Professional Documents
Culture Documents
PACE Project
-0
4
r ts ip
01
A s h
ur
on
ati g
ub
lic
in e
EP n
TI
LA o
N
rm e n r w
PA r f ep
ro
Pe tr B
A
En lph
Ra 0 4
20
performing arts
entrepreneurship
Ralph Brown
2004
Contents
1 Creativity, Innovation and Enterprise There is a substantial and growing interest
2 Entrepreneurship and the Cultural in developing entrepreneurship and the
Industries related area of equipping students for
3 What is Cultural Entrepreneurship? selfemployment or ‘portfolio careers’ in
4 How do Cultural Entrepreneurs the arts and entertainment sector. The
work? PACE project is building on the work of
5 Starting a Creative Arts Business performing arts departments in this field
6 Approaches to Teaching and by funding further initiatives, developing
Developing Entrepreneurship in the resources and networks to support
Performing Arts graduate entrepreneurship. This guide
7 Courses, Projects and Resources presents a review of recent literature on
8 Looking to the Future cultural entrepreneurship and discusses
9 References the issues surrounding the transition from
arts higher education to professional
artistic practice. It also highlights innovative
approaches in drama, dance and music
departments, and outlines the work of the
PACE project in supporting and promoting
new initiatives in this area.
4
entrepreneurship, it will make it Using judgement to Creativity Networking
take calculated risk
happen’. 2
5
has a vital role in maintaining dynamics and what it means in
the creativity base within the arts sector generally.
2. then face a need to come to terms with
Entrepreneurship
6
a business. Their main focus may be on
developing their own practice, but they
3.
What is Cultural
Entrepreneurship?
3.1 Is there a specific model of
cultural entrepreneurship?
One useful definition of cultural
7
4. they are not at work. There
How do is a need to justify room
Cultural
8
often come to them when etc.
The capacity to take personal risks is one of the
functions that sets apart the productive artist
from the potential artist.23
9
Table 2: ‘Radical Uncertainty’ in the Music Industry
and groups of musicians
operate with few tangible
The image of the music industry Councils. It has identified
is also regarded as a further generic skills shortages in the
area of potential difficulty. creative industries including:
Popular music is associated entrepreneurial skills, business
with youth, and therefore often aptitudes, awareness of funding
inexperience, and this is coupled issues and structures and
with the poor public image of marketing skills.
some high profile pop music Online music businesses have
artists – bank managers tend found it easier to access finance
to have different attitudes to precisely because they did speak
nineteen year old engineers and the same language – they tended
nineteen year old DJs! to have IT people as well as
There has also been a broader music industry people as part of
perception of a traditional their management team,
cultural problem - of people 5.3 What are the
in the arts world not ‘speaking real ‘key skills’ for
the same language’ as business effective cultural
and financiers. Following the entrepreneurship?
Thatcher era, with a far greater The main skill-sets involved in
emphasis on sponsorship to starting an arts business have
supplement Arts Council been identified as:
funding, private endowments • Partnership and promotion
and, more recently, competition strategies;
for lottery funds, the general • Effective communication
music industry the local authority and Regional • A balance between creative
management team
Development Agency initiatives independence and qualities
to create commercial ‘creative allowing mutually beneficial
10
Approaches to Teaching and Developing
Entrepreneurship in the Performing Arts
6. a major influence on their arts modules in this area,
Approaches to thinking’. 38
developing arts based skills and
Teaching and 6.2 Theory and Practice techniques.42 Much of the more
Developing Can the skills of cultural generic training and support
Entrepreneurship entrepreneurship, that cultural entrepreneurs
in the Performing such as managing a have received has tended to
Arts rock band, be more lack an understanding of the
6.1 Higher Education effectively learned from cultural industries and how
and Cultural experience rather than they operated and was ‘often
Entrepreneurship in the classroom? viewed as inauthentic and not
Recent research has emphasised Recent research in the field linked to the real activities of
‘how vital access to higher of teaching and learning particular cultural communities
education is for cultural entrepreneurship in subjects of practice’.43
entrepreneurs.’35 related to working in the 6.3 What are the
Higher education can potentially cultural sector suggests that key features of
provide: entrepreneurs don’t learn effective approaches
• Incubation schemes for usefully from formalised training to entrepreneurial
cultural entrepreneurs; and support that is generic and education in the
• Important benefits, which de-contextualised, or where cultural sector?
