Weitere Kapitel dieses Buchs durch Wischen aufrufen
Entrepreneurial thinking is a new concept in the Serbian cultural and creative sector. Although the term entrepreneurship is often used in public discourse, it is usually related to female entrepreneurs and small social enterprises. This is a consequence of traditional perception, which holds that in order to work in culture, one must have a relevant educational background, while social or female entrepreneurship does not require formal education. The second reason is that the cultural field is not seen as economically valued. Therefore, when the term entrepreneurship is used in the context of artistic or cultural organizations, it usually does not have positive connotations. During the communist regime in Yugoslavia, entrepreneurship was associated with entertainment with the single goal of accruing revenue (Dragicevic Sesic and Stojkovic, Kultura, menadzment, animacija, marketing. Beograd, Clio, 2011). In the present day, it is linked with the tendency of the state to push cultural workers toward the market and commercial culture. Despite the lack of specific public policies (fiscal, labor) related to the creative sector, a creative class (Florida 2002) is arising, reflecting a post-transitional cultural model. This cultural model can be described as a hybrid of a neoliberal economy and a welfare state and is characterized by a traditional system of cultural institutions inherited from the previous state (Yugoslavia), non-existent market regulations, low budgets for culture and arts, almost non-existent inter-sectoral policy relations, (Compendium of cultural policies and trends in Europe, http://www.culturalpolicies.net/web/index.php) and a lack of specific education in the field of creative entrepreneurship. The focus of this research will be to define the main features, issues, challenges, and prospects for creative entrepreneurship in a metropolitan area by using a multiple case study methodology.
Bitte loggen Sie sich ein, um Zugang zu diesem Inhalt zu erhalten
Sie möchten Zugang zu diesem Inhalt erhalten? Dann informieren Sie sich jetzt über unsere Produkte:
Belfiore, E. (2004). Auditing culture: The subsidised cultural sector in the New Public Management. International Journal of Cultural Policy, 10(2), 183–202. CrossRef
Christensen, T., & Laegreid, P. (Eds.). (2011). New public management. London: Ashgate Research Companion.
D’Ovidio, M. (2016). The creative and cultural economy in cities. Milano: Ledizioni.
Devetakovic, S. (2010). Social infrastructure and creative sector in the regional development of Serbia. In G. Rikalovic (Ed.), Culture (Vol. 128, pp. 30–49). Belgrade: Bureau for Research of Cultural Development.
Djelov, Z. (2010). Creative economy, globalization and creative city. In G. Rikalovic (Ed.), Culture (Vol. 128, pp. 129–143). Belgrade: Bureau for Research of Cultural Development.
Djukic, V. (2010). Drzava i kultura, studije savremene kulturne politike. Beograd: Institut za pozoriste, film, radio i televiziju, Fakultet dramskih umetnosti.
Dragicevic Sesic, M., & Stojkovic, B. (2011). Kultura, menadzment, animacija, marketing (6th ed.). Beograd: Clio.
Florida, R. (2007). The flight of the creative class. New York: Harper Collins.
Florida, R.L. (2002). The rise of the creative class: and how it's transforming work, leisure, community and everyday life. New York: Basic Books.
Hagoort, G. (2003). Art management: Entrepreneurial style. Delft: Eburon.
Hagoort, G., & Kooyman, R. (Eds.). (2009). Creative industries: Colorful fabric in multiple dimensions. Utrecht: Utrecht School of the Arts.
Miller, T. (2009). From creative to cultural industries. Not all industries are cultural, and no industries are creative. Cultural Studies, 23(1), 88–99. CrossRef
Rikalović, G., & Mikić, H. (2010). Ekonomska efikasnost i utvrđvanje tipova razvoja kreativnog sektora. Kultura, 128, 14–29.
Tomka, G. (2014). From cultural industry to creative economy – The popular culture within the public policy. TIMS Acta, Novi Sad, Faculty for sport and tourism, 8, 91–100.
Varbanova, L. (2013). Strategic management in the arts. New York: Routledge.
Varbanova, L. (2016). International entrepreneurship in the arts. New York: Routledge.
Mikic, H. (2016). Ekonomske pretpostavke i moguci razvojni efekti kreativnog sektora nacionalne privrede. Accessed November 10, 2016, from http://uvidok.rcub.bg.ac.rs/handle/123456789/1505
The Law on Culture. (2009, 2016). Accessed November 8, 2016, from http://www.paragraf.rs/propisi/zakon_o_kulturi.html
Accessed December 4, 2016, from https://www.theguardian.com/cities/2016/may/30/insider-guide-belgrade-endless-coffees-partying
Accessed December 10, 2016, from https://www.theguardian.com/travel/2015/feb/07/belgrade-savamala-serbia-city-break
Accessed April 15, 2017, from http://theconversation.com/paul-keatings-creative-nation-a-policy-document-that-changed-us-33537
Accessed December 10, 2016, from http://www.goethe.de/ins/cs/bel/prj/uic/sav/srindex.htm
Accessed December 13, 2016, from http://www.lboro.ac.uk/gawc/gawcworlds.html
Accessed December 18, 2016, from http://www.culturalpolicies.net/web/seioc-mig-database.php
- Creative Entrepreneurship in No Man’s Land: Challenges and Prospects for a Metropolitan Area and Smaller Communities. Perspectives from the Never-Ending Transition
Neuer Inhalt/© Stellmach, Neuer Inhalt/© BBL, Neuer Inhalt/© Maturus, Pluta Logo/© Pluta, Neuer Inhalt/© hww, Voraussetzungen für wirtschaftliche additive Fertigung/© Marco2811 | Fotolia