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Public libraries are incubators for collective action in the knowledge economy. As three case studies from the United States and Singapore demonstrate, public libraries can serve as influential champions that garner financial resources, communicate an urgent need for change, and respond to the unmet information and economic needs of marginalized individuals and communities. In the Raise Up Radio (RUR) case, public librarians engaged schools, museums, youth, and families in rural communities to develop and deliver STEM (science, technology, engineering, and math) content over local radio stations. In collaboration with organizational partners, RUR librarians created a model for library-community-radio projects for the rural United States. In the What Health Looks Like (WHLL) case, public librarians engaged senior citizens in discussions of health and the creation of health comics. In partnership with an interdisciplinary health research team, WHLL librarians developed a pilot for library-community-public health projects aimed at information dissemination and health narrative generation. In the Singapore shopping mall libraries case, the National Library Board (NLB) created public libraries in commercial spaces serving working families, senior citizens, and the Chinese community. The NLB developed an exportable model for locating information centers in convenient, popular, and useful business spaces. These case studies demonstrate how libraries are nodes in the knowledge economy, providing vital services such as preservation of cultural heritage, technology education, community outreach, information access, and services to working families, small- and medium-size businesses, and other patrons. In the years to come, public libraries will be called upon to respond to shifting social norms, inequitable opportunities, emergencies and disasters, and information asymmetries. As the cases of RUR, WHLL, and the shopping mall libraries show, public librarians have the vision and capacities to serve as influential champions for collective action to solve complex problems and foster sustainable development and equitable participation in the knowledge economy.

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.

Comics and graphic novels can disrupt traditional texts by challenging the “worship of the written word” (Torres, 2019), a feature of white supremacy that perpetuates textual hierarchies within educational spaces. Giving all of our students access to contemporary literature that centers Black youth perspectives is not only important in decolonizing literature education but also in presenting a holistic view of Black childhood. They can be used in the classroom as subjects to challenge stereotypical depictions by centering experiences, ideas, and concepts that are often marginalized in traditional curriculum. Within this chapter, we focus on comics and graphic novels as tools to enact students’ multiliteracies and to analyze visual stories depicting BlackBoy adolescence, using the frameworks of BlackBoy Crit Pedagogy (Bryan, 2022), an equity framework that interrogates the interdisciplinary ways that Black boy students' literacy learning can be formed through the teaching and learning of Blackness, maleness, and the schooling experiences of Black boys. We utilize this framework to analyze the use of diverse comics and graphic novels to facilitate critical conversations of bringing inclusive visual texts into the classroom. We invite practitioners to reimagine curricular ideas and content centered on empowerment and Black boy adolescence and how those ideas are presented to youth through a variety of visual narratives.

This chapter reflectively explores the idea of doing art-based research (ABR) through poetic methods for studying the experience of learning in higher education. Taking some literature on faculty development to exemplify different ways of experiencing learning, this chapter serves as a counterpoint to researching experiences of learning from a phenomenological approach. The fundamental reasoning for this is that the basic epistemological assumptions in phenomenology would limit our understanding of experiences of learning and thus, other methodological options would be worth exploring. To that end, this chapter elaborates on the relationship between knowledge production, speech and experience, all circling around the notions of research method and construction. Here, the aim is to reflect upon an understanding of research that is aligned with a dialogical and relational conceptualization of the experience of learning. Finally, an argument will be outlined that suggests conducting research as an experience. Taking from Dewey, Kvale, Law, Scheurich, Talmy and others, this exploration will present the idea of studying the experiences of learning by way of producing/devising experiences through arts. With the notion of art as experience from Dewey, the argument goes to ABR in a general sense, and poetry in particular, as a sound and coherent alternative way of researching learning as an experience. Thus, this chapter explores the possible theoretical-methodological contributions of thinking about and doing research understood as an experience through art.