Hasil untuk "Small and medium-sized businesses, artisans, handicrafts, trades"

Rachel Skaggs, Molly Jo Burke, Kuo Guo et al.

The COVID-19 pandemic significantly shifted the context of artistic and creative work, forcing individuals to adapt to wide-reaching changes in the way they operated in both work and life. Relying on interviews with data from 66 U.S.-based arts graduates, this article speaks to needs in sustaining creative life and work after the first year of the pandemic. Interviewees related that their needs for a sustainable creative work and life were primarily that they needed the social and physical distancing restrictions of the pandemic to end, more time and capacity to be creative, and monetary support. Ultimately, we argue that the changing context of the pandemic required substantial entrepreneurial ability toward being adaptable, superseding capacity for creativity during the first year of the pandemic. Our findings reflect that when arts entrepreneurs’ self-structured careers required new or intensified effort toward non-arts aspects of their work, their feelings of, or capacity for, creativity may be diminished.

Sharon Alicia Simmons, Chong Kyoon Lee, Susan Young et al.

Purpose – In this study, we question: how do the social costs of failure interact with gendered institutions to affect the early stage entrepreneurship activity? We address this question by employing the institutional theory and a unique dataset of 286,989 entrepreneurs across 35 countries. Design/methodology/approach – To test our hypotheses, we use a multilevel modeling analysis that nests individual entrepreneurs within the countries. To capture individual and country-level variables, we constructed a unique dataset that combines data from the Global Entrepreneurship Monitor (GEM), European Flash Barometer (EUFB), World Bank Development Indicator (WDI), World Bank Doing Business Report (WBDB) and World Economic Forum (WEF). Findings – Our analysis confirms that higher levels of the country-level gender equality positively correlate with the early-stage entrepreneurship activity of women. Moreover, we find that this positive relationship is amplified in institutional environments with high social costs of failure, suggesting that societal intolerance for failure can exacerbate the negative effect of gender inequality on the participation of women in entrepreneurship. Research limitations/implications – Our research contributes to academic interest on the role of legitimacy in women entrepreneurship and is of particular interest to international business scholars, seeking a better understanding of multidimensional construction of institutional frameworks across countries. In this study, we set out to address an important research question: how do the social costs of failure interact with gendered institutions to affect entrepreneurship activity? Our study provides a comprehensive portrait of gendered institutions by including the framework conditions of education, healthcare and political power. We found that in societies with gender equality, the likelihood of individuals engaging in the early-stage entrepreneurship activity is higher and that the positive relationship is strengthened in national environments with high social costs of failure. Practical implications – Our study findings underscore the need for government policies addressing global gender gaps in economic empowerment. In particular, policies assisting women in obtaining education in high-growth industries like information technology or providing funding to women-dominated industries may foster activity for women seeking to do business in such industries. Such policies connect the early-stage entrepreneurship activities with gender equality concerns and initiatives. Social implications – Regarding the social costs of failure construct, specifically, prior studies generally focus narrowly on the context of failed entrepreneurs. We cast a wider net on men and women entrepreneurs’ entry decisions (irrespective of prior experience with business failure) and provide new views on the effects of social costs of failure on entrepreneurial ecosystems. We also extend the research on the legitimacy of women as entrepreneurs with the gender equality construct. Originality/value – Unlike previous studies, which often focus on the “3Ms” of market, money and management, our research adopts a more holistic perspective. We recognize that the opportunities and challenges faced by entrepreneurs are shaped not only by individual skills and resources but also by the broader macroenvironment. By incorporating the framework conditions of education, healthcare and political power, alongside the intricate interplay of social costs and norms, our study paints a comprehensive picture of the landscape of female entrepreneurship.

Adrienne Callander, Johanna K. Taylor, Javier J. Hernández Acosta

Maniobra is a cultural employment initiative providing guaranteed income and additional support for artists and collectives in Puerto Rico over three years. The initiative is profiled in an article in this issue of Artivate by Javier J. Hernández Acosta, who is involved as both an arts entrepreneur launching the program through the Centro de Economía Creativa and as a scholar. A selection of the arts programs operating with Maniobra support is profiled here alongside the artists and collectives leading the work.

