A Theory of Why Arts Entrepreneurship Matters

Although consensus on a definition of Arts Entrepreneurship (AE) is helpful, formal theories are needed to help AE researchers and educators explain what the general AE process is and why it matters. As discussed in this article, such theories can help us understand the relationship between art innovation, art market creation and art value exchange in Artworlds. Such theories can also help AE educators in particular clarify distinctions and similarities between the systematic practice of AE and business entrepreneurship, challenge past and present assumptions about AE and may encourage AE educators to pivot towards new pedagogical directions.

Case Studies: A Brief Introduction and Suggested Guidelines for the Field

Case studies are a common teaching and learning tool within entrepreneurship and its parent discipline, business, as a method of bringing the nuances of realism to complex theoretical problems. However, within the arts entrepreneurship field, they are used less frequently for pedagogical purposes and often with hesitation. Consequently, in this guide to the Case Study Edition, I aim to briefly: provide a rationale for using case studies in arts entrepreneurship education; illustrate what makes a good case study; highlight the mechanics of writing case studies by clearly outlining the expectations of a submission to JAEE for both traditional research cases and teaching cases; summarize the cases within this special issue and highlight why they demonstrate best practice example cases.

Single Carrot Theatre: Financial Crisis Leads to Artistic Pivot

This teaching case study examines how Single Carrot Theatre in Baltimore, Maryland used adaptive capacity, leadership structures and risk assessment to implement a large organizational and artistic pivot. The case study is designed for undergraduate students to analyze how an established arts organization in financial risk can pivot from a traditional model to an innovative business structure while managing financial sustainability, audience growth and artistic vision. The Instructor’s Manual includes learning objectives, sample questions and additional resources to guide discussion around organizational culture and the important role of artistic vision in arts organizations.

Instructor's Manual: Single Carrot Theatre

Many arts organizations struggle to find long-term financial sustainability.[1] There are limited opportunities to build sustainable infrastructure and sources of long-term funding as organizations grow.[2] These risks are particularly challenging for organizations beyond the early startup phase that garner excitement and novelty. Single Carrot Theatre followed a traditional path of establishing a central theatre space for their operations, but unfortunately it created financial strain on the organization that almost resulted in permanent closure. With an established culture of innovation and a focus on artistic decision making, the company decided to implement an innovative organizational and artistic pivot. The company has successfully refined their mission to focus on site-specific and community-based theatre making. Although there were problems with public relations and limiting the perceived image of failure, the company was able to successfully retain a large portion of their patrons. Their nomadic structure lessened financial burdens, created an opportunity for new partners and funding sources and reestablished the company's unique brand of innovative theatre making. Early evidence suggests a recommitment of key stakeholders and potential for growing audiences in new ways. This case is designed to highlight how innovative arts entrepreneurs can pivot from traditional models of theatre and innovate financial success while remaining relevant and impactful to their audience. [1] “The Fundraising Report,” SMU DataArts, accessed January, 14, 2021, https://culturaldata.org/the-fundraising-report/the-fundraising-report-home/. [2] Ibid.

Instructor's Manual: Powell Flutes

Students often see innovation or creativity as beyond them. No doubt many educators hear “I’m not creative” or “I don’t know how to come up with ideas” from their students. This manual explains how the case can help students innovate by (1) articulating the need or problem, (2) plumbing the depths of personal experience, (3) staying focused on the objective and (4) assuming away obstacles. While this is a practical approach, Clayton Christensen’s concept of “disruptive innovation” provides some theoretical context that is interwoven in the case. Questions for discussion are posed along with brief answers offered by the case.

Powell Flutes: Innovating Products and Markets

The purpose of this case study is to provide an understanding of how innovation is possible even when an artistic product has a 180-year history of design stability. Innovation does not come from a lightning bolt out of the sky. Rather, it emerges from an openness to new ideas and deep experience in your industry or product. There are numerous parameters on which a business can innovate, including materials, mechanics, aesthetic design and manufacturing technology. One approach is to eliminate constraints blocking innovation by working backwards from Z to A, rather than working incrementally forward from A to B to C. Market surveys must be conducted cautiously, as consumers may not be able to envision a hypothetical product for which a prototype is not yet available. When innovation breaks new ground, it can also create new markets or market segments. Therefore, it is generally preferable to own 100% of your own market segment than 10% of a highly competitive market.

Libraries and Arts Entrepreneurship Education

In reaction to evolution in the way information is digested, libraries have undergone a transformation over the past couple of decades. Consequently, libraries everywhere have become more than just warehouses for books. Being a relatively new field, arts entrepreneurship has the opportunity to continue to grow along with libraries. This essay discusses ways that academic libraries can benefit arts entrepreneurship educators, as well as possibilities for collaboration between the two areas for research and planning events. Reaching out and establishing relationships with library personnel serves to reinforce the foundation of any arts entrepreneurship program.

Utilizing the Stanislavski System and Core Acting Skills to Teach Actors in Arts Entrepreneurship Courses

With insight into key pedagogical approaches of theatre training, an understanding of research regarding common psychological characteristics of actors and awareness of identified parallels between arts entrepreneurship and acting course content, arts entrepreneurship instructors can, in their classrooms, increase the likelihood of relating to acting students and subsequently, leverage their students’ inherent and developed skills. Research-based psychological characteristics of actors are offered, as are suggestions to appeal to actors’ general sensibilities (and how they may wish to be engaged). The Stanislavski System is the most popular approach to actor training; its critical structural components are discussed in addition to various offshoots of the original technique. Unique features of acting training such as encouraging imagination, reflection, openness to experience, emotional connections, pursuit of goals and the importance of soft skills are emphasized.