While many professional arts training programs prepare students to excel at the practice and performance of the arts, evidence suggests that many professional arts training programs may be failing to prepare students to be professional artists. A total of 11.1% of all recent college graduates with undergraduate arts degrees are unemployed (Carnevale, Cheah, & Strohl, 2012, p. 7). Fifty-two percent of arts undergraduate alumni reported being dissatisfied with their institution's ability to advise them about further career or education opportunities (SNAAP, 2012, p. 14). Eighty-one percent of all arts undergraduate alumni reported having a primary job outside of the arts for reasons of job security (SNAAP, 2012, p. 19). Many arts higher education administrators address the situation by advising arts students to attend business and entrepreneurship courses. However, these courses are often taught or presented outside of an arts training context. Arts entrepreneurship education can serve as contextual business/career/technology education for arts students; however, barriers make it difficult for administrators to create adequate curricular room for arts entrepreneurship education. Furthermore, the teaching and learning of contextual business/career/technology education in professional arts training programs may often be thought of as helpful but not essential, as evidenced by the National Office of Arts Accreditation (NOAA) classification of these types of courses as general education units. This essay supports the need for arts entrepreneurship education, and discusses key barriers to recognizing arts entrepreneurship education as essential to professional arts training.Arts alumni of undergraduate and graduate programs were somewhat or very dissatisfied with: career advising or information about further education options (50%), opportunities for degree-related internships or work (46%), opportunities to network with alumni and others (41%). (SNAAP, 2012, p. 14) 81% of all alumni surveyed, reported having a job outside of the arts for reasons of job security. (SNAAP, 2012, p. 19) Based on the 2012 findings, SNAAP conducted a secondary analysis that same year, and published a special report entitled Painting With Broader Strokes: Reassessing the Value of An Arts Degree. This secondary analysis served as an expansion of the 2012 report. Some relevant findings in this report include, but are not limited to the following: White Barriers to Arts Entrepreneurship Education ______________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________ Artivate 2 (3)
The purpose of this study is to lay a foundation for comparative analysis of arts entrepreneurs' demographics and shared characteristics in a given U.S. arts sector. Guided by a conceptual framework for the U.S. arts sector, I utilized a cross sectional survey design to generate data for analysis. In this article, I reflect on the research process, interpret findings, and utilize new understandings as a catalyst for guiding and informing directions for the emerging arts entrepreneurship research field.Keywords: arts entrepreneur; arts entrepreneurship research; arts sector Researchers from around the globe have long examined entrepreneurship; traditionally defined as both a process of innovation and new venture creation (Gartner, 1985; Kuratko, 2014, pp. 4-5, p. 23), situated in a for-profit context (Schumpeter & Opie, 1934), analyzed through an economic lens (Hayek, 1945; Steyaert & Katz, 2004, p. 187) and evidenced by way of business ownership (Hawley, 1907; Shane & Gartner, 1995, p. 293). However, perhaps due to the prevailing view of entrepreneurship as a for-profit seeking activity (Benz, 2006, pp. 23-24), and in the absence of a nationally adopted sectoral frame for the arts (Cherbo, Vogel & Wyszomirski, 2008), there is little to no research within top tier entrepreneurship journals for guiding and informing individual (Gilmore,
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.
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