Inés González-González, María Pilar Martínez-Ruiz, José Antonio Clemente-Almendros

This paper analyses the intention of Spanish companies to continue using telework after the end of the COVID-19 pandemic. With this aim, we consider the influence that the management of several variables related to one of the key stakeholders, employees, has on this intention. This line of study is of great interest, given the implications not only for the management of companies, but also for key aspects such as the goals of the 2030 Agenda for Sustainable Development. To this end, we start with a review of the relevant literature on this topic, which allows us to raise various research hypotheses. This is followed by an analysis of a sample of 1,879 Spanish SMEs though a binary logistic regression model, which shows the positive influence of managers’ university education and companies’ orientation towards innovation on the use of telework after the pandemic.

Eriko Miyake, Atsushi Kato

Caroline Njeri Wanyoike, Matilda Maseno

Purpose – This paper aims to investigate the motivations of social entrepreneurs in East Africa to create a social enterprise and their identified links to successful social entrepreneurship in East Africa. Design/methodology/approach – The authors employed a qualitative method by performing thematic analysis on a set of interviews on social entrepreneurs from East Africa who are Ashoka fellows. Findings – The findings suggest that intense personal experiences linked to past-life events as well as a high achievement orientation towards improving livelihoods and creating impact serve as key triggers for social entrepreneurship. Successful entrepreneurship focusses on system change at national and local levels. Their success is also seen when the social entrepreneurs have achieved their mission and are no longer needed; thus, they become irrelevant. The paper discusses the implications of these findings on the model used for sustainable social entrepreneurship in East Africa. Practical implications – Based on an exploratory research on Ashoka fellows, the study adds insight to their motivations and success which can be used in a wider scale study of the same. Originality/value – The authors advance the scarce empirical research on East African social entrepreneurs, link success factors of social entrepreneurship to a recent framework on motivation to engage in social entrepreneurship and stimulate further research in the area. The study contributes to the literature on social entrepreneurship by linking success factors of social entrepreneurship to a recent framework on motivation to engage in social entrepreneurship.

Neville Vakharia, Paul Bonin-Rodriguez

Alfonso A. Rojo-Ramírez

El cálculo de la rentabilidad mínima es una pieza clave del mundo de los negocios que plantea un reto considerable a los inversores-propietarios y profesionales que asesoran las empresas pyme familiares. Este trabajo muestra cómo afrontar este reto mediante el uso del modelo de los tres componentes (3CM) para empresas no cotizadas. En concreto en él se argumenta sobre cómo agregar el riesgo específico de un inversor-propietario que concentra gran parte de su patrimonio en un solo activo (la empresa). El artículo contribuye tanto en el ámbito teórico como práctico. En el primero, ofrece una línea de investigación poco explorada en la actualidad. En el segundo, ofrece a los inversores-propietarios y a los expertos una herramienta que les servirá de guía en la toma de decisiones.

Sina Mirzaye, Reza Aghajan Nashtaei

Abstract The effect of small and medium-sized enterprises through entrepreneurship, revenue growth and creation of employment opportunities on the global economy is undeniable. Although these enterprises enjoy some strength like flexibility and compatibility in comparison to larger enterprises, they face a lot of problems which have kept their failure rate high. Therefore, in order to have proper and principled policy and plan to achieve economic development it is important to identify the factors affecting the failure of small businesses.This study aims to investigate the effect of two individual factors of ability and motivation on the failure of small and medium-sized businesses by studying 30 unsuccessful companies located in Industrial towns of Guilan province by presenting a questionnaire among managers and employees. In this paper, SPSS16 software was used for data analysis and to access the answers of the research questions. According to the results, the impact of sanctions and inflation on motivation was considered as the most significant motivational factor and lack of resources management and being considerate of other’s abilities were regarded as the most important ability factors.

