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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).

Despite almost 50% of the Indian population being women, there is a significant gap between the genders in movie production. Although there might be several reasons attributed to the underrepresentation of women in the role of a movie entrepreneur, it is a fact that female movie entrepreneurs are few and far between. Most of the female movie producers in Indian movie industry tend to be spouses or children of leading male actors who have taken up the mantle to assist their husbands or fathers. This chapter, using interviews and life history analysis, examines reasons for low numbers of female entrepreneurs in the Indian movie industry, a domain that has largely been overlooked.

While musicians contribute a great deal to the atmosphere of a city like Austin, Texas, they may be poorly compensated for their work. Their low salaries, personality traits, and lifestyle preferences may also mean that musicians may be reluctant to engage in preventative health strategies. Frequently lacking sufficient health insurance, musicians may have difficulty coping with health challenges such as depression and anxiety, hearing loss, poor nutrition, and alcohol and substance abuse.

This chapter opens with background on the music scene in Austin, Texas and moves to a description of a recent study on how musicians feel their careers impact their health. This is followed by a literature review that summarizes what is known about musicians’ personalities, their lifestyles, the economic factors they face, and their health disparities. In the last half of the chapter, the author summarizes how libraries currently serve musicians and add recommendations for how libraries might expand these services.

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.

This chapter introduces the concept of ‘inditation’ to the creative industries. The concept builds on an old verb ‘to indite’ and the noun ‘inditing’, meaning ‘to make up’ and ‘to compose’. This chapter attempts to obtain the concept into the actual use of language. The term’s meaning gets adjusted in the sense of a conceptual redesign. Furthermore, this chapter introduces the concept of ‘inditation’ as a process of composing ‘the new’ by creative entrepreneurs. They indite entrepreneurial brainchildren, ‘the new’, as unique outcomes such as artwork, product prototypes, or services. The chapter asks what it means to indite and contributes three autoethnographic examples. It also suggests that inditation could evolve a process-oriented framework for bringing ‘the new’ into the world and outlines further research towards constructing a theory of inditation.

Shortages of personal protective equipment (PPE) across the United States at the start of the COVID-19 pandemic created entrepreneurial opportunities for sewists and makers. In the United States in March and April 2020, masks were not readily available to the general public from existing retailers and PPE for medical use was being rationed for healthcare workers. Sewists and crafters, professionals and amateurs alike, began making and selling and/or donating masks. For individuals with sewing skills and time, sewing and selling masks became a lifeline financially, personally, and socially. To understand the experiences of people who made and distributed handmade masks during the early months of the pandemic in the United States, an interdisciplinary team developed an online cross-sectional survey instrument using a qualitative-dominated approach with both open and closed questions. This chapter explores themes identified from a sample of 94 participants, predominantly female-identifying, who created an enterprise or added a product line to an existing business. The sample includes individuals who did not identify as a ‘creative entrepreneur’ prior to the pandemic but did identify as an entrepreneur after starting a mask-making venture. Informed by entrepreneurship literature, the authors observed that these nascent entrepreneurs articulated recognisable motivations for social entrepreneurship, showed signs of pre-existing entrepreneurial mindsets, and employed business models and marketing tactics of entrepreneurs, largely without any business training. Implications for the study include increased recognition of latent entrepreneurial readiness, interest of women in social entrepreneurship, and higher levels of business knowledge among women than previously recognised.

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).