This book seeks to better understand the processes and influences that have driven professionalization in the arts. It develops an analytical framework that examines how processes of professionalization that typically influence and shape work conditions and occupational status are, in the creative sector, augmented by atypical worker efforts and choices to self-structure their protean careers. The book brings together a collection of works that explore the specific trajectories of professionalization in a variety of creative occupations as well as the formative processes that work across many creative occupations. In particular, the scholarship presented focuses on the interaction of three key variables: field growth and institutionalization, mutual benefit organization within fields and occupations, and the intervention of cultural policy to validate and foster professional support structures. In the broader context of expanding globalization, growing awareness of diversity, and tectonic shifts in technology, this volume unveils research-based implications for cultural policy, cultural workers, and cultural organizations. This book will be of interest to researchers, creative professionals, as well as undergraduate and graduate-level students in the fields of arts administration and culture.

From artist to curator, couturier to fashion blogger, 'creative' professional identities can be viewed as social practices, enacted, performed and negotiated through the media, the public, and industry. Fashioning Professionals addresses what it means to be a creative professional, historically and in the digital age, as new ways of working and doing business have given rise to new professional identities. Bringing together critical reflections from international researchers, the book spans fashion, design, art, architecture, and advertising. It examines both traditional and emergent roles in creative industries, from advertising executives and surrealist artists to mannequin designers, pop stylists, bloggers, makers and design curators. The book reveals how professional identities are continually in a state of fashioning, through style, taste, gender and cultural representation, highlighting moments of friction and flux in the creative labour of the global economy. Interweaving critical perspectives from fashion and design history with sociology and cultural theory, Fashioning Professionals addresses a burgeoning area of research as we enter new terrain in fashion and the creative industries.

China is at the crux of reforming, professionalising, and internationalising its cultural and creative industries. These industries are at the forefront of China's move towards the status of a developed country. In this comprehensive Handbook, international experts including leading Mainland scholars examine the background to China's cultural and creative industries as well as the challenges ahead. The chapters represent the cutting-edge of scholarship, setting out the future directions of culture, creativity and innovation in China. Combining interdisciplinary approaches with contemporary social and economic theory, the contributors examine developments in art, cultural tourism, urbanism, digital media, e-commerce, fashion and architectural design, publishing, film, television, animation, documentary, music and festivals. Students of Chinese culture and society will find this Handbook to be an invaluable resource. Scholars working on topics related to China's emergence and its cultural aspirations will also find the themes discussed in this book to be of interest. Contributors:R. Bai, M. Cheung, Y. Chu, P. Chung, J. Dai, J. De Kloet, A.Y.H. Fung, L. Gorfinkel, M. Guo, E.C. Hendriks, C.M. Herr, V. Ho, Y. Huang, M. Keane, W. Lei, H. Li, W. Li, Y. Li, W. Lei, B. Liboriussen, T. Lindgren, R. Ma, L. Montgomery, E. Priest, Z. Qiu, X. Ren, F. Schneider, W. Sun, M.A. Ulfstjerne, J. Wang, Q. Wang, C. Hing-Yuk Wong, H. Wu, B. Yecies, L. Yi, N. Yi, X. Zhang, E.J. Zhao, J. Zheng

This book explains and analyzes entrepreneurship and cultural management issues in the creative and cultural sectors and discusses the impacts of economic, social and structural changes on cultural entrepreneurship. The expert contributions investigate the role of cultural entrepreneurship in regional and destination management and development by presenting best practice examples. It offers various interdisciplinary approaches, including perspectives from the fields of entrepreneurship and management, regional and destination management and development, sociology, psychology, innovation as well as creative industries, and also features articles exploring cultural entrepreneurship on a corporate as well as on a spatial level – or in other words in regions and destinations.

