This article provides a history of the development of cross campus entrepreneurship education (CCEE) in the United States and the European Union. Three drivers of CCEE were identified -Entrepreneurial Occupation, Entrepreneurial Employment and 10 Entrepreneurial Universities. Five models for CCEE efforts were also identified: focused (single-discipline), collaborative (two or more disciplines coordinating), magnet (bringing a campus to a central place), radiant (distributing resources across a campus) and mixed. CCEE efforts in the USA and EU initially stemmed from individual actions, with further US growth due to the involvement of private foundations, while in Europe, the individual actors' efforts gave way to EU-wide policies promoting CCEE for all higher educational institutions as part of the Oslo Agenda. These efforts are described and contrasted. Research topics related to the different approaches and issues of CCEE are identified.

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The demand for interdisciplinary and cross campus courses has increased substantially over the past few years resulting in increased program offerings and modifications to existing coursework in universities across the nation. This is very clearly evident in the arts realm. However, there is no clear agreement of knowledge, skills and abilities deemed important to the success of selfemployed artists and arts entrepreneurs. This essay presents qualitative data collected from personal conversations and other data collected over the past several years from students and faculty members engaged in lessons learned from The Coleman Foundation Faculty Fellows Program, a national initiative of The Coleman Foundation. Building upon the lessons learned from this initiative a framework is presented to embed entrepreneurship content across several arts subjects. Suggestions for conceiving and designing entrepreneurship course content are portrayed. The "modules" approach to the infusion of entrepreneurship within the arts and other disciplines are presented. Assessment methods to measure the impact of using such modules to infuse entrepreneurship are explained. Pedagogical constructs and pedagogical resources are presented. The implications for future research are postulated and suggested.

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:

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