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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.

The dichotomy of views on “arts for arts sake” and “art must meet commerce” elicits the clash about how creative entrepreneurs encounter the dilemma of fulfilling personal satisfaction and chasing entrepreneurial aspiration along the entrepreneurial process. It is argued whether or not creative entrepreneurs can integrate artistic creativity and entrepreneurial alertness to disentangle the conflict and tension between art and commerce in the guanxi embedded culture context. The complex guanxi ties of creative entrepreneurs identified as bonding ties with families, bridging ties with friends and social ties with colleagues are presumed to activate personal and social values.

The research design consists of two stages: face-to-face interviews and empirical survey. A total of four successful local creative entrepreneurs in craft arts were interviewed and asked questions related to their source of creative inspiration, market alertness and value creation. Findings derived from interviews enrich the questionnaire development of the empirical survey. The survey was conducted to realize the social phenomenon of creative entrepreneurs' guanxi, cognitive process and satisfaction with Taiwan's creative industry context. In total, 318 creative entrepreneurs’ responses were collected and analyzed by using structural equation modeling (SEM).

Results suggest that guanxi networks lead to the acquisition of various social resources that are conducive to alertness in entrepreneurial opportunities and stimulate artistic creativity, which in turn gratify creative entrepreneurs' senses of entrepreneurial satisfaction with life, work and social contribution, as well as achieve higher entrepreneurial aspiration, perceived as social recognition and meaning of work.

Results of this study enrich the understanding of creative entrepreneurs and their awareness of balancing opportunity alerting and artistic creativity while starting creative businesses. Diverseness and closeness of guanxi networks can fill the gap between art and market and further pave the way to winning aspiration.

This paper advances the existing literature on creative entrepreneurship by adopting guanxi network theory to explore entrepreneurs' cognitive process in the linkage of artistic creativity and entrepreneurial alertness and their mediating effects on perceived entrepreneurial satisfaction and aspiration.

The rise of creative economy has been the subject of considerable interest in the recent literature. Despite the growing effort to investigate entrepreneurship in creative industries, little work has been done to scrutinize the relationship between individual attributes of creative entrepreneurs and the new venture outcomes. Prior research shows that entrepreneurial creativity and opportunity recognition are the major determinants of entrepreneurs’ behavioral posture in the new venture process. Therefore, this study aims to explore the typology of creative entrepreneurs’ attitude to new venture creation using entrepreneurial creativity and opportunity recognition to categorize entrepreneurs in creative industries.

A sample of 291 entrepreneurs in creative industries of Taiwan and cluster analysis was used to categorize the research data.

The results identify four types of creative entrepreneurs, namely “creative constructionist”, “creative opportunist”, “creative designer” and “creative producer”. To better understand the role of creative entrepreneurs in affecting new venture success, the career outcomes perceived by entrepreneurs were compared between different categories. Results suggest that entrepreneurs who are categorized as “creative constructionist” have better career success in firm’s creative performance, personal career achievement, social reputation, entrepreneurial satisfaction and entrepreneurial happiness. Moreover, findings also suggest that constructionist type of creative entrepreneurs have the lowest intention to quit the entrepreneurial career.

This paper confirms that entrepreneurial creativity and opportunity recognition complement each other to accomplish entrepreneurs’ career success. Its findings shed light on entrepreneurs’ attribute typology as well as how the typology is linked to entrepreneurial career success in creative industries. Theoretical contributions and practical implications are discussed.

The purpose of this study is to examine the impact of the characteristics and competencies of entrepreneurs on business performance within the creative industry in Indonesia. By creative industry, is refer to market-oriented enterprises that use creativity and intellectual capital to create, produce, distribute and disseminate creative goods and services through media channels.

This study measured six entrepreneurial characteristics: creative and innovative, risk-taking, need for achievement, leadership, autonomy and proactiveness. In addition, it measured five entrepreneurial competencies: opportunity, strategy, relationship, organization and learning. Data collection was conducted using a questionnaire administered to 294 entrepreneurs operating businesses within the creative industry in Java, Sumatra and Kalimantan, Indonesia.

The findings of this study demonstrated that entrepreneurial characteristics and competencies had a significantly positive effect on business performance. Creativity and innovation emerged as the most influential characteristics, whereas strategy stood out as the most influential competency.

This study aimed to examine whether the personal qualities of entrepreneurs as identified within conventional industries − specifically their entrepreneurial characteristics and competencies − had an impact on business performance in the creative industry in Indonesia. Conventional industries, unlike creative industries, are characterized by the production and distribution of physical goods or basic services, with less emphasis on creative innovation as the core driver.

From the perspective of role identity theory, the purpose of this paper is to explain how an artistic creative entrepreneur has set up and operates a business that incorporates a component of social responsibility into the business model.

An explanatory case study approach was followed in analysing the case of Alenka Repic, the founder and creative director of the company Kaaita, which operates from Slovenia. Data were collected through documentation and interviews and content analysis was used to analyse the data.

Kaaita has adopted an innovative and socially responsible business model as an artistic creative enterprise. The case study firstly introduces Kaaita and its innovative business model. Thereafter, it describes and discusses the defining roles of Alenka Repic as an entrepreneur and how these roles have shaped what Kaaita does and how it operates.

This explanatory case study has presented the unique case of an artistic creative social entrepreneur, and the innovative business model that has been adopted. However, because only one case has been presented here, it is recommended that additional case studies be conducted. It is also recommended that additional research be conducted in the area of sustainable business model innovation.

