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Duluth Conference UMDTeaching and Learning Cultural Entrepreneurship
Rene Kooyman June 10 2015
Educating the entrepreneurial ant
Cultural and creative industries‘Cultural industries’: goods or services that embody cultural expressions,irrespective commercial value: film, DVD, video, television and radio, video games, new media, music, books and press, performing arts, visual arts.
‘Creative industries’ : use culture as an input , whose outputs are mainly functional: architecture, advertising, gaming, design and fashion.
Contribution Cultural/Creative sector
• UNCTAD: Creative Economy Report 2010• EU: See EDCCI Page 102
A dynamic and fast‐growing industry, even in tough economic timesThe resilience during the economic crisis: • job creation in CCIs grew on average by 3.5% from 2000 to 2007• continued to grow at 0.7% annually between 2008 and 2012• even as the number of jobs in the rest of the economy fell 0.7%
Measuring cultural and creative markets Dec 2014
The new SME definition
Three criteria:
• Staff headcount• Annual turnover
or:• Balance sheet turnover• ????
Staff headcount - turnover
o Very small (< 2 milj EUR)
o SMEs (2 – 10 m EUR)
o Large enterprises:
Cultural Industries BRD
o 763.000 taxable employees
97% of headcount 27 % turnover
3 % headcount 32 % turnover
< 1 % nr headcount 40 % turnover
o 210.000 Free‐lance workers
Statistically not registered
Creative industries: headcount / turnover
Fesel/Söndermann Berlin DE 2009
Product characteristics
• Creative inputs and products are abundant• Hypercompetitive environment• Success is uncertain: ‘nobody knows’• Knowledge‐based and labour‐intensive input• Not ‘simply merchandise’, but express cultural uniqueness and identities
• Experience goods; production and consumption ‘on the spot’
• Product life‐cycles are often short
Business categories• Artisan – Designer driven purely by aesthetic motivation
• Solo – Individual designer focused on growth• Creative Partnership – Two creative people• Designer and Business Partner – One creative and one business partner
• Designer and Licensing Partner – Designer under royalty contract• Designer and Manufacturer – Designer in contractual agreement with manufacturer
• Partnership with Investor – Designer in partnership with a formal investor
NESTA 2008
Teaching the entrepreneurial ant in times of crisis
Significant developments:• Urbanisation / networking (on/offline)• From Industry to Knowledge Society• Absence of growth• Small and Medium Enterprises (SMEs) of strategicvalue
• ‘Old School’ no longer applies: permanent and sustainable innovation (techical, social, artistic)
Entrepreneurial behaviour:The Creation of Economic, Social and Cultural Value
cultural fabric of the Creative Industry thrives on numerous small initiatives high share of freelancers and very small companies in cooperative structures multiple job‐holdings; combined sources of income new type of employer is emerging; the ‘entrepreneurial individual’ no longer fits into typical patterns of full‐time professions
Creative entrepreneurs’ perspective• Social capital: resources based on group membership, relationships, networks of influence and support; clusters
• Economic capital: command over economic resources (cash, assets); based on entrepreneurial capabilities and financial support
• Cultural capital: forms of knowledge; skills; education and language skills
Educational Dilemma’s
Dilemma 4: How do we teach students to work together? Dilemma 5: How do we ‘preach’ a sustainable attitude?
* Faced with a changing social environment, a regular income, full‐time employment, continuous growth of a micro‐enterprise is no longer the standard to long for.
Dilemma 1: How do we teach risk taking? Dilemma 2: How can we develop an intuitive mind? Dilemma 3: How do we prepare students for an uncertain world?
That’sthe way it’s done!
Rene Kooyman Duluth June [email protected]
rkooyman.com
Educat ing the ent repreneur i a l ant