cultural entrepreneurship
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2021 ◽  
pp. 136787792110460
Author(s):  
Sara Malou Strandvad ◽  
Tracy C Davis ◽  
Megan Dunn

With the example of the emergence of professional mermaids, this article shows how primarily young, female enterprising performers developed a new aesthetic category, generated employment from it, and in that way created a market for their services and products. To conceptualize this development, the article employs the Callonian program in market studies into research on cultural entrepreneurship, highlighting that markets are constantly in-the-making and innovation processes cannot be ascribed to the activities of singular “hero figures.” This adds to the existing literature on cultural entrepreneurship by calling attention to collective entrepreneurial practices taking place on the fringes of the cultural sector.


2021 ◽  
pp. 0739456X2110358
Author(s):  
Qingfang Wang ◽  
Lyneir Richardson

Policymakers worldwide have invested in art and cultural industries (ACIs) as important vehicles for economic development. However, the issues of race, ethnicity, gender, and inequality have not been sufficiently addressed. This study investigates the factors that enable or constrain art and cultural entrepreneurship (ACE) in Newark, NJ. The findings suggest that a sense of place and the social identities of diverse business owners significantly impact the process of launching and operating creative businesses. Insufficient market opportunity, lack of resources in the community, and uneven distribution of wealth across racial groups are among the biggest challenges they face. Despite these challenges, these artist-entrepreneurs have proactively worked as both business owners and art-industrial gatekeepers to promote themselves and other underrepresented groups in the marketplace. The study also highlights universities’ role in the regional entrepreneurship ecosystem in promoting ACIs. It calls for policy and practices fostering minority entrepreneurship in ACIs, bringing artists to the core of entrepreneurship and development strategies in these communities.


2021 ◽  
Vol 19 (42) ◽  
pp. 241
Author(s):  
Israel Campos

As festas são espaços históricos e com relevância quando abordamos o estudo do empreendedorismo cultural. Uma festa centenária, que influenciou a cultura brasileira e é uma das mais importantes na Europa nos dias atuais, revela estratégias e inovações pertinentes para a pesquisa e a discussão no campo do empreendedorismo cultural. Este trabalho, portanto, tem como objetivo compreender a relevância e estratégias do empreendedorismo cultural na festa do São do Porto. Para tal, serão discutidas no âmbito teórico e prático, as ideias de empreendedorismo cultural, identidade cultural e juventude, no contexto de uma festa. Como resultado, são apresentados, através da metodologia etnográfica, com a estratégia do estudo de caso, e com apoio das técnicas fotográficas e fílmicas, os elementos teóricos e práticos que constituem a longevidade e potencial de crescimento da festa do São João do Porto em Portugal. Empreendedorismo Cultural; Festa; Identidade Cultural; Juventude. Parties are historical spaces and are relevant when we approach the study of cultural entrepreneurship. A centenary party, which influenced brazilian culture and is one of the most important in Europe today, reveals strategies and relevant innovations for research and discussion in the field of cultural entrepreneurship. This work, therefore, aims to understand the relevance and strategies of cultural entrepreneurship in the São do Porto festival. To this end, the ideas of cultural entrepreneurship, cultural identity and youth will be discussed in the theoretical and practical scope, in the context of a party. As a result, the theoretical and practical elements that constitute the longevity and growth potential of the São João do Porto festival in Portugal are presented, through the ethnographic methodology with the case study strategy, and with the support of photographic and filmic techniques. Cultural Entrepreneurship; Sociability; Party; Cultural Identity; Youth. Las fiestas son espacios históricos y son relevantes cuando nos acercamos al estudio del emprendimiento cultural. Una fiesta centenaria, que influyó en la cultura brasileña y es una de las más importantes de Europa en la actualidad, revela estrategias e innovaciones relevantes para la investigación y discusión en el campo del emprendimiento cultural. Este trabajo, por tanto, tiene como objetivo comprender la relevancia y las estrategias del emprendimiento cultural en el festival de São do Porto. Para ello, las ideas de emprendimiento cultural, identidad cultural y juventud serán discutidas en el ámbito teórico y práctico, en el contexto de una fiesta. Como resultado, se presentan los elementos teóricos y prácticos que constituyen la longevidad y potencial de crecimiento del festival São João do Porto en Portugal, a través de la metodología etnográfica con la estrategia de estudio de caso, y con el apoyo de técnicas fotográficas y fílmicas. Emprendimiento cultural; Fiesta; Identidad Cultural; Juventud.