This book demonstrates how the creative industries are driving new sectoral and spatial dynamics in European cities, regions, and countries, and how these may be influenced by international and global dynamics. It takes a purposeful geographical approach to the study of the creative industries across various Western, Central and Eastern European contexts since the 2008-2009 recession. Despite the growing research looking at the development of the creative industries in the last 15 years, there are still gaps in the coverage of what is happening in Central and Eastern Europe compared to Western Europe. This book addresses these gaps in two parts focusing on particular geographical scales and creative processes: local interplay between sector and space and the role of the creative industries in regional and national economies after the crisis. The book presents original analyses of the post-crisis environment, and novel data on topics such as the role of institutions in the regulation of the fashion industry in global cities, the impact of clustering on film innovation, location patterns of art galleries, regional specialisations and paths of professional carriers in creative industries.

Creativity is the emergence of something novel and appropriate, from a person, a group, a society. A creative idea or product must be novel. Yet, novelty is not enough (a novel idea may be ridiculous or nonsensical). In addition to novelty, to be creative an idea or product must also attain some level of social recognition. The individualist approaches to creativity overestimate the role of the individual and of his/her abilities (the myth of the genius). On the contrary, the socio-cultural approach emphasizes the role played by contexts in the creation process: societies, cultures and historical periods. Accordingly, the individual is seen as a member of many overlapping social groups, each of them has its own network, with a specific structure and organization, which influences the creation of networks of—potentially creative—ideas. Each individual is also a member of a culture, which gives him/her the categories used to understand the world. Finally, each individual is representative of a specific historical period. From a managerial perspective it is important to deepen the knowledge of the contexts, both spatial and cognitive, which favor ‘‘situated creativity’’ in the realm of the cultural industries. This special book offers both theoretical and empirical contributions in an attempt to build such knowledge.

This book explores the relevance of new sources, dimensions, and characteristics of knowledge for supporting creative and cultural organizations and initiatives. Special emphasis is placed on cultural heritage, participatory approaches, and entrepreneurship in the cultural and creative sector. The role of cultural heritage and contemporary culture as a source of economically effective, socially sustainable development is also discussed. The authors examine new ways of developing and testing new and innovative models of management for cultural heritage assets. In line with the participatory approaches in culture heritage governance promoted by the EU, the authors analyze participatory approaches to cultural and creative initiatives. The role of public and private actors, as well as the way they interact with each other in order to achieve collective outcomes, is of particular interest in this section of the book. With regard to cultural and creative entrepreneurship, the book adds an innovative view of cultural ventures, offering some clues from an entrepreneurial ecosystem perspective.

The Routledge Companion to Arts Management contains perspectives from international scholars, educators, consultants, and practitioners sharing opinions, exploring important questions, and raising concerns about the field. The book will stimulate conversations, foster curiosity, and open pathways to different cultural, philosophical, ideological, political, national, and generational insights. Four broad thematic areas are used to organize current topics in the field of arts and culture management. Part I introduces a mixture of perspectives about the history and evolution of the practice and study of arts management, the role of arts managers, and how arts management is being impacted by the digital age. Part II focuses on the dynamics of entrepreneurship, change processes, and leadership practices. Part III includes globally focused topics on cultural policy, cultural rights, and community building. Part IV examines a sampling of topics related to functional activities that are common to arts and culture organizations around the world such as marketing, planning, increasing diversity, hiring, fundraising, and sustainability. This book builds a comprehensive understanding of what arts management can mean in an international context creating an essential resource for students, scholars and reflective practitioners involved at the intersection of business and the arts.

Entrepreneurship is a powerful attitude that, in such a way, in the last few years, has become a discipline increasingly transversal to different areas of knowledge. Many times, we think about the things we want such as a good house, a brand new car, a beautiful relationship, a good friendship, and a good way to be in the world. Is that possible that you convert into an entrepreneur? This book shows some examples of that possibility, from simple people to a big organization. In all cases, if you become an entrepreneur, it will be for your taste and pleasure, a means to survive and enjoy the uncertainty, and rejoice that you have all these in your hands and will. Can you find out the trends and overcome the challenges? We would say yes. It all depends on whether you want to develop and apply this attitude.

Rene Kooyman is publicist and external researcher at the Utrecht School of the Arts (HKU). --Book Jacket.