are often overlooked at a trainers lack an understanding or Research involving case studies
strategic policy level, in the sympathy for specialised creative and interviews with cultural
form of ‘the informal, fine communities of practice and how entrepreneurs has emphasised
grained and network-based they work. The most effective
39
the following key factors:
forms of educational practice learning was where students are: • Pathways to entrepreneurship
and innovation, which • Able to experiment with in the cultural industries
encourage spin-offs, cross- ideas, by ‘doing’ and reflecting – local, regional links between
sectoral collaboration and on what they are doing; higher education and the
risk taking’. This application • Collaborating and cultural sector;
and transfer of knowledge networking with others • Placements with experienced
from one setting to another (acquiring information and mentors in the field;
‘is often at the heart of ideas through contacts, • Active involvement in a
entrepreneurship but it is too adopting and developing workplace environment
little encouraged or assessed ideas from within a that is embedded in wider
within higher education’; 36
community of practice); artistic networks, which
• A focus for local ‘creative • Working with more provide opportunities
clusters’; experienced mentors in their to develop contacts, etc.
• Vital links and possibilities for sector; 40 This combination will give
collaboration with practicing • Context specific training, prospective entrepreneurs
artists; where practitioners and opportunities to learn by
• Higher education courses situated learners learn doing and to reflect on doing
and contexts often provide through qualitative and it, within the context of a
initial inspiration, a safe reciprocal exchange of ideas community of practice;
environment to experiment, in informal settings. 41
• Support and guidance in
develop creative ideas, ideas Currently, however, arts the early stages of business
that could become the basis based courses are generally development, bridging
of future business activity, an providing relatively few direct the gap between higher
opportunity to experiment opportunities for students to education and professional
with ideas before specialising experience how micro and practice – through situated
in a particular area. 37 small businesses in the cultural learning and mentoring, work
11
For most cultural entrepreneurs, industries operate. There is a based learning and context
higher education has ‘been clear demand for more specialist specific training.44
7.
De Montfort University
Arts Management, B. A.
The course aims to provide the skills and
knowledge for a career in the cultural sector,
from working in theatres, arts centres, and
other organisations to working directly with
artists in dance, film production, theatre or
music.
Manchester Metropolitan
University
Arts and Cultural Enterprise
(Dance, Drama, Music, Popular Musics,
Sonic Arts, Writing)
A new half-degree exploring how arts
organisations work, what they do and how
12
they go about it, with a focus on both
theoretical context and practical
skills such as making funding applications and with a professional dance company that gives the
managing budgets. students a insights into the creation, rehearsal and
performance of a new production..
University College Winchester 7.2.4 Projects, Placements and
Enterprise and Industry (Performing Arts, Mentoring Schemes
Dance)
A project-based module on business, self- Liverpool Institute for Performing
employment and entrepreneurship in the arts. Arts,Liverpool John Moores
University
University College Winchester Disabled Artists into Work
Foundation Degree in Creative Industries This project aimed to develop disabled artists’
A course aimed at those working in the creative business training for transfer across the disability
industries, designed to be combined with arts community regionally and nationally.
employment. <http://www.nwdaf.co.uk/frames/intowork.html>
De Montfort University
Foundation Degree in Performing Arts
and Professional Practice
A new course that focuses on the practical
skills required by practitioners engaged in
contemporary performance practice.
13
the transition from training to professional
practice. It includes a three-month placement
7.3 PACE Innovation graduation. Students will work education institutions might play
Projects with dance tutors (in-house) as in supporting emergent practice.
PALATINE’s new PACE ‘Apprentices’ in order to develop
Innovation Project programme a range of material, skills and University College
is now supporting six projects strategies which they will later Winchester
working on approaches to apply, mentored by their tutor. Online Resources
teaching and developing to Teach Enterprise
entrepreneurship, self- Trinity College of to Performing Arts
employment and ‘portfolio Music Students (ORTEPAS)
careers’ in the performing arts Preparation for This project will produce a
sector: the Profession: A set of freely available and high
Mentor Scheme for quality online pedagogical
York St. John Postgraduate Students resources designed to help
College, School of This new scheme – the first tutors teach enterprise to
Arts: Literature and of its type within the music performing arts students
Theatre conservatoire sector – will (developed from a successful
Arts Graduates in facilitate a vibrant interface HEIF-funded Enterprise in the
Yorkshire: Flexible between senior students and Arts course currently being
Entrepreneurs the music profession. The taught to students of Dance and
This project aims to investigate project’s goals include the Performing Arts).