Author(s):  
Matthew Rutherford ◽  
Duygu Phillips

Bootstrapping is a term, a construct, and a paradigm that has attracted substantial attention from both popular press writers and scholarly researchers. In the scholarly community bootstrapping research is concerned, broadly, with studying the phenomenon of startups in resource poor environments. While this would describe virtually all startups, bootstrapping is most focused upon those resource-starved startups that elected to use only the resources existing internally to the firm or founder(s). That is, in bootstrapped firms, no financing has been attained from individuals or entities outside the firm. In practice, bootstrapping is understood as (a) launching a business with no external debt or equity, and (b) finding creative ways to manage a business launched with no external debt or equity. Most entrepreneurs bootstrap at founding. It is estimated that few (20%) take on external debt at startup; and far fewer (5%) launch with external equity. Examples of techniques employed because of the decision to bootstrap include using credit cards, drawing upon home equity and sweat equity, taking loans from family, and investing salary from one’s “day job.” There are fundamental reasons for this, both from a demand side and a supply side. From the demand side entrepreneurs, on average, are autonomous and therefore have a preference for control and a general aversion to external forms of capital, both debt and equity. On the supply side, because of extreme asymmetric information that exists between financiers and entrepreneurs, financiers often cannot accurately gauge the underlying quality of the entrepreneur/venture and are therefore reluctant to provide capital to them. With regard to outcomes of bootstrapping, though, the research is equivocal. Ceteris paribus, it appears that there is no significant difference in performance between bootstrappers and non-bootstrappers; however, contingencies likely exist. For example, non-bootstrappers are likely more prone to failure because they often take more risks. Therefore, while a few heavily financed ventures may achieve lofty success, many fail in dramatic fashion. By contrast, bootstrappers are often more cautious and therefore these firms demonstrate less variance in outcomes. Understanding of both antecedents and outcomes of bootstrapping has grown since the introduction of the construct in the late 1980s. Because of this expanded understanding, the construct has evolved from phenomenological roots to one more grounded in theory. That said, there remain ambiguities around bootstrapping, not the least of which is the existence of myriad definitions and resultant operationalizations. Partially because of these varied conceptualizations, the scholarship on bootstrapping has been somewhat fragmented and challenging to decipher. This fragmented accumulation has led to not only a literature with vivid applications and examples, but also one with little universal logic. This fact has made it somewhat difficult for a field to advance. However, insights from existing theory (e.g., signaling, cultural entrepreneurship) as well as the relatively recent development of closely related bases (e.g., effectuation, bricolage) can complement and advance bootstrapping by adding theoretical breadth and depth. When understood alongside these related lines of research in entrepreneurship, researchers are better equipped to create, catalog, and accumulate knowledge regarding bootstrapping. In turn, educators will be more effective in communicating how entrepreneurs are able to launch in resource poor environments, and ultimately achieve success.


2021 ◽  
pp. 017084062110245
Author(s):  
Duncan Chapple ◽  
Neil Pollock ◽  
Luciana D'Adderio

Previous research emphasises storytelling as the means by which entrepreneurs gain stakeholder support. If new ventures are to survive and grow, they require the backing of a range of stakeholders. Yet the processes of storytelling that appealed to early-stage groups like investors may not attract later-stage audiences. This can pose obstacles to survivability and development. However, it is unclear how entrepreneurs learn about and garner the attention of future groups. To investigate this important phenomenon, we conduct a qualitative study of how entrepreneurs extend processes of storytelling to industry analysts, a key stakeholder group for digital ventures. We develop a model that conceptualises the way industry analysts probe and problematise the storytelling processes entrepreneurs put forward – which encourages their revision. Our key finding is that entrepreneurs struggle to move beyond the initial investor pitch and understand the expectations of industry analyst briefings. Still, they can repair connections with this audience through revising stories. We advance contributions to cultural entrepreneurship research on framing, audience expectations and story replotting.


Author(s):  
Dominic Athanassiou ◽  
George Musgrave

This paper explores how cultural entrepreneurs built a ‘heavy metal world’ in the Polish People’s Republic (PRL), focussing on the years 1980-89. By combining historical analysis with primary research to examine how both fans and artists alike acted together to overcome shortages, scarcity and repression, this paper supports definitions of cultural entrepreneurship which go beyond an economic orientation, and acts as case study to highlight the often uneasy co-existence between states and cultural production.


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