Susan Booth, Mark Clague

Donna M. De Carolis, Barrie E. Litzky

Purpose – The purpose of this paper is to highlight the ways in which traditional views of entrepreneurs and entrepreneurship have inadvertently limited entrepreneurship education. The authors propose a broader view of what it means to be an entrepreneur and describe a disruptive approach to entrepreneurship education, one that centers around building students’ entrepreneurial mindset. By tapping into students’ “inner entrepreneur” and nurturing their abilities to think and act creatively, embrace failure, effect change and be resilient, the authors are preparing them for the challenges of the twenty-first century labor market. Design/methodology/approach – This is a perspective paper about how the traditional views of entrepreneurship education may be limiting its potential to create entrepreneurial college graduates set to take on twenty-first century careers. Findings – Teaching the entrepreneurial mindset and process will allow us, as educators, to best prepare our students for the complexities of the current and future workforce. Originality/value – By embracing the original meanings of the word “entrepreneur” – an act of reaching out and capturing and undertaking – the authors demystify what it means to be an entrepreneur. When we adopt a broader and more accurate conceptualization of “the entrepreneur,” we can teach our students to be the entrepreneurs of their lives.

Andrew Friedrichs

As music institutions strive to embody the nature of entrepreneurship in greater capacities, both a lack of understanding and a lack of pedagogical knowledge serve as detriments to this end. The purpose of this exploratory study is to equip classical brass performance professors, whose goal it is to incorporate entrepreneurship in their studios, with practical suggestions on how to do so. Information from a survey of brass players was combined with literature regarding entrepreneurship education teaching practices, as well as practices from content areas generated from the survey in order to devise a set of suggestions for brass professors. The survey found that most brass players thought entrepreneurship should be taught in the private studio and that hard work, perseverance, and learning from failure were viewed as the most valuable content areas for a career in music. The suggestions are broken down into four themes: attitude; experiential learning; moving outside the studio; and character development. Subthemes are acting as a mentor, assisting in students' pursuit of individual goals, diverging from a didactic teaching approach, learning by doing, learning through failure, reflection, interacting with the community, social engagement, interaction with entrepreneurs, and grit.

Amy Whitaker

As entrepreneurship education for artists expands, business strategy itself gets adapted to the particular ways in which artists are creative placemakers. Traditional business strategy is based on competition for scarce resources—as exemplified in Michael Porter's iconic Porter's Five Forces analysis and as extended to non-profit management by Sharon Oster's Sixth Force which includes donors. Yet creative placemaking often entails collaboration. Even in underfunded fields in which resources are in fact scarce, business strategy frameworks that are based on partnership and collaboration—most notably Brandenberger and Nalebuff's “ValueNet”—better suit community engagement and partnership strategies associated with creative placemaking. This paper takes as a case study a workshop taught to choreographers and other movement artists at the Lower Manhattan Cultural Council, in collaboration with the Actors Fund. The core question of the ValueNet—“If I succeed, who succeeds with me?"—has led to unexpected ways of mapping the ecosystem of the arts, and fruitful community engagement. In reimagining business strategy more holistically, this approach is also part of a larger pedagogy toward a principles-based, rather than rules-based, model of teaching business as a creative design medium itself.

William Gartner, Joseph Roberts, Mark Rabideau

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. This article includes responses from: William B. Gartner, Professor of Entrepreneurship at Copenhagen Business School and California Lutheran University; Joseph Roberts, Director of the Coleman Fellows Program, Associate Professor of management at Webster University, and co-editor of Artivate; and Mark Rabideau, Director of the 21st Century Musician program at DePauw University.

