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The purpose of this paper is to summarise findings from collaborative research with Sheffield City Council to help contribute to a national healthy walks initiative. The primary purpose of the initiative is to help encourage a more active lifestyle through the uptake of regular walking. Highlighted here are some of the Sheffield urban walks which aimed to engage specifically with those living in more deprived urban communities. Reawakening the participants’ sense of enquiry and motivation to explore their everyday historic urban surroundings was an important stage in increasing the potential sustainable impact of the walking programme.

The Economic and Social Research Council (ESRC) funded project used an Action Research/collaborative approach to help develop the English Heritage GIS tool (Historic Landscape Characterisation) as both a catalyst for exploring the temporality of space and as a practical desk‐based means for defining potential walking routes.

The healthy walking initiative is used to illustrate how cross‐domain working can provide a powerful means to engage new audiences and it is asserted here that any form of community walking has the potential to increase the sense of custodianship of place.

(Re)awakening of attachment is explored here through engagement with an embedded and everyday material time‐depth. There are many urban residential areas which are not formally addressed by the urban designer, landscape architect, conservation officer or heritage professional and so require the engaged citizen to recognise the potential impacts of incremental change upon their surroundings.

The analogy of the city as an evolving system is an enduring one that is both universally acknowledged and greatly researched in equal measure. The purpose of this paper is to illustrate the potential for urban characterization studies, emerging from the fields of cultural heritage and landscape, to provide a rich source of data for exploring the characteristics of spatial adaptation and innovation over time.

An analysis of commercial organizational space in the city of Sheffield, UK is provided here as the subject of study which employs English Heritage's Historic Landscape Characterization dataset to explore temporal characteristics of commercial space within a broader context of change, at the city‐wide scale.

It is proposed here that to achieve culturally sustainable development against a context of urban “deterritorialization” and homogenization the very character and distinctiveness of innovation and change needs to be explicitly acknowledged. An evolutionary approach to organizational space is suggested here as a means to locate such adaptation and spatial change in “place”.

It is hoped that the approach presented may provide an important stage in thinking about the spatial relationships between business and society over time and particularly their interdependence within a city ecology. The scope is therefore to explore multi‐level evolutionary characteristics of socio‐cultural space, appreciating multi‐scale temporal change through a broad lens of Darwinism.

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).

This empirical chapter explores the case of Baltic Creative Community Interest Company (BC CIC), a creative hub that enabled and demonstrated intrapersonal entrepreneurial capitals (Pret et al., 2016) to adapt quickly and develop novel offers for their tenants during an unprecedented period of crisis and change in the wider ecosystem. BCCIC is a community-owned property development company established to regenerate an underused post-industrial area in Liverpool and support the Creative and Digital community. Over the past decade, they have become a creative hub where small, unique micro-businesses thrive alongside more established enterprises.

Using an organisational ethnographic approach, the authors highlight the complexity in the conversion of entrepreneurial capitals and how this has demonstrated resilience and adaptability in the CIC during the global coronavirus pandemic in the 2020s. During the first coronavirus lockdown in 2020, The CIC responded swiftly to tenants by providing a wide variety of business support initiatives. Regular communications on sector-specific COVID-19 operational guidance and a support programme to help tenants apply for Liverpool City Council Small Business Support grants.

The establishment of this hub for creative entrepreneurs prior to the recent disruption proved invaluable. Although they were severely tested, emerging behaviours, such as agility, adaptability, and resilience during periods of crisis, were identified. This chapter offers key insights for scholars and those leading on creative hubs and cluster policy development and economic initiatives for creative sector support regionally, nationally, and internationally.

Increasing evidence from high-income countries has revealed the positive impacts of creative entrepreneurship on the local economy, and these have attracted substantial attention in recent years. Creative industries are considered as the seedbeds for innovation; they are highly innovative and productive and are seen as drivers of economic development and social change. Creative industries are distinctive in that they have several transaction networks and income streams. Although creative industries are generating increasing interest in the minds of researchers and policy-makers in developed countries, the institutional and economic settings in Cameroon and other developing nations may not be so conducive to creative industries. The available evidence is insufficient to understand their performance and sustainability, let alone to estimate their contribution to the rest of the economy. This chapter demonstrates how the creative industries could contribute to the economic and social development of a nation. The chapter further explores the current situation of creative industries in Cameroon, with a focus on the artists of popular and folk music, the challenges they are facing, and provides ways forward.

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.

Entrepreneurial intention – the decision to, and subsequent practice of, launching a business – is often referred to as a planned, considered act. Factors influencing the decision to embark on entrepreneurial ventures have been identified and used to create models of entrepreneurial intention. Do these models, which emerge primarily from behavioural psychology, hold true for participants in the cultural and creative industries (CCIs)? Narrative research conducted with 18 CCI entrepreneurs from Australia indicates that the intention to start their ventures is neither clearly identified nor defined. These narrative accounts present intention as a slippery notion – difficult to define, to separate from other factors, and to rely on with certainty. In these accounts, the founding of CCI ventures is revealed as a gradual, organic process, less distinct than existing models of entrepreneurial intention suggest. Three themes that impact on entrepreneurial intention are identified from these accounts – desire for personal growth, progression from freelancing, and realisation of creative projects – to further illuminate how venture creation takes place in the CCIs.