and identify the aspects evolution of courseware that
of current undergraduate enshrines the aspirations and Leeds University
programmes that enable and expected outcomes of the Ideas Generation
inspire performing arts and film mentoring scheme and the This project aims to develop
and TV production graduates development of appropriate a greater understanding of
to build medium risk creative CPD training for those the process of creativity,
professional careers, comprising members of the ensembles encouraging academic staff and
a flexible and varying mix of involved in the project. students to explore creativity,
entrepreneurial activities and innovation and risk. Workshops
conventional employment. Nuffield Theatre, will be delivered by experienced
Lancaster University performers and companies who
University of Nuff Said- A Weekend understand the processes and
Sunderland, School of of New Work by up and could impart their knowledge in
Arts, Design, Media coming Artists an innovative way.
and Culture A three-day festival (4-7
Dance Apprentice- February 2005) that will enable
Mentor Learning and recently graduated artists to
Teaching Model present work to a critically
This project addresses the supportive audience (including
need for ongoing education promoters, festival selectors,
and training of dance artists, funding bodies, HE tutors and
students and graduates, other artists – both established
working in the community and and emerging – as well as
challenging environments. It undergraduates, postgraduates
will develop ways to better and graduates in the arts). It will
enable level 3 dance students to also focus on other key areas
understand how to apply their – creative and administrative
subject knowledge and skills – that are crucial to the survival
within an artistic community of new artists and companies
and so be more readily and the role that higher
prepared for employment on
8. the Creative Industries Higher practical effectiveness of
15
The Department for Culture, entrepreneurship likely to not necessarily conscious or
Media and Sport has established succeed? Research into the codified’.49
9.
References
1 Budget Statement: Building a Britain of economic strength and social justice (HM Treasury, 2003: Para 17),
<http://www.hmtreasury.gov.uk/Budget/bud_bud03/bud_bud03_index.cfm>
2 Financial Times, 4 August 2004.
3 Gibb, A., ‘Educating Tomorrow’s Entrepreneurs’, Economic Reform Today, 4, 1998, p. 34.
4 Ibid., p. 33.
5 Ibid., p. 33.
6 Adapted from Gibb, A., ‘Educating Tomorrow’s Entrepreneurs’, p. 33.
7 Tonge, J., A Review of Small Business Literature Part 2: Birth, Growth and Death of the Small Business (Manchester
References
Metropolitan University Business School Working Paper Series, November 2001), p. 21.
8 Ibid., p. 22.
9 Creating a Land With Music, Youth Music, 2002, pp. 15-16; ‘Creating the Future’, LMI Briefing, Issue 22, July 2001, p. 4.
10 Orchestral Research Final Report, 2002, p. 8.
11 Heeley, J. and Pickard, C., Employing Creativity: Skills Development in the Creative Industries in the North West of
England, North West Regional Development Agency, 2002, p. 34.
12 The PACE Project <http://www.lancs.ac.uk/palatine/pace> is part of a wider Higher Education Academy initiative to
encourage entrepreneurial skills amongst undergraduates, via curriculum development. The aim of the programme
is to facilitate the development of the undergraduate curriculum by putting in place the background information
and materials needed to equip universities to teach the skills required to start and grow a business and contribute
effectively to an organisation. More information is available at:
<http://www.ltsn.ac.uk/genericcentre/index.asp?id=19870&>
13 Dugald Cameron, Director, Glasgow School of Art, quoted in Leadbeater, C. and Oakley, K., The Independents:
Britain’s new cultural entrepreneurs, Demos, 1999, <http://www.demos.co.uk>, p. 24.
14 Creative Industries Mapping Document, Department for Culture Media and Sport, 2001.
15 Ibid., p. 3.
16 Bilton, C. and Leary, R., ‘What Can Managers do for Creativity? Brokering Creativity in the Creative Industries’,
International Journal of Cultural Policy, 2002, vol. 8, no. 1, p. 50.
17 House of Commons, Culture, Media and Sport Committee, Arts Development: Dance, June 2004, p. 17.
18 Guardian, 12 August 2004.
19 Hauge, E. S., Entrepreneurship in Cultural Business Clusters – Metal Music as a best case, NCSB 13th Nordic
Conference on Small Business Research, 2004, p. 5.
20 Ibid., p. 13.
21 Leadbeater, C. and Oakley, K., The Independents: Britain’s new cultural entrepreneurs, pp. 24-25.
22 Guardian, 24 June 2004.
23 Bilton, C. and Leary, R., ‘What Can Managers do for Creativity? Brokering Creativity in the Creative Industries’, p.59.