Woong Chang, Margaret Wyszomirski

In this study, we investigate the ways in which arts entrepreneurship has been operationalized and defined in the literature. We identify eight scholarly journals in arts administration and policy, in business administration, and in nonprofit marketing published during 2003-2013 and review articles published in these journals. Our review found that the scholarly literature on arts entrepreneurship has in fact been quite scarce. We also examine all articles in Artivate, a journal that specializes in arts entrepreneurship. Taking the literature as a whole, we found a plethora of meanings used in the literature, indicating an, as yet, unsettled definition.  We suggest that some analytical clarity can be obtained by grouping the many meanings of arts entrepreneurship into five analytical “levels”: Personal Character traits, Goals, Strategies, Tactics, and Context. We also suggest a possible general definition: “arts entrepreneurship” is a management process through which cultural workers seek to support their creativity and autonomy, advance their capacity for adaptability, and create artistic as well as economic and social value. This management process involves an ongoing set of innovative choices and risks intended to recombine resources and pursue new opportunities to produce artistic, economic, and social value. Identifying the emerging clusters from the meanings found in the literature, we conclude that to understand arts entrepreneurs, one must focus on the innovative combinations of strategy, individual skills, and mindset operating in each case of arts entrepreneurship and its context. As arts entrepreneurship is a constant exercise in recombination of skillsets, the possibility of flexible recipes begins to reveal what might be regarded as the recombinant DNA of arts entrepreneurship.

Linda Essig

An introduction to the Summer 2015 issue of Artivate: A Journal of Entrepreneurship in the Arts. 

Sonia BasSheva Manjon, Wen Guo

This article focuses on a creative collaboration that began in late 2013 between The Ohio State University's Lawrence and Isabel Barnett Center for Integrated Arts and Enterprise Graduate Student Think Tank (TT) and Sweet Honey in the Rock (SHIR), the internationally acclaimed, female, African-American Grammy Award winning a cappella ensemble based in Washington DC. As the ensemble reaches 40 years of performing, producing, touring, and speaking out about social injustices, the TT worked collaboratively with the organization to assess their organizational and management structure with the intent to resolve critical issues facing the group. A focus of the collaboration was to develop and engage in an interactive approach for building an arts-specific entrepreneurial business model. The TT is an interdisciplinary group of graduate students who work collaboratively on case studies to solve critical artist-defined issues and to develop new approaches to entrepreneurial management structures for artists and arts organizations. The processes of the TT forms a mutually beneficial system connecting the traditional case study model in higher education to the practice of business consulting for arts and cultural organizations. The first part of the paper is intended to give an overview of community-based non-profit arts organizations in the United States originating in the 1960s, including a history of SHIR. The second part of the paper discusses the collaborative process of the case in progress and how the students participating in the TT facilitate transition and transformation for SHIR. 

Marisa Enhuber

An on-going academic debate occupying Entrepreneurship researchers for the past several decades is concerned with defining what an entrepreneur is and what an entrepreneur does. The debate also extends to exploring the influence different types of entrepreneurs have on their environment. In the new creative economy, entrepreneurship has become a central issue for the regeneration of urban space. This essay first differentiates between economic and cultural entrepreneurs and second explores what influence cultural entrepreneurs, especially, have on urban developments. By using Damien Hirst as exemplar for the discussion of the entrepreneurial character and spheres of action, the analysis of his career demonstrates how difficult it is in practice to draw a line between artistic, cultural and commercial activities in the creative economy. Hirst's approach to contemporary conceptual art and his factory-like art production are both controversial and successful as defined by the author. Nevertheless, there seems to be agreement that his entrepreneurial artistic work has had a profound impact on the revitalization of East London and thus can be used as model for urban planners. The author posits that Hirst is a cultural entrepreneur based on this model for creating/regenerating viable economic urban spaces who embraces the blending of the artistic and market spheres.

John S. Pearlstein, Robert D. Hamilton

The theory presented suggests that underwriters are both advisors and independent agents in the issuerʼs attempt to send “signals” of quality to investors by making pre-IPO organizational changes. These pre-IPO gambits are intended to increase IPO proceeds, and preemptively address potential investor concerns that would deter them from subscribing. These organizational changes initially can financially benefit founders, early investors and underwriters. But they can also have a longterm impact that some issuers, especially founders, would prefer to avoid. Utilizing signaling and resource-based power, we find that underwriter power is significantly associated with making pre-IPO gambits and lower levels of underpricing.

Joseph R. Bell

The Handbook of Bioentrepreneurship represents volume 4 in the International Handbook Series on Entrepreneurship.This book is a collection of articles covering the rapidly evolving biotechnology industry.