Perspectives on Arts Entrepreneurship, Part 2

Abstract

This is the second in our opinion series, "Perspectives," in which we invite Artivate's editorial board members and contributors to respond to open-ended prompts about their position in relation to arts entrepreneurship; how arts entrepreneurship is situated in relation to other disciplines or fields; what problems we are grappling with as scholars, practitioners, teachers, and artists; and what are the research questions we are attempting to answer individually or as a field. Following, you will find responses from:

Inspiring Soulful Communities through Music: Connecting Arts Entrepreneurship Education and Community Development via Creative Placemaking

“…We believe our interdisciplinary collaboration responds to, and supports, Rabideau's claim that AEE: must thrive in non-curricular spaces, as much as be infused across curricular initiatives; crosspollinate among faculty, regardless of generational boundaries, traditional silos, and tenured lines; and unite campus and community, with particular attention to those at the margins of society. (Gartner, Roberts, & Rabideau, 2015) We further support Jackson, Herranz, and Kebwasa-Green's (2003) assertion that there is a need for comprehensive documentation of the various ways in which people participate in cultural activities that can provide better grounds for understanding community dynamics. This article represents a modest step in that direction.…”

“…Evidence of positive community planning and community building is carried out by and with communities (Bennett, 2014) and it can be facilitated by embedding university-driven initiatives within the communities in which they are situated. This amplifies the need for universities to consider the effects of bridging campuses and educational levels in order to present students with optimal opportunities for engaging with one another to learn (Gartner et al, 2015).…”

Artist Communication: An Interdisciplinary Business and Professional Communication Course

“…Artists employ these genres in traditional and digital spaces (Ferro, 2015;Newton, 2017). Some of these types of communication may be unique to specific art forms (Gartner, Roberts, & Rabideau, 2015), but many artist communication genres closely compare with genres taught in BPC classrooms (Moshiri & Cardon, 2014). For example,Essig (2016)determined in an analysis of four articles on skills necessary for artistic, entrepreneurial careers that networking, collaboration, and marketing communication were mentioned in each.…”

Écosystème de l’industrie de l’humour francophone au Québec

“…Puisque nous souhaitons étudier l'écosystème de l'industrie de l'humour, il convient de s'attarder au rôle d'un des acteurs prépondérants dans toutes les industries, soit l'entrepreneur. L'entrepreneuriat dans le domaine des arts et de la culture est perçu comme différent des autres formes d'entrepreneuriat avec ses propres défis (Bellavance, Sirois, Paré et Bao-Lavoie, 2014;Gartner, Roberts et Rabideau, 2015;HKU, 2010;Kolsteeg, 2013). L'entrepreneuriat artistique et culturel se situe dans un contexte économique, politique, juridique, technologique, géographique et temporel; contexte en transformation constante, avec des préoccupations pour la créativité, l'innovation, le développement économique, l'emploi, la carrière ou l'intermittence du travail (Bertholom, 2012;Bureau, 2006;Culture Label Agency, 2014;Davel, Lefevre et Tremblay, 2007;Ellmeier, 2003;Isenberg, 2011;Markusen, 2013;Menger, 2003;Wilson et Stokes, 2005).…”