Entrepreneurship education: revisiting our role and its purpose

This paper seeks to focus on two questions. First, what value is created by entrepreneurship education? Second, how could any such value be created? The aim therefore is to go beyond any assumed notion that entrepreneurship education is beneficial to students in higher education, to question its underlying value. Design/methodology/approach – A critical realist approach is used to discuss the ontological nature of entrepreneurship education. Specifically, the process through which enterprise knowledge is developed and used by students in higher education. This research is based on a single-site case study at UTAS with the data collected by the author and complemented by other recent work that sought to empirically consider the notion of student value from entrepreneurship education within the same (UTAS) context. Findings – The paper argues that students in higher education understand quite well the limitations of the knowledge they develop about entrepreneurship. That they (the educators) need to better understand the students' journeys so that they can better develop learning environments within which the students' personal development can be advanced. Practical implications – The degree to which educators understand their limitations and the limitations of their students as potential entrepreneurs is critical to maximizing the likely value of entrepreneurship education in higher education. Originality/value – The paper provides a unique way of understanding the process of learning to be entrepreneurial in higher education. As such it offers an alternative way to understand how educators can redefine their importance in the provision of entrepreneurship education. It also highlights the likely limitations of student advancement in the domain of entrepreneurship education in higher education.

Enterprise education: The frustration of a pure contest

Purpose This paper discusses the development of a strategy game for enterprise education. It is argued that requiring students to initially struggle with the game’s rules and strategies results in a worthwhile test of their persistence and ability to manage ambiguity. Further, that in the absence of uncertainty, students will not benefit from the game’s potential contribution to their overall learning. Approach The paper is constructed around the infusion of student narratives and the author’s self-reflective thoughts. The papers explores the process of developing a game that; - 1) provides the students with access to an enterprise reality, - 2) strengthens their engagement with the theoretical foundations of their studies, and; - 3) provides a process for serious self-reflection. Findings Despite the mixed views presented in this paper, the game’s development thus far has been very successful. Students do enjoy and benefit from enduring the frustration of a pure contest. Having to work through uncertainty is a good practice for students in Higher Education, especially those engaged in enterprise education. Practical Implications Whilst the use of games in experiential education is not uncommon, consideration of how and why they are developed is not always well understood. This paper suggests that enterprise educators have significant opportunities to develop games that genuinely provide student access to the entrepreneur’s way of life. Value of Paper This paper provides evidence of how a game can be constructed to add significant value to an existing curriculum. It also provides evidence of the inner thoughts of students frustrated by a challenge they refuse to give up on. As such, it provides a valuable window through which to contemplate the minds of tomorrow’s nascent entrepreneurs.

Contemplating Whitehead's freedom and discipline

This paper extends the previous application of Alfred Whitehead's educational ideas to the domain of enterprise education. In doing so, a unique approach to enterprise education is illustrated that links students to their reality whilst also connecting the curriculum to contemporary entrepreneurship theory. The paper reports upon past cycles of reflective practice related to the developing hic et nunc teaching and learning framework. Two specific findings of note have emerged. First, that student' learning outcomes are enhanced through the oscillating influence of freedom and discipline. However, in the absence of either factor, sub-optimal outcomes are seen to occur. That is, an imbalance between freedom and discipline has resulted in sub-optimal outcomes from either a lack of student interest or an inability to adequately apply acquired knowledge. Where gains have been made, the most obvious process has been through consultation with students. Second, that the students also play an important role in shaping the nature of the learning environments within which they interact. Both findings are of significant importance to all academics charged with the responsibility of developing enterprise education curriculum. The main implication of the paper is that in the absence of sound pedagogical practises, it is possible that enterprise programs may develop a tendency to reinforce past practises. The processes of constructive alignment and criterion-based assessment are argued to offer avenues through which students can influence the educational process. They also provide the educator with a reflective pathway through which continual improvements are constantly possible. This paper provides other academics with a window through which to view the ongoing development of a process that has been recognised nationally for teaching excellence and influenced many fine young entrepreneurs. The paper also draws attention to a set of core educational philosophies that have transferable value to any academic setting. It is noted that the task of developing a learner-centred curriculum for enterprise education has been an entrepreneurial endeavour in itself. Many mistakes have been made and many memorable achievements have been celebrated.