The case illustrates how a more deliberate consideration of their role identity could assist entrepreneurs in aligning their personal values and beliefs with how they create, operate and develop their enterprise. It also serves as a reminder to both scholars and aspiring entrepreneurs that the essence of entrepreneurship is to have the passion and courage to be innovative and disruptive and that educators should focus on cultivating skills that are related to identifying and exploiting opportunities for innovative disruption.

The study draws on role identity theory to gain insight into the roles that are exercised in developing an innovative business model that combines diverse types of entrepreneurship.

The purpose of this paper is to explore whether and how entrepreneurs in the cultural and creative industries develop an entrepreneurial identity. It also aims to expand research on cultural and creative entrepreneurship.

The study is based on longitudinal qualitative cases and analyses the potential entrepreneurial identity development of eight cultural and creative entrepreneurs from Germany. The researchers create a framework to ascertain whether and, if so, how cultural and creative entrepreneurs develop an entrepreneurial identity.

The findings suggest that cultural and creative entrepreneurs do develop an entrepreneurial identity and incorporate their cultural and creative identity into that entrepreneurial identity whereas self-reflection is a key driver in the development.

Cultural and creative entrepreneurs are a key driver of economic development. Hence, it is important to generate a more detailed understanding of their entrepreneurial mind-set and their behaviour.

The study suggests that cultural and creative entrepreneurs actively develop an entrepreneurial identity and that self-reflection, communication with other entrepreneurs and entrepreneurial experience are the main drivers of their identity development. Nevertheless, their cultural and creative identity does have an influence on their entrepreneurial identity. In addition, the study demonstrates how such entrepreneurs develop their identity.

Given limited research about how artisans become integrated into tourism, the purpose of this paper is to investigate the emergence of artisan entrepreneur–mediators who link artisans to tourism in rural areas and small cities in Portugal. Using social embeddedness as a conceptual framework, this paper views artisan entrepreneur–mediators as existing within an entrepreneurial ecosystem. The paper investigates their role within this ecosystem and how social networks influence the artisan entrepreneur–mediators’ roles in connecting artisans to creative tourism.

The paper is based on new (2017 and 2018) empirical evidence developed through two rounds of semi-structured interviews of five artisan entrepreneur–mediators.

This paper finds that artisan entrepreneur–mediators in rural areas or small cities take on multiple roles as networking agents who organize and offer creative tourism experiences, providing the missing link between artisans and tourists. An analysis of the nuances of the operations of these artisan entrepreneur–mediators suggests that high levels of social embeddedness within local rural communities are important in order for these neo-rural entrepreneurs to attain their goals.

Originality lies in the identification of a gap in artisan entrepreneurship literature in a rural context. It is the first time that a critical analysis of artisan entrepreneur–mediators who facilitate the link between artisans and tourism is carried out in terms of social embeddedness, their roles and connections to creative tourism, and types of community engagement.

This chapter uses reflexive praxis to advance a framework for developing creative virtuosities for entrepreneurs based on four interrelated aspects: finding their own voice and passion at work; unleashing creativity and imagination at work; working collaboratively toward innovation; and handling complexity and integrative thinking. These four creative virtuosities emerged from observations and exploratory interviews with training program participants on five different occasions in Turkey, the UK, and Canada. They are illustrated through four arts-based metaphors: poetry; theater; orchestra; and jazz. The core premise of this chapter is that these four virtuosities can provide entrepreneurs with a sound basis and a wealth of knowledge on developing creative solutions to new socioeconomic challenges of prospective radical technological and economic changes.

There is growing scholarly discourse towards COVID-19 pandemic and creative entrepreneurship in the perspectives of Global South. Extant literature lacks sufficient empirical evidence on the subject matter. This paper therefore provides insights into business models and business model shifts in response to the COVID-19 pandemic among creative entrepreneurs in Ghana.

In working towards achieving the purpose of the study, a qualitative design was deployed. Four artistic communities in three regions were understudied. The study conducted working interviews, Focus Group Discussions and field observations on the creative entrepreneurs.

The results showed a unique business model that captured ministries, agencies and departments; traditional authorities, foreigners and the diaspora community as key creative partners. The creative entrepreneurs equally proposed value via quality deliveries, attractive pattern mix, pure handy crafts, mart finishing, imbibing culture into productions and symbolic meanings. Their key activities include cutting and gluing, sewing and coloring, sketching and prototyping, annual Kente festivals, film shooting and editing. The creatives stream revenue through sales, advances, profit margins, contracts, gate proceeds, loans, friends and family support. The results also point at a regime of business model shifts among the creatives, deploying digitalization and diversification in response to the COVID-19 pandemic.

The research by design is limited to the qualitative tradition; despite knowing well about the quantitative approach that could have provided a wider scope and coverage for effective generalizability. Certainly, it would be of future research interest to design a comparative mix-method study to achieve a wider coverage feat. Indeed, the paper does achieve the goal of providing an original empirical account, hence making a valid contribution to knowledge in the area of study.

The knowledge on demystified business models relative to the Ghanaian creative entrepreneurs has practical implications for practice: first, it generates a ground-up knowledge as to what creative entrepreneurial business models are, why they exist and exactly how to create one in a Global South perspective.

These creative business models and the COVID-19 induced model shifts among the Ghanaian creative entrepreneurs imply continuous creative livelihoods, sustainable business models and assurance for innovation in creative entrepreneurship space.

The study is of high scientific value, creative entrepreneurial essence and public interest to better demystify creative entrepreneurial business models and theoretically framed them. It offers strong empirical evidence on COVID-19 induced business model shifts. These creative business models and the COVID-19 induced model shifts among the Ghanaian creative entrepreneurs imply continuous creative livelihoods, sustainable business models and assurance for innovation in creative entrepreneurship space.