Same or different? The “cultural entrepreneurship” and “arts entrepreneurship” constructs in European and US higher education

With their feet on the ground: a quantitative study of music students’ attitudes towards entrepreneurship education

“…First and foremost, the present study reveals that music students beg for entrepreneurship education, and all aspects of it. Indeed, the need for all three approaches to entrepreneurship education is high among the Dutch music students within our sample: they recognize the importance of employability and career self-management, they want to understand the basics of setting up a venture and they are eager to develop enterprising skills, in that order of importance, which challenges the continuum from employability to venture creation as suggested by Essig (2017). Not being a study of the supply side (or what education institutes bring on offer) but one of the demand side, our research underlines the urge for a multi-facetted take on entrepreneurship education.…”

“…Those business-related skills may be particularly salient for more commercially oriented artists as well as necessity entrepreneurs who are urged to start a small venture. Until some years ago this was the most common approach to arts entrepreneurship in art schools, and commonly built on existing courses from business schools that included topics such as accounting, management and economics (Essig 2017;Beckman 2007). Critics would argue that such an approach does not sufficiently cater to the unique needs of arts students and neglects the specificities of the labour markets those students face after graduating: 'Teaching how to write a funding application, marketing plan or an artist's bio is not entrepreneurship education' (Sternal 2014, 165).…”

“…As Sternal (2014) adds, encouraging students to be courageous as well as helping them to become confident and recognize their own potential are also essential in preparing students for their careers. Those different facets of arts entrepreneurship have been suggested to stretch on a continuum from venture creation through career self-management (Essig 2017). Table 1 present a typology based on the three approaches to arts entrepreneurship education (Bridgstock 2013) exemplified with 4 main subjects each.…”

“…Scott 2012;Coulson 2012;Eikhof and Haunschild 2007;Beckman 2005;Peterson and Berger 1971). There appears to be no consensus on how to define the notion of 'arts entrepreneurship' yet (Essig 2017). Notwithstanding, the uniqueness of artists' intrinsic motivations and bohemian lifestyles in combination with the precarious economic circumstances within artistic labour markets have led to the conclusion that entrepreneurship in the creative industries is different from entrepreneurship in other industries (Bridgstock 2013).…”

Cultural entrepreneurship: a review of the literature

“…The academic research on entrepreneurship education in cultural sectors could be categorised into two main traditions. Essig (2017) shows that the prevailing discourse in U.S. higher education adopts a narrower term' art entrepreneurship' in comparison to Europe and Australia, where the term' cultural entrepreneurship' has been conceived and developed earlier.…”