24 Leadbeater, C. and Oakley, K., The Independents: Britain’s new cultural entrepreneurs, p. 11.
25 Bilton, C. and Leary, R., ‘What Can Managers do for Creativity? Brokering Creativity in the Creative Industries’, p. 50.
26 Leadbeater, C. and Oakley, K., The Independents: Britain’s new cultural entrepreneurs, p. 11.
27 Ibid., p. 26.
28 Ibid., p. 11.
29 Bilton, C. and Leary, R., ‘What Can Managers do for Creativity? Brokering Creativity in the Creative Industries’, p. 58.
30 Leadbeater, C. and Oakley, K., The Independents: Britain’s new cultural entrepreneurs, p. 11.
31 Adapted from Wilson, N. and Stokes, D., Cultural Entrepreneurs and Creating Exchange (Small Business Research
Centre, Kingston University, 2001), p. 10.
32 See, for example, <http://www.creativeclusters.co.uk/>. For a detailed study of the role of clustering projects in
recent urban policy and development: Mommaas, H., ‘Cultural Clusters and the Post-industrial City: Towards the
Remapping of Urban Cultural Policy’, Urban Studies, vol. 41, No. 3, March 2004, pp. 507-532.
33 Online Music Business representative, quoted in Wilson and Stokes, Cultural Entrepreneurs and Creating Exchange, p.
16
34 Wilson, N. and Stokes, D., Cultural Entrepreneurs and Creating Exchange, p. 2 and 19.
35 Leadbeater, C. and Oakley, K., The Independents: Britain’s new cultural entrepreneurs, p. 42.
36 Ibid., p. 43.
37 Raffo, C., Lovatt, A., Banks, M. and O’Connor, J. ‘Teaching and Learning Entrepreneurship for micro and small
businesses in the cultural industries sector’, Education and Training, 2000, vol. 42, 6, pp. 358-359. 6
38 Raffo, C., O’Connor, J., Lovatt, A., Banks, M., ‘Attitudes to Formal Business Training and Learning amongst
Entrepreneurs in the Cultural Industries: situated business learning through ‘doing with others’, Journal of Education
and Work, vol.13, no2, 2000, p. 222.
39 Raffo, C., Lovatt, A., Banks, M. and O’Connor, J. ‘Teaching and Learning Entrepreneurship for micro and small
businesses in the cultural industries sector’, p. 362.
40 Ibid., p. 356.
41 Raffo, C., O’Connor, J., Lovatt, A., Banks, M., ‘Attitudes to Formal Business Training and Learning amongst
Entrepreneurs in the Cultural Industries: situated business learning through ‘doing with others’, p. 228.
42 Raffo, C., Lovatt, A., Banks, M. and O’Connor, J. ‘Teaching and Learning Entrepreneurship for micro and small
businesses in the cultural industries sector’, p. 359.
43 Ibid., p. 359-360.
44 Ibid., p. 363-364.
45 Leadbeater, C. and Oakley, K., The Independents: Britain’s new cultural entrepreneurs, p. 17.
46 Foundation Degree Prospectus, HEFCE 00/27, 2000, Para 23.
47 Galloway, L. and Brown, W., ‘Entrepreneurship education at university: a driver in the creation of high growth firms ?’
Education and Training, 2002, vol. 44, No. 8/9, pp. 398-405.
48 Moreland, N. Entrepreneurship and higher education: an employability perspective, LTSN 2004,
<http://www.ltsn.ac.uk/application.asp?app=resources.asp&process=full_record§ion=generic&id=341>.
49 Raffo, C., O’Connor, J., Lovatt, A., Banks, M., ‘Attitudes to Formal Business Training and Learning amongst
Entrepreneurs in the Cultural Industries: situated business learning through ‘doing with others’, p. 218.
16
Rights Management Information
ISBN 1-904190-67-7
© PALATINE, December 2004
Published by
PALATINE,
The Great Hall,
Lancaster University,
Lancaster LA1 4YW
www.lancs.ac.uk/palatine
www.lancs.ac.uk/palatine
www.lancs.ac.uk/palatine
www.lancs.ac.uk/palatine
www.lancs.ac.uk/palatine
www.lancs.ac.uk/palatine
www.lancs.ac.uk/palatine
All rights reserved. Apart from any fair dealing for the purposes of research and teaching, criticism or review, no part
of this publication may be reproduced, stored in a retrieval system, or transmitted, in any other form or by any other
means, graphic, electronic, mechanical, photocopying, recording, taping or otherwise, without the prior permission in
writing of the publishers.