Search results

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 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 labor in the perfume industry can be identified as perfumers or perfume designers who have spent years in the industry either with formal education or firsthand practice and have developed their skills. They are skilled in matching various fragrances and work with the client's framework to produce perfumes. This chapter analyzes the literature about creative labor's living conditions and aspirations, focusing on the perfume industry and its role in producing perfumes. Perfumery is looked at from a creative and artistic perspective, and the prerequisites of becoming a successful perfumer are analyzed. In an industry where talent plays a crucial role in one's success, perfumers are identified as those who work with large brands to produce perfumes for the masses or cater to specific individuals. Bespoke perfumers such as Sylvaine Delacourte and Jean-Claude Ellena have a lot more flexibility and autonomy in their work because of their superior level of skill. They can charge soaring prices for their work. Whereas other creative workers in creative projects have to undergo a long collaborative process where they are required to work within the framework provided by their clientele to launch a new perfume product. Previous literature by Richard Florida and Brian Moeran about the creative class has been used to identify the characteristics of creative labor in the perfume industry. The creative process in perfumery in terms of high-end luxury products and mass production products is discussed. Manufacturing of perfumes today is primarily industrial, and the role of perfumers in the high-end prestige market and mass market in terms of their creativity is analyzed. Additionally, the top perfumers’ style of work and the creative process involved in making perfumes are discussed.

Inequality in the creative industries often serves as the starting point for public debates over culture in the UK. Academic literature has long recognised the precarious nature of the fashion industry. This chapter offers a critical review of the relationships of power existing in the support offered to ethnic minorities in disadvantaged communities in the fashion and creative sectors in the UK. In addressing these issues, a Foucauldian perspective is adopted. The chapter focuses on Black, Asian, and minority ethnic (BAME) fashion entrepreneurs’ challenges in promoting young designers from disadvantaged communities.

Our findings show that the BAME entrepreneurs are active agents who are essential in identifying and shaping new creative and talented young designers. The chapter contributes to the debate through a critical review of the relationships of power existing in the support offered to ethnic minorities in disadvantaged communities in the fashion and creative sectors in the UK.

This study aims at investigating creative labor and its production process in late capitalism. With technological convergence and digitalization, there emerged an information society and information economy. In the processes and procedures of this era, conditions and climate of working areas and labor processes directly based on innovation and creativity have undergone radical transformations. Also, it has become indispensable to scrutinize the concepts such as immaterial labor, autonomy, and subjectivity. So, this study focuses on Turkish freelance illustrators to highlight their production, autonomy, and value in transformed time and space. It aims to establish a better understanding of the Turkish freelancer illustrators’ valorization of labor and economic insecurity in the digital era of creative industries by using the techniques of open-ended questions and online semi-structured interviews with 12 freelance illustrators. Therefore, this study traces the question of how the working processes and work ethos of digital career fields in the creative industry are evaluated from the perspective of illustrators. It cannot be overlooked that this new working ethos allows them to work as self-employed, offering through non-contractual relationships, and non-standard contracts with the clients which give them more flexibility and autonomy as an artist to plan their own creative production processes. It is also clear that illustrators who adapted themselves to produce in a transformed time–space are aware of the difficulty in measuring and valorizing the value of the creative and emotional labor they put to work. In such a case, it can be said that illustrators, who see themselves as both an employer and employee at the same time, position themselves beyond the distinctions of blue collar and gray collar and blur the boundaries in organizational hierarchies.

Cultural and creative industries (CCIs) have been argued to play an important role in achieving the sustainable development goals (SDGs). However, the mechanisms through which CCIs contribute to the attainment of SDGs remain underexplored. In this study, the authors adopt a network perspective to examine how the structure of a local CCI network relates to its local sustainability performance. By examining a database of 210,182 networked firms out of 1.34 million CCI firms across 294 cities in China, the authors conclude that both the scale and the density of a local CCI network improve the city’s performance in terms of attaining SDGs 8–12. The authors discuss the implications of these findings and propose future research avenues in international business.

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).

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.

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.