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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.

Creative entrepreneurship is a vital concept that revolves around setting up a business that is novel, thoughtful, lucrative, and yet compassionate. The global pandemic has made people realise the significance and importance of creative entrepreneurship. Self-help groups (SHGs) play a pivotal role in boosting the rural economy and empowering people. Rural creative entrepreneurship has witnessed a significant transformation during the COVID-19 pandemic. The conventional concepts vanished due to the modern shift towards digitisation. Usage of the technology became the new normal and SHGs made all possible efforts to acclimatise promptly. Online virtual meetings, conference calls, and groups on WhatsApp made common people techno-savvy, facilitating work from home. The adoption of digitisation became a catalyst for the development of remote/rural areas. The present study is focused on the role of creative entrepreneurship in supporting and helping SHGs to function seamlessly during the COVID-19 pandemic. The authors aimed at analysing pandemic and post-pandemic creative entrepreneurship through SHGs in Himachal Pradesh (India). The authors identify that Creative Entrepreneurship initiatives have changed and supported the livelihood of rural people during the pandemic. This chapter also highlights challenges faced by the SHGs during the lockdown and their resilience strategies.

Drawing from resource-based theorising, the concept of network embeddedness and a process perspective on entrepreneurship, this paper establishes a conceptual framework to explain a multi-level and multi-locational network embeddedness of creative entrepreneurs in non-urban places. It challenges stylised facts about creative entrepreneurship as a predominantly urban phenomenon.

Based upon the conceptual framework for creative entrepreneurship in a non-urban place, an illustrative case study of small-scale creative-design entrepreneurs on the Lofoten Islands in Norway (2019) is utilised to discuss the framework.

The conceptual paper derives a fine-grained understanding about how creative entrepreneurship emerges and develops in non-urban places and contributes to a better understanding of how such places can nurture such entrepreneurship through multiple network embeddedness and resource-exchange configurations.

The article will enable further empirical research that tests, validates and, if necessary, refines the framework established.

Creative entrepreneurs should use various resource-exchange combinations with diverse networks to become locally embedded in non-urban places. Public-policy managers need to be aware of this variety that may exist with the network embeddedness of such entrepreneurs to support them and develop the location through resource provisions.

The paper uses an original conceptual framework.

Educators are increasingly required to develop creativity and entrepreneurial capabilities amongst students, yet within the fields of entrepreneurship and innovation these are presented as separate processes. We explore the theoretical and conceptual similarities and differences between these processes, and relate this to a range of experiential and digitally enhanced learning activities in formal education settings.

We present a conceptual model of the iterative nature of creativity and entrepreneurship as separate cognitive and social processes leading to aesthetic or sense-making outcomes. This leads to a discussion of how these processes may be experienced by students within an educational setting.

We propose a framework of learning activities which support the development of creativity through teaching entrepreneurially, at primary, secondary, and tertiary education levels. A range of different approaches is critically evaluated according to their relevance, including business planning, simulations, roleplay, co-creation, and flashmobs. Flashmobs are proposed to be most suitable and an outline learning activity design is mapped in detail against creative and entrepreneurial processes.

This chapter supports educational practice and research on learning through entrepreneurship in allowing educators and researchers to evaluate how learning activities may directly contribute to students’ learning through experience and the development of their creative and entrepreneurial mind-set.

This chapter is of value to educators as it explains how creative and entrepreneurial processes may be experienced by students through different forms of learning activity. It is of further value to research on entrepreneurial learning in considering how the creative process may inform entrepreneurial action.

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).

While the theoretical interaction of the creative and cultural industries and entrepreneurship in business is gaining attention in the literature, such entrepreneurial practices are extending their role and position in the economy and in urban areas undergoing transformation. The purpose of this paper is to contribute to that literature by generating a model that links creative entrepreneurship with urban transformation as places see and expect continuous change and development.

The authors adopt a conceptual approach, embedded in a triple helix model, of creative entrepreneurship and urban transformation of the Baltic Triangle area of Liverpool, England. The authors inform this through a case study analysis, including qualitative interview data relating to the Baltic Creative.

The authors demonstrate the need for interdisciplinary research to assess value creation, value delivery and innovation as contributors to urban transformation based on creative entrepreneurship, while at the same time resulting in creative placemaking.

This is a conceptual paper that will be used to frame future empirical research on generating additional insight by interviewing key actors to heighten understanding of innovation, value creation and value delivery process of placemaking, creative change and urban transformation.

This work can help inform creative policymaking, planning and development to achieve both social and economic impacts for a place and the wider region.

The authors both contextualize and show the transferability of the model, using the example of Liverpool’s Baltic Creative in Liverpool’s Baltic Triangle area of the city, highlighting the impact of creative change.

This study aims to establish a relationship between creative tourism and experiences in the traditional handicrafts of Barcelos (Portugal). Based on a qualitative approach, it also aims at analyzing the failures and absences from the tourist market by creating new proposals and responses to the demand. The conceptual framework of this study develops three proposals: first, to present new concepts and opportunities for the tourism market; second, to establish a direct relationship between the local traditional handicrafts, creative tourism and experiences; and finally, to promote traditions that add value to the local development.

This study uses an ethnographic case analysis research design to investigate the propositions (ten in-depth interviews with technicians and artisans in Barcelos, Portugal). The key constructs are drawn from empirical research among handicraftsmen in which data analysis was carried out based on a qualitative analysis.

The results suggest the experience, knowledge and importance of learning this dynamic in an entrepreneurship tourism perspective. Creative tourism and experiences are growing and strengthening the territories and consumer satisfaction in specific artisan, cultural and tourism entrepreneurship contexts.

This study fills a large gap in the territorial market, associating the knowledge of new concepts with the success of the tourism entrepreneurship. The findings provide solutions for helping handicraftsmen to improve their decision-making logic and increase the speed of market growth. There has been an increased emphasis on local and handmade goods that are linked to the culture and tourism of specific destinations.

Tourism managers and artisan entrepreneurs can use the outcome of this study to gain in-depth understanding of customer experiences (i.e. consumers of local handicrafts) and develop effective marketing strategies and further stage the operational environment that can maximize customers’ perceived experiential value.

The purpose of this paper is to explore creativity and how it changes over time among engineering students in practice-based entrepreneurship in higher education. This change was examined in students over a one-semester course in entrepreneurship. Entrepreneurship courses that use creativity tools for practice-based learning are expected to develop creativity as a learning outcome. This study discusses the extent to which some learning outcomes are more easily developed than others.

This research uses a longitudinal design by applying a pre- and post-test survey. The student population consists of engineering students enrolled in an entrepreneurship course with practice-based learning involving creativity tools. The course includes team-based idea generation and business model development. To measure actual changes in students’ creativity, two measures were used to reflect different aspects.

The results show that students’ ability to perform creative tasks increased, while students’ willingness to engage in and their enjoyment of creative tasks decreased as a result of the course. Non-significant differences in changes were found between the two measures, but a difference was found in how the two measures changed during the course. In line with the research question, the results suggest that education may influence ability to a greater extent than willingness.

The research used two different creativity measures to explore the extent to which engineering students experienced a change in creativity over a one-semester entrepreneurship course. In this way, the research contributes to the discussion on what could be learnt and by what means.