This book seeks to widen perspectives on entrepreneurship by drawing attention to the diverse and partly new forms of entrepreneurial practice in Africa since the 1990s. Contrary to widespread assertions, figures of success have been regularly observed in Africa since pre-colonial times. The contributions account for these historical continuities in entrepreneurship, and identify the specifically new political and economic context within which individuals currently probe and invent novel forms of enterprise. Based on ethnographically contextualized life stories and case studies of female and male entrepreneurs, the volume offers a vivid and multi-perspectival account of their strategies, visions and ventures in domains as varied as religious proselytism, politics, tourism, media, music, prostitution, funeral organization, and education. African cultural entrepreneurs have a significant economic impact, attract the attention of large groups of people, serve as role models for many youths, and contribute to the formation of new popular cultures.

This book seeks to widen perspectives on entrepreneurship by drawing attention to the diverse and partly new forms of entrepreneurial practice in Africa since the 1990s. Contrary to widespread assertions, figures of success have been regularly observed in Africa since pre-colonial times. The contributions account for these historical continuities in entrepreneurship, and identify the specifically new political and economic context within which individuals currently probe and invent novel forms of enterprise. Based on ethnographically contextualized life stories and case studies of female and male entrepreneurs, the volume offers a vivid and multi-perspectival account of their strategies, visions and ventures in domains as varied as religious proselytism, politics, tourism, media, music, prostitution, funeral organization, and education. African cultural entrepreneurs have a significant economic impact, attract the attention of large groups of people, serve as role models for many youths, and contribute to the formation of new popular cultures.

There are ongoing debates on the concepts surrounding the roles of Indigenous people in transforming the entrepreneurial landscape to promote socio-economic development. Arguably, the culture and ways of our lives, in the context of entrepreneurship, have a role in influencing social economic development. The ideals between the entrepreneurial practice of Indigenous people and their culture are somewhat commensal towards sustainable growth and development. The practice of Indigenous and cultural entrepreneurship is embedded in historical findings. Context, Policy, and Practices in Indigenous and Cultural Entrepreneurship provides insights into the policy, culture, and practice that influence the impact of local and Indigenous entrepreneurs within communities which transcends to socio-economic development. This is critical as the knowledge gained from our entrepreneurial diversity can provide a platform to reduce social ills as a result of unemployment and give a sense of belonging within the social context. Covering key topics such as government policy, entrepreneurial education, information technology, and trade, this premier reference source is ideal for policymakers, entrepreneurs, business owners, managers, scholars, researchers, academicians, instructors, and students.

Delivering Entrepreneurship Education in Africa brings together a collection of academic studies that offer an in-depth analysis of the current state of entrepreneurship education in Africa. The chapter authors engage discussions on how to make entrepreneurship education an attractive field of study for African students.

This handbook brings together an international team of scholars from different disciplines to reflect on African popular cultural imaginaries. These imaginaries – in the sense of cultural productions, contexts, consumers, producers, platforms, and the material, affective and discursive resources they circulate – are influential in shaping African realities. Collectively, the chapters assembled in this handbook index the genres, methods, mediums, questions and encounters that preoccupy producers, consumers and scholars of African popular cultural forms across a range of geohistorical and temporal contexts. Drawing on forms such as newspaper columns, televised English Premier League football, speculative arts, romance fiction, comedy, cinema, music and digital genres, the contributors explore the possibilities and ambiguities unleashed by the production, circulation, consumption, remediation and critique of these forms. Among the questions explored across these essays are the freedoms and constraints of popular genres; the forms of self-making, pleasure and harm that these imaginaries enable; the negotiations of multiple moral regimes in everyday life; and, inevitably, the fecund terrain of contradictions definitive of many popular forms, which variously enable and undermine world-making. An authoritative scholarly resource on popular culture in Africa, this handbook is an essential read for students and scholars of African culture, society and media.

