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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.

The data for the case is a mix of both primary and secondary data, from the following sources: – personal interviews with the protagonist, Sofana Dahlan; – Tashkeil website; – official documents provided by the company: ■ “Tashkeil – Corporate Brief,” ■ “Saudi National Creative Initiative – Activities Report 2016”; and ■ “Tashkeil Global Company”. – published media sources.

The case outlines the story of Sofana Dahlan (Sofana) (she/her), a social entrepreneur and one of the first few women lawyers in the Kingdom of Saudi Arabia. She established Tashkeil as a social enterprise, helping creative entrepreneurs (creatives) with strategic, operational and legal inputs, thus enabling the creative industry in different parts of the Arab world, focussing on Saudi Arabia and Lebanon. Her story can be used to inspire students on how a female entrepreneur fought against an extremely restrictive social and cultural environment and achieved her goals. It helps them to understand the challenges faced by women in the context of the Arab world and the key attributes required for them to succeed as an entrepreneur, especially in the context of certain social and cultural barriers. It also helps to understand the importance of resilience in entrepreneurs and to discuss how entrepreneurs can become more resilient.

The case can be used mainly in undergraduate Business Management Programs in courses such as Entrepreneurship, with specific reference to Women Entrepreneurship. The case would be a good fit for courses on Social Entrepreneurship and Creative Businesses.

Batik is a craft in the creative industry, which is the identity of the Indonesian nation. One of the main batik tourism areas in Indonesia is Trusmi, and women entrepreneurs have a strategic role in developing the batik craft industry in the region. The batik industry faced various challenges during coronavirus disease 2019 (COVID-19). Therefore, this study aims to explore the impact and identify strategic options during the COVID-19 period on batik businesses owned by women entrepreneurs in the Trusmi area.

This study uses a qualitative case study method by interviewing ten batik women entrepreneurs in the Trusmi area.

This study elaborates findings about the impact of COVID-19, the technology role, collaboration, the government role and strategic options.

This study provides academic and practical implications, which are discussed further about the role of the craft industry in dealing with economic and social turmoil.

The purpose of this study is to examine how women entrepreneurs are building embeddedness into male-gendered fields and how they are creating embedding in such fields in practice.

The qualitative methodology and three indicative case stories within gastronomic industry are illustrated and analysed.

The contribution of this study lies in the examination of the multifaceted embedding building process from dis-embedded, marginalised and suppressed position by women entrepreneurs. This was achieved with the help of building embedding through two strategies: sameness, that is, becoming one of the boys and then becoming a challenger, thereby enhancing their professional position.

The study is subject to limitations; a small sample is not suited for the generalizability of results. The most important implication of this study is the identification of the process of building embeddedness as the most critical resource for women’s entrepreneurship that should be supported by the scholarly and business community.

The theoretical framework developed for this study laid the foundation for developing literature on the embeddedness of women’s entrepreneurship and how the process of creating embedding becomes instrumental in business ownership.

The purpose of this paper is to investigate whether predicting factors of conventional ventures’ performance are appropriate in interpreting the creative industries context. Moreover, this paper introduces a way to measure venture performance in creative industries.

A structured questionnaire was used to address this research objectives, based mainly on scales tested in previous studies. Data were collected from a sample of 371 female entrepreneurs of creative industries. A hierarchical linear regression analysis was conducted to examine the research hypotheses.

In congruence with the hypotheses, the findings demonstrated that venture performance in creative industries can be predicted by factors that affect conventional venture performance. Creative personality and professional network ties are regarded according to the empirical analysis presented in this paper as the factors with the highest impact.

Data were pulled from female entrepreneurs in Greece, especially from the two biggest cities Athens and Thessaloniki. Consequently, it was precarious to fulfill the condition of generalizability. Additionally, a snowball sampling method was used, because of the absence of creative industries firms’ directory in Greece.

Based on authors’ knowledge and review, no prior study has examined predictors’ effect on creative industries venture performance.

This paper aims to develop insight into the impact the coronavirus disease 2019 (COVID-19) crisis had on female entrepreneurs in Ghana’s beauty industry and their ability to recognize opportunities. The authors also ascertained characteristics of the women that seemed to have influenced opportunity recognition.

Using the case study approach, the authors collected data via in-depth interviews and open-ended questionnaires from sixteen women entrepreneurs in the beauty industry. The data were analyzed using a thematic analysis.

The data show that women entrepreneurs encountered challenges during the pandemic; however, some of the women were able to identify opportunities. Creativity and social media inclination were perceived to have influenced opportunity recognition. It was also observed from the demographic data that women who identified opportunities and women who could not differ in the level of education, age and firm age.

Women entrepreneurs are encouraged to capitalize on social media and virtual platforms to enhance their marketing, services and operations. COVID-19 aid for businesses must be distributed equitably to all entrepreneurs in need.

The findings from this study provide novel insights into opportunity recognition during a crisis, focusing on a specific industry in a developing country.

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 purpose of this study was to explore strategies used by successful female entrepreneurs to manage the challenges of running a small apparel business.

A qualitative research design was used. Primary and secondary data were collected on small business in three countries: Russia, South Africa and Thailand. In-depth interviews were conducted with a total of 11 female small apparel business owners. Businesses ranged from tailoring and custom clothing shops, to small-scale design and production, as well as small apparel retail stores.

Three emergent themes highlight the similarities and differences that surfaced across the participants’ narratives. Key issues within the thematic areas point to the need for these women to be creative in finding resources to start and grow their small apparel businesses, and to manage the competition that they face within this industry.

It is difficult to generalize the findings of this study beyond the sample. Implications of the findings for understanding the needs of female apparel entrepreneurs and small business owners are considered.

Despite the significance of women to the apparel industry as well as small business ownership, thus far, the role of women as apparel entrepreneurs and small business owners has been under-examined in the literature. This study offers insight into what it is like for women seeking to succeed as apparel entrepreneurs and small business owners.

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).

To explore the demand and supply of private capital for successful women entrepreneurs in New Zealand. To obtain and interpret fine‐grained information in order to mitigate the research gap on growth finance for women‐led businesses in New Zealand.

Multiple approaches for data collection and analysis. Includes interviews with key decision makers in the private capital industry and an e‐mail survey of venture capitalists (supply‐side) and the narrated experiences of women entrepreneurs (demand‐side).

Quantifies the degree of women's current participation in the venture capital (VC) industry and delineates key considerations in the private capital investment decision‐making process. Confirms the absence of overt gender discrimination in the VC market but draws attention to the presence of other – some of which are more hidden – considerations which affect mobilisation of private capital by women entrepreneurs.

Highlights that a combination of supply‐side (private capital) and demand‐side (entrepreneurs) influences, as well as country‐specific structural and policy factors, needs to be considered when seeking explanations for the lower incidence of private capital to women business owners.

Mitigates the large research gap on women's entrepreneurship in New Zealand and supplements the literature on the private capital and women's business nexus. Signals the importance of policy considerations in growing the role of private capital.