model of work and creative production, derived from cultural entrepreneurs’ characteristic “independence”. With reference to initial findings from a major Government‐sponsored research project looking at the extent to which access to finance acts as a barrier to growth for small and medium‐sized enterprises (SMEs) in the Music Industry, the paper identifies some potential difficulties such independence might lead to in creating beneficial exchange. The importance of appropriate partnership and promotion strategies, effective communication skills, and financial self‐sufficiency are highlighted in the context of the Industry’s uncertain environment. In conclusion, it is argued that the reconciliation of the entrepreneurs’ independence on the one hand with the qualities that allow mutually beneficial exchange on the other, is a primary requisite for effective cultural entrepreneurship.

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 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).

The purpose of this paper is to understand participatory consumers who are involved in translating and distributing overseas cultural commodities, without the permission of copyright holders. It intends to conceptualize them as a new breed of cultural intermediaries and discuss implications of their activities for the cultural industries.

The paper conducts a case study of “manga scanlators” who voluntarily translate manga (Japanese comics) to English and share translated manga online with other fans, without authorization from copyright holders. In addition to literature review and analysis of the text of selected scanlation web sites, the author interviewed ten manga scanlators and eight manga industry practitioners and experts in the UK, the USA and Japan.

It is found that participatory consumers, as new cultural intermediaries, challenge the cultural industries by transferring a substantial part of the industries’ intermediary work to the realm of cultural fandom and by developing their own logics of organizing the intermediation process and distributing fan‐translated products.

Considering the lack of research on fan‐translation and dissemination of cultural products, this paper's findings will be a valuable addition to the existing account of participatory cultural consumption. The copyright infringement aspect in manga scanlation is seen as part of the bigger picture of the gradual decoupling of intermediation activities, which are required to bring cultural products to overseas markets, from the market economy of translated manga production and distribution.

This paper aims to identify the nature of creative tourism and the roles of interrelated concepts especially those of creative industries in the value creation process, by analyzing the trends in existing practices.

Based on a thorough literature review of the multidisciplinary “creative” related research, this paper provides a conceptual insight of the value creation process in creative tourism.

A conceptual framework is provided to consolidate the value creation process of a creative economy by considering the nature of creative tourism and interrelated concepts.

This study contributes to the literature because it provides a valid research base and insights for future research, based on a clear perspective that amalgamates essential information.

Creative tourism offers immense opportunities in the global context as tourists are constantly looking for new experiences and opportunities. This study provides insights for creative workforces, entrepreneurs and organizations in formulating appropriate management and marketing strategies by considering all relevant components and the roles they can play to capitalize on this opportunity.

Creative industries play a critical role in introducing new strategies in the service sector by enabling an upgrade of value-added activities to those that are currently offered, in a sustainable manner. However, studies so far have not taken into consideration the nature of the sector and have not attempted to clarify its relevance (for example, creativity, creative industries and creative workforces) in the value creation process. The study contributes to filling the gap from a conceptual perspective.

The cultural tourism industry, which has subtly met the needs and solved the major problem of the current age, is a new growth point for the current city economic growth. Therefore, its position in the industrial structure system will be increasingly improved. The development of the cultural tourism industry also provides an important opportunity for the renewal and re-engineering of urban space. For the current urban space construction crisis needs the integration of historical and cultural elements urgently while the development of the cultural tourism industry itself happened to need the city to provide the necessary carrying space and incubation carrier urgently as well. Thus this research discusses the construction of urban visual planning system and the specific implementation path from the perspective of the development of cultural tourism industry.

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.

In spite of controversies in academia, various nations around the world have been propounding the importance of cultural and creative industries (CCIs) as the driving force in economic growth and development strategies. Accordingly, this research aims to understand how these industries could contribute to forming a cultural and creative policy scheme in an urban context that is structured based on local cultural assets.

The case analysis of Rasht city, a UNESCO Creative City, assesses the planning policies from the national to the regional level to determine the cultural policy planning platform of Creative Rasht in four phases of urban cultural resources, municipal objectives, festival urban branding and the role of stakeholders, which are fashioned by the integrated cultural identity and sustainable city. This is followed by semi-structured interviews with experts and young researchers in the field of culture-led urban regeneration to evaluate different phases of the policy planning process.

By means of the qualitative method and ethnographic research, this paper argues that managerial regulations for local cultural industries contribute not only to the reinforcement of cultural resources but also to urban cultural sustainable development.

Building on empirical research, this paper attempts to argue the significant role of local CCIs alongside social values in creating a creative city platform, given the necessity for an urban cultural platform in Iran. It also emphasises the importance of local communities’ participation in the decision-making process and awareness-raising among different groups of stakeholders.

With the dramatic transformation of China’s industrial landscape, since the late 1990s, adaptive reuse of industrial heritage for cultural purposes has become a widely occurring phenomenon in major Chinese cities. The existing literature mainly focusses on specific cases, yet sees heritage conservation similarly at both national and regional scale and rarely identifies the main factors behind the production of China’s industrial-heritage reuse. The purpose of this paper is to examine the differences in heritage reuse outcomes among three Chinese mega-cities and explore the driving factors influencing the differences.

This paper compares selected industrial-heritage cultural precincts in Beijing, Shanghai and Chongqing, and explores the local intervening factors influencing differences in their reuse patterns, including the history of industrial development, the availability of the nineteenth and/or twentieth century industrial buildings, the existence of cultural capital and the prevalence of supportive regional government policy.

The industrial-heritage reuse in the three cities is highly regional. In Beijing, the adaptation of industrial heritage has resulted from the activities of large-scale artist communities and the local government’s promotion of the city’s cultural influence; while in Shanghai, successful and more commercially oriented “sea culture” artists, private developers in creative industries and the “creative industry cluster” policy make important contributions. Chongqing in contrast, is still at the early stage of heritage conservation, as demonstrated by its adaptive reuse outcomes. Considering its less-developed local cultural economy, Chongqing needs to adopt a broader range of development strategies.

The paper contributes to knowledge by revealing that the production of industrial-heritage cultural precincts in Chinese mega-cities is influenced by regional level factors, including the types of industrial heritage, the spontaneous participation of artist communities and the encouragement of cultural policy.