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The purpose of this study is to ascertain factors that enable micro- and small firms (MSFs) to cope with the effects of a long-term crisis and develop a model which guides conceptual understanding. This study’s setting is represented by the global financial crisis and by Cyprus and Greece, two nations severely affected.

On-site, unstructured, face-to-face interviews were conducted among 135 MSF leaders.

Sixteen different coping factors were identified as central to participants, resulting in the emergence of four key dimensions. Three dimensions, self-initiative, financial acumen and human attributes, are associated with entrepreneurs’ skills, initiatives, passion and networks, whereas one dimension, individual-firm advantage, considers firms’ and individuals’ valuable assets and resources, namely, image/reputation, quality or location. Almost two-thirds of participants recognised a lack of collaboration beyond their suppliers within their industry. Several intergroup differences were revealed, including Cypriot participants’ higher optimism concerning their firms’ future.

This study responds to calls for research that illuminates the understanding of firms’ ability to overcome inadequacies imposed by the socio-economic environment in which they operate. To this end, a theoretical framework emphasising the vital significance of four dimensions is proposed. Apart from their conceptual insightfulness, the dimensions identify clear associations with resilience and coping and can therefore be of practical value to micro–small-sized firms and their respective industry.

The purpose of this paper is to develop an understanding for the social inclusion of disabled performers in a developing country to create awareness and improve policies/practices.

The study employed qualitative methodology, and data were collected through semi-structured interviews, site visits/observations and review of secondary data.

The data from different respondent groups showed the social inclusion should be reviewed at three levels: the state, society and individual. The review of existing policies revealed the neglect of the state regarding disabled people in general and even more so in performing arts due to the lack of enforcement of national and international agreements. Findings indicate that social inclusion of disabled performers is a minor issue, especially in a developing country where access to basic human rights and needs may be difficult. Amidst such difficulties, performing arts is not seen as a priority compared to other needs of disabled people and performers.

Limitations include the limited number of disabled performers who could be identified and were willing to participate in the study. Those working in venues/public offices were also reluctant to participate. The greatest limitation was the broad lack of interest in disabled performers.

In Türkiye, studies on disabled people tend to focus on basic needs like health, education and employment. None, to best of researchers' knowledge, explore the social inclusion of disabled performers. This is an original study because it collects and discusses primary data on this topic, revealing the state-level negligence/oversight, the apathy of society and the degree to which an individual with disabilities must struggle to participate in performing arts. Consequently, this study shows the difficulty of developing social inclusion, equality and diversity in an emerging economy for disabled performers to raise awareness and present grounds for further legal enforcement. Moreover, implications allow for a global understanding of social inclusion that moves beyond a biased or privileged understanding/critique of disability centered on the developed world.

Previous work by the author has focused on examining the limitations of the marketing concept and its associated frameworks, processes and prescriptions focusing on a planned, strategic, linear, lower risk future for the firm. Emerging research has shown that such frameworks are now dated, despite being continually taught at business schools. Recent research at the interface between Marketing and Entrepreneurship has shown that, as a result of the inadequacies identified, there is hope for the entrepreneurial marketer (practitioner and academician alike) through the generation of alternative perspectives, and ultimately the formation of competing paradigms of marketing enquiry. Small firm marketing research shows that theories of networking, creativity, opportunity recognition and word of mouth marketing are much more valid in terms of their explanation and understanding of how such a firm behaves, rather than to endeavour to fit the square pegs of traditional marketing theory into the dynamic holes of the smaller firm operating environment. Drawing on alternative methodologies from outside the realms of marketing, this paper presents some thoughts on the merits of embracing the philosophy of researchers and practitioners in the arts and other creative fields in order to reach a more valid understanding of smaller firm behaviour.

This paper offers some thoughts on the current state of play in creative thinking and practice, and how we as entrepreneurial marketers might embrace an alternative methodology in order to promote an improved understanding of business.

The purpose of this research is to focus on the internationalisation process and experiences of Korean theatre companies. Factors investigated include cultural issues impinging on production values and the roles of entrepreneurial thinking and creativity. An analysis of impacting barriers on performing arts internationalisation is also carried out.

A case study approach was used to investigate the performance and internationalisation activities of five Korean theatre companies that participated in the Edinburgh Festival Fringe.

The exporting of Korean cultural products contributes markedly to the perception and understanding of Korea. Small theatre companies with a tolerance of risk‐taking, together with competencies in creativity and entrepreneurial thinking, can help to minimise the effect of unforeseen problems experienced during the internationalisation of theatre productions.

The in‐depth case study approach adopted here has resulted in the uncovering of data that would not have been unveiled through questionnaire analysis alone. The findings can, however, contribute to future large‐scale surveys of the arts industry.

The issues identified in this study are also relevant for other forms of internationalising artistic productions. The successful combination of artistic ability and the implementation of entrepreneurial competencies, together with the creative use of limited resources, serve as competitive advantages for the arts organisation.

This research promotes a cross‐disciplinary approach to arts marketing in general by encouraging the interrogation of fields such as entrepreneurship, small business marketing and internationalisation research.

The focus of this paper is the interrogation of an artistic approach with the purpose of understanding entrepreneurial marketing.

This is a conceptual paper although the evaluation is grounded in prior quantitative and qualitative research in entrepreneurial marketing, creativity and art.

An artistic approach to understanding entrepreneurial marketing matches the way in which the owner/manager behaves in practice by constructing a personalised approach to doing marketing.

The paper calls for more creative ways of understanding entrepreneurial marketing. This involves more experimentation in research methodology. The experimental approach also mirrors entrepreneurial marketing practice.

The outcomes address existing theory versus practice gaps so that a more meaningful understanding of entrepreneurial marketing practice can be obtained through the re‐imagining of the entrepreneurial marketer as an artist.

This is an under‐utilised approach to understanding entrepreneurial marketing. The approach matches the wider calls for artistic methods in the wider management academy.

The overall aim of this chapter is to investigate whether the notion of cultural value can have utility as a context for urban and regional development strategies. It does this by proposing a conceptualisation of ‘cultural assets’ that encompasses both tangible and intangible resources, as well as resources existing and yet to be created. The purpose of the conceptualisation is to establish a framework within which we can better understand how cultural value might be activated or generated in urban and regional areas and so become a context for developmental strategies. Importantly, this paper also sets out to provide further insight into the notion of cultural value itself, particularly in relation to matters of definition, and the notion's utility in other areas of theory and practice.

The purpose of this paper is to carry out a longitudinal review of arts marketing research.

The paper looks back at the origins of arts marketing research, identifying the initial areas of interest and traces its development as a recognised research domain.

Arts marketing research has evolved from being an application of marketing using long‐held principles into a discipline where critical and creative approaches are now being used to generate more meaningful and actionable arts marketing theory.

Although arts marketing research has developed in terms of rigour, depth and reach, there is still much unexplored potential to be realised.

The paper shows that effective arts marketing consists of a balance of addressing artistic needs and customer expectations. The marketing involved must acknowledge the merits of artistic philosophy, while also addressing the commercial realities of today's arts world.

Only a very small number of assessments of the state of arts marketing knowledge have been carried out. The paper develops both a longitudinal analysis of the origins and growth of this knowledge and provides suggestions for future research.