The importance of entrepreneurship as an engine for innovation, economic growth, job creation and wealth especially in the context of Sub-Saharan Africa cannot be overemphasized. Entrepreneurship in Sub-Saharan Africa examines the socio-cultural, global, economic, financial, political, infrastructure and organizational contexts of entrepreneurship in Sub-Saharan Africa. Second, the book presents a strategic management approach for the management of entrepreneurial and small business ventures in the region. Written with a focus on theory and practice, the book is suitable for undergraduate and graduate courses in business and management studies and as a reference tool for practicing and prospective entrepreneurs, small business owners and economic change agents. Keywords: Entrepreneurship, Small Business Management, Sub-Saharan Africa, Strategic Management, Marketing, Globalization, Business Plan, Socio-cultural, financial, political, institutional, infrastructure and organizational contexts. Number of pages: 684

Cultural entrepreneurship uses culture as a way to understand innovative business ventures. Culture in this edited book involves the beliefs and values associated with certain forms of behaviour. This means the way individuals are involved in business ventures is based on their cultural ideas. This edited book focuses on how cultural entrepreneurship is an important way to understand how cultural products and services such as art, food, music and literature influence the development of business ventures. Thereby highlighting the interesting and unique way cultural ideas are embedded in entrepreneurial activities.

This volume marks the 25th anniversary of Karin Barber’s ground-breaking article, "Popular Arts in Africa", which stimulated new debates about African popular culture and its defining categories. Focusing on performances, audiences, social contexts and texts, contributors ask how African popular cultures contribute to the formation of an episteme. With chapters on theater, Nollywood films, blogging, and music and sports discourses, as well as on popular art forms, urban and youth cultures, and gender and sexuality, the book highlights the dynamism and complexity of contemporary popular cultures in sub-Saharan Africa. Focusing on the streets of Africa, especially city streets where different cultures and cultural personalities meet, the book asks how the category of "the people" is identified and interpreted by African culture-producers, politicians, religious leaders, and by "the people" themselves. The book offers a nuanced, strongly historicized perspective in which African popular cultures are regarded as vehicles through which we can document ordinary people’s vitality and responsiveness to political and social transformations.

In recent years, the global creative economy has experienced unprecedented growth. Considerable research has been conducted to determine what exactly the creative economy is, what occupations are grouped together as such, and how it is to be measured. Organizations on various scales, from the United Nations to local governments, have released ‘creative’ or ‘cultural’ economy reports, developed policies for creative urban renewal, and directed attention to creative placemaking – the purposeful infusion of creative activity into specific urban environments. Parallel to these research and policy interests, academic institutions and professional organizations have begun a serious discussion about training programs for future professionals in the creative and cultural industries. We now have entire colleges offering undergraduate and graduate programs, leading to degrees in arts management, arts entrepreneurship, cultural management, cultural entrepreneurship or cultural economics. And many professional organizations offer specialized training and certificates in cultural heritage, museums studies, entertainment and film. In this book, we bring together over fifty scholars from across the globe to shed light on what we collectively call ‘cultural entrepreneurship’ – the training of professionals for the creative industries who will be change agents and resourceful visionaries that organize cultural, financial, social and human capital, to generate revenue from a cultural and creative activity. Part I of this volume begins with the observation that the creative industries - and the cultural entrepreneurship generated within them - are a global phenomenon. An increasingly mobile, international workforce is moving cultural goods and services across national boundaries at unprecedented rates. As a result, the education of cultural professionals engaged in global commerce has become equally internationalized. Part II looks into the emergence of cultural entrepreneurship as a new academic discipline, and interrogates the theoretical foundations that inform the pedagogy and training for the creative industries. Design thinking, humanities, poetics, risk, strategy and the artist/entrepreneur dichotomy are at the heart of this discussion. Part III showcases the design of cultural entrepreneurship curricula, and the pedagogies employed in teaching artists and culture industry specialists. Our authors examine pedagogy and curriculum at various scales and in national and international contexts, from the creation of entire new schools to undergraduate/graduate programs. Part IV provides case studies that focus on industry- or sector-specific training, skills-based courses (information technology, social media, entrepreneurial competitions), and more. Part V concludes the book with selected examples of practitioner training for the cultural industries, as it is offered outside of academia. In addition, this section provides examples of how professionals outside of academia have informed academic training and course work. Readers will find conceptual frameworks for building new programs for the creative industries, examples of pedagogical approaches and skillsbased training that are based on research and student assessments, and concrete examples of program and course implementation.

This study highlights the agency of African economic actors in the green tea trade between China and West Africa, their unique tea brand designs, their challenges and successes, and the social and cultural context in which they conduct their work.