Search results

This chapter is based on more than a decade of art world research in Singapore but offers a single case of a composer who has composed a work for an orchestra. This study presents the creative reputation dilemma faced by many artists who attempt to be more entrepreneurial. Most countries promote their creative economy, and that has generated a class of artist entrepreneurs or ‘artrepreneurs’. Professional artists are encouraged and challenged to be economically independent and also to make their practice more profitable. For many artrepreneurs, maintaining their creative reputation comes with emotional costs. The thick description in this chapter demonstrates how an artist negotiates with the patron in finalising a new piece of commissioned music. But they failed to close the deal. This case deviates from studies that focus on successes in the creative industries. Creativity entails experimentation and creating new things, but new things may not be well-received. Nonetheless, these ‘unsuccessful’ works are part of the art world and contribute to creating cultural value in society.

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.

In recent years, we have witnessed a surge in academic interest towards migrants and their entrepreneurial endeavours. This has resulted in valuable insights about immigrant, transnational, ethnic and diaspora entrepreneurship. By reviewing 158 articles published in the fields of migrant entrepreneurship, transnational entrepreneurship, ethnic and diaspora entrepreneurship over the last decade, the author maps the migrant entrepreneurship field according to the level of analysis and suggests potential avenues for the development of the field. Blurred boundaries between different streams of literature can potentially lead to duplication of efforts and harm cumulativity of knowledge. Therefore, the author summarises the key findings at each level of analysis, identifies the gaps and most pressing research questions. The author concluded that the field would benefit from (1) more specific definitions and assessment of whether observed findings stem from immigrant-, transnational-, ethnic- or diaspora-related factors; (2) appreciating the multilevel nature of the phenomenon; and (3) clarifying the boundary conditions. This review contributes to the accumulation of knowledge in two ways. First, it synthesises the findings in the fields of transnational, immigrant, ethnic and diaspora entrepreneurship under the framework of migrant entrepreneurship. Second, it suggests potential research directions across three levels of analysis and in-between those levels.

Networking is an important managerial skill and small businesses and businesses that are operated in informal settings, such as those of the festival entrepreneur, need to concentrate on building strong relationships with the role players in their networks in order to survive, thrive and to enhance their competitiveness. The purpose of this paper is to investigate the current level of networking skills and to determine the perceptions of entrepreneurs of their current networking relationships. The tourism industry, which is regarded as a people's industry, needs high levels of networking skills to meet customer needs and expectations. Networking can therefore be seen as a key success factor. The Grahamstown National Arts festival is South Africa's oldest arts festival and was chosen, first because of the economic impact it has and, second, tourism and entrepreneurship are considered as key developmental issues in South Africa.

A quantitative study (structured questionnaire) was used to achieve the goal of the study and 137 festival entrepreneurs participated. A factor analysis was conducted with an Oblimin rotation to determine the factors that correlate most strongly with each other.

The main findings indicated that becoming a festival entrepreneur is a career choice and, second, that relationships and trust are important aspects of networking behaviour.

It is very important to investigate entrepreneurial behaviour in terms of networking practices at festivals. This research might help festival organisers to better understand and support the entrepreneurs conducting their business at these festivals and the organisers can offer services to support these networking efforts by offering courses, networking opportunities and engagement on higher levels of festival management. This research might also assist in the development of tourism curriculums which focus on event tourism.

This paper examines the discourse of consumers as they attempt to define and create consensus on the meaning and significance of cultural appropriation within a fashion context.

Data were collected via consumer comments posted to an article from The Guardian about the banning of headdresses from a large-scale music festival in Canada. Data were analyzed according to protocols for grounded theory.

Four themes emerged from the data: values consensus, ideological control, social and symbolic boundaries and social impact and change. These themes captured consumers' perspectives on the debate of cultural appropriation in fashion.

Cultural appropriation has become an increasingly important topic of interest as consumers share their voices online and demand companies increase their cultural competence.

Few researchers have examined cultural appropriation in fashion and captured the various perspectives of consumers on this phenomenon.