Beyond e-commerce: when caterpillars know what butterflies understand

Many small firms increasingly operate in markets under siege from new entrants who exploit the technologies associated with the Internet's World Wide Web (the web). In these circumstances, interpreting the operating environment is like a vu jade, the opposite of deja vu, a time in space where they have never been, have no idea what they are doing and who it is that could help them. Through the use of the story of the Caterpillar and the Butterfly, this paper considers the inherent difficulties faced by small firms considering the prospect of becoming an e-firm. When considered from an evolutionary perspective, the journey from small firm to small e-firm is not seen as one of choice, but rather one of necessity. In such markets, a race currently appears to exist between entrepreneurs exploiting the web's technologies, and the process of natural selection acting upon firms whose routines have lost favour.

Institutional constraints on altruism in the formation of a venture idea

This thesis is about the social orientation of new venture ideas and how the degree of social orientation is influenced by the entrepreneur's level of altruism, by industry norms, and by nonprofit work experience. Potential entrepreneurs were asked to generate new venture ideas based on 3D-printing and their ideas were rated for degree of social orientation. It was found that while greater altruism leads to more socially-oriented venture ideas, the influence of altruism on the venture idea is constrained by the profit-maximization norm that is prevalent in most industries.

East Asian audio-visual collaboration and the global expansion of Chinese media

In recent years, many of the world’s leading media producers, screenwriters, technicians and investors, particularly those in the Asia-Pacific region, have been drawn to work in the People's Republic of China (hereafter China or Mainland China). Media projects with a lighter commercial entertainment feel – compared with the heavy propaganda-oriented content of the past – have multiplied, thanks to the Chinese state’s newfound willingness to consider collaboration with foreign partners. This is no more evident than in film. Despite their long-standing reputation for rigorous censorship, state policymakers are now encouraging Chinese media entrepreneurs to generate fresh ideas and to develop products that will revitalise the stagnant domestic production sector. It is hoped that an increase in both the quality and quantity of domestic feature films, stimulated by an infusion of creativity and cutting-edge technology from outside the country, will help reverse China’s ‘cultural trade deficit’ (wenhua maoyi chizi) (Keane 2007).

Dancing into the second phase of creative industries

As we enter the second phase of creative industries there is a shift away from the early 1990s ideology of the arts as a creative content provider for the wealth generating ‘knowledge’ economy to an expanded rhetoric encompassing ‘cultural capital’ and its symbolic value. A renewed focus on culture is examined through a regional scan of creative industries in which social engineering of the arts occurs through policy imperatives driven by ‘profit oriented conceptualisations of culture’ (Hornidge 2011, p. 263) In the push for artists to become ‘culturpreneurs’ a trend has emerged where demand for ‘embedded creatives’ (Cunningham 2013) sees an exodus from arts-based employment through use of transferable skills into areas outside the arts. For those that stay, within the performing arts in particular, employment remains project-based, sporadic, underpaid, self-initiated and often self-financed, requiring adaptive career paths. Artist entrepreneurs must balance creation and performance of their art with increasing amounts of time spent on branding, compliance, fundraising and the logistical and commercial requirements of operating in a CI paradigm. The artists’ key challenge thus becomes one of aligning core creative and aesthetic values with market and business considerations. There is also the perceived threat posed by the ‘prosumer’ phenomenon (Bruns 2008), in which digital on-line products are created and produced by those formerly seen as consumers of art or audiences for art. Despite negative aspects to this scenario, a recent study (Steiner & Schneider 2013) reveals that artists are happier and more satisfied than other workers within and outside the creative industries. A lively hybridisation of creative practice is occurring through mobile and interactive technologies with dynamic connections to social media. Continued growth in arts festivals attracts participation in international and transdisciplinary collaborations, whilst cross-sectoral partnerships provide artists with opportunities beyond a socio-cultural setting into business, health, science and education. This is occurring alongside a renewed engagement with place through the rise of cultural precincts in ‘creative cities’ (Florida 2008, Landry 2000), providing revitalised spaces for artists to gather and work. Finally, a reconsideration of the specialist attributes and transferable skills that artists bring to the creative industries suggests ways to dance through both the challenges and opportunities occasioned by the current complexities of arts’ practices.