Teaching and Learning Entrepreneurship for Micro and Small Businesses in the Cultural Industries Sector

Reports on an ESRC-funded, in-depth qualitative research project into 50 micro and small enterprises (MSEs) in the cultural industries. Our evidence sheds light on the extent to which the teaching and learning strategies adopted by higher education, further education and other VET providers are effective in providing entrepreneurship education and training for this innovative, high skill sector. Our findings suggest that entrepreneurs in this sector learn best by being able to experiment with ideas, by “doing” and networking with others and by working with more experienced mentors in their sector. The article concludes by suggesting a more “naturalistic” approach to teaching and learning entrepreneurship for micro and small businesses in the cultural industries sector.

Modernist 16-19 Business Education in a Postmodern world - critical evidence of business practice and business education in the cultural industries

This article examines the continued relevance of the 16-19 business education curriculum in the UK, stimulated by doubts expressed by Thomas (1996), over its continued relevance. We express a concern that business education needs, but is struggling, to respond to significant societal shifts in consumption and production strategies that do not sit easily within traditional theories of business practice currently underpinning 16-19 business education. We examine firstly, the extent to which a formal body of knowledge couched in a modernist discourse of facts and objectivity can cope with the changing and fluid developments in much current business practice that is rooted in the cultural and symbolic. Secondly, the extent to which both academic and vocational competences provide the means for students to develop a framework of critical understanding that can respond effectively to rapidly changing business environments.Findings are based on research conducted jointly by the University of Manchester and the Manchester Institute for Popular Culture at Manchester Metropolitan University. The growth of dynamism of the cultural industries sector - largely micro-businesses and small and medium sized enterprises (SMEs) -encapsulates forms of business knowledge, business language and business practice which may not immediately fit with the models provided within business education. Results suggest increasingly reflexive forms of consumption being met by similarly reflexive and flexible modes of production.Our evidence suggests that whilst modernist business knowledge is often the foundation for many 16-19 business education courses, these programmes of study/training do not usually reflect the activities of SME and micro-business practitioners in the cultural industries. Given the importance of cultural industries in terms of the production strategies required to meet increasingly reflexive markets, it is suggested that there may be a need to incorporate a postmodern approach to the current content and pedagogy; one that is contextual, cultural and discursive.

Attitudes to Formal Business Training and Learning amongst Entrepreneurs in the Cultural Industries: Situated Business Learning through "Doing with Others."

Presents arguments supporting a social model of learning linked to situated learning and cultural capital. Critiques training methods used in cultural industries (arts, publishing, broadcasting, design, fashion, restaurants). Uses case study evidence to demonstrates inadequacies of formal training in this sector. (Contains 49 references.)

Do developing economies require creative industries? Some old theory about new China.

This paper argues that media and communications theory, as with cultural and creative industries analysis, can benefit from a deeper understanding of economic growth theory. Economic growth theory is elucidated in the context of both cultural and media studies and with respect to modern Chinese economic development. Economic growth is a complex evolutionary process that is tightly integrated with socio-cultural and political processes. This paper seeks to explore this mechanism and to advance cultural theory from an erstwhile political economy perspective to one centred about the co-evolutionary dynamics of economic and socio-political systems. A generic model is presented in which economic and social systems co-evolve through the origination, adoption and retention of new ideas, and in which the creative industries are a key part of this process. The paper concludes that digital media capabilities are a primary source of economic development.

Why creative industries matter to economic evolution

This paper proposes that the 'creative industries'(CIs) play an important yet widely unexamined function in economic evolution through their role in the innovation process. This occurs in terms of the facilitation of demand for novelty, the provision and development of social technologies for producer-consumer interactions, and the adoption and embedding of new technologies as institutions. The incorporation of CIs into the Schumpeterian model of economic evolution thus fills a notable gap in the social technologies of the origination, adoption and retention of innovation.

Making connections : creative industries networks in outer suburban locations

The role of networks and their contribution to sustaining and developing creative industries is well documented (Wittel 2001; Kong 2005; Pratt 2007). This article argues that although networks operate across geographical boundaries, particularly through the use of communication technologies, the majority of studies have focussed on the ways in which networks operate in a) specific inner-urban metropolitan regions or b) specific industries. Such studies are informed by the geographical mindset of creative city proponents such as Florida (2002) and Landry (2000) in which inner-urban precincts are seen as the prime location for creative industries activity, business development and opportunity. But what of those creative industries situated beyond the inner city? Evidence in Australia suggests there is increasing creative industries activity beyond the inner city, in outer-suburban and ex-urban areas (Gibson & Brennan-Horley 2006). This article identifies characteristics of creative industries networks in outer-suburban locations in Melbourne and Brisbane. It argues that supporting and sustaining creative industries networks in these locations may require different strategies than those applied to inner-city networks. The article thus contributes to the growing understanding of the cultural economic geography of creative industries.

Raman spectroscopic study of the antimonate mineral bahianite Al5Sb35+O14(OH)2

Raman spectroscopy has been used to characterise the antimonate mineral bahianite Al5Sb35+O14(OH)2 , a semi-precious gem stone. The mineral is characterised by an intense Raman band at 818 cm-1 assigned to Sb3O1413- stretching vibrations. Other lower intensity bands at 843 and 856 cm-1 are also assigned to this vibration and this concept suggests the non-equivalence of SbO units in the structure. Low intensity Raman bands at 669 and 682 cm-1 are probably assignable to the OSbO antisymmetric stretching vibrations. Raman bands at 1756, 1808 and 1929 cm-1 may be assigned to δ SbOH deformation modes, whilst Raman bands at 3462 and 3495 cm-1 are assigned to AlOH stretching vibrations. Complexity in the low wave number region is attributed to the composition of the mineral.

Raman spectroscopic study of the phosphate mineral Churchite-(Y) YPO4.2H2O

Raman spectroscopy has been used to study the rare earth mineral churchite-(Y) of formula (Y,REE)(PO4) •2H2O. The mineral contains yttrium and depending on the locality, a range of rare earth metals. The Raman spectra of two churchite-(Y) mineral samples from Jáchymov and Medvědín in the Czech Republic were compared with the Raman spectra of churchite-(Y) downloaded from the RRUFF data base. The Raman spectra of churchite-(Y) are characterized by an intense sharp band at 975 cm-1 assigned to the ν1 (PO4)3- symmetric stretching mode. A lower intensity band observed at around 1065 cm-1 is attributed to the ν3 (PO43-) antisymmetric stretching mode. The (PO43-) bending modes are observed at 497 cm-1 (ν2) and 563 cm-1(ν4). Some small differences in the band positions between the four churchite-(Y) samples from four different localities were found. These differences are possible to explain as different compositions of the churchite-(Y) minerals.

Raman spectroscopic study of the antimonate mineral lewisite (Ca,Fe,Na)2(Sb,Ti)2O6(O,OH)7

The mineral lewisite, (Ca,Fe,Na)2(Sb,Ti)2O6(O,OH)7 an antimony bearing mineral has been studied by Raman spectroscopy. A comparison is made with the Raman spectra of other minerals including bindheimite, stibiconite and roméite. The mineral lewisite is characterised by an intense sharp band at 517 cm-1 with a shoulder at 507 cm-1 assigned to SbO stretching modes. Raman bands of medium intensity for lewisite are observed at 300, 356 and 400 cm-1. These bands are attributed to OSbO bending vibrations. Raman bands in the OH stretching region are observed at 3200, 3328, 3471 cm-1 with a distinct shoulder at 3542 cm-1. The latter is assigned to the stretching vibration of OH units. The first three bands are attributed to water stretching vibrations. The observation of bands in the 3200 to 3500 cm-1 region suggests that water is involved in the lewisite structure. If this is the case then the formula may be better written as Ca, Fe2+, Na)2(Sb, Ti)2(O,OH)7 •xH2O.

Raman spectroscopic study of the antimonate mineral brizziite NaSbO3

Raman spectra of antimonate mineral brizziite NaSbO3 were studied and related to the structure of the mineral. Two sharp bands at 617 and 660 cm-1 are attributed to the SbO3- symmetric stretching mode. The reason for two symmetric stretching vibrations depends upon the bonding of the SbO3- units. The band at 617 cm-1 is assigned to bonding through the Sb and the 660 cm-1 to bonding through the oxygen. The low intensity band at 508 cm-1 is ascribed to the SbO antisymmetric stretching vibration. Low intensity bands were found at 503, 526 and 578 cm-1. Sharp Raman bands observed at 204, 230, 307 and 315 cm-1are assigned to OSbO bending modes. Raman spectroscopy enables a better understanding of the molecular structure of the mineral brizziite.

Creative Industries

We are experiencing a period of profound social and economic transformation. This is a shift from an industrial economy to a knowledge economy (or a “creative economy”; or an “economy of the imagination”.) This new, emerging economic system is fundamentally organised around people (not machines or buildings); and around place. We heard Richard Florida argue that creative, talented people won’t go to where the job is, but vice versa, the job will come to them. So according to Florida, where we live is becoming the primary factor in global economic development. (Incidentally, it is worth contrasting this idea with the alternative proposition - put by speakers at this Forum - of “new nomadism”, that is, that creativity is nomadic and not bound by place.)

Creative Industries : A New Direction?

This paper looks at the work of the ARC Centre for Creative Industries and Innovation at Queensland University of Technology. They have attempted to deal with some of the definitional and policy ambiguities surrounding the DCMS’s re-branding of ‘cultural industries��� as ‘creative industries���. The paper focuses on three central claims. First, that Art falls outside the creative industries; second, that the creative industries moves beyond a cultural policy paradigm towards that of innovation systems; third, that the notion of ‘social network markets’ represents the central defining characteristic of the creative industries. The paper suggests that the attempt to separate out art and culture from the creative industries is misplaced and represents a significant shift away from a longer trajectory of ‘cultural industries��� policies with some damaging consequences for cultural policy and creative businesses.