Critical Perspectives on Creative Women's Entrepreneurship

Critical Perspectives on Creative Women’s Entrepreneurship Critical Perspectives on Creative Women’s Entrepreneurship

Authors

Dr. Alia Weston, Associate Professor, Creative and Business Enterprise, OCAD University Alexandra Hong, Project Officer, Centre for Emerging Artists & Designers, OCAD University Karli Ferriolo, Strategic Foresight and Innovation Design Consultant Jacquie Shaw, Strategic Foresight and Innovation Design Consultant

Design & Graphics

Alexandra Hong Jacquie Shaw

Reviewers

Stephanie Fielding, Policy + Research Analyst, Brookfield Institute for Innovation + Entrepreneurship Nisa Malli, Work Stream Manager, Brookfield Institutefor Innovation + Entrepreneurship

Contents Introduction 2 Approach & Methods 4 Good w/ Food Dinner 6 Good w/ Food Results Environmental Scan 13 Insights: Experiences of Creative Women Entrepreneurs 17 Making Connections Through Shared Stories/Lived Experiences Community v.s. Business Support & the Uniqueness of Women’s Entrepreneurship Alternative Models of Entrepreneurship Creative Entrepreneur Personas Case Study Tea Base: Artist Run Incubator For Community Activism Conclusion 35 Limitations & Further Research 36 Future Research 38 References 39 Introduction

The Women Entrepreneurship for Emerging Artists & Designers and this approach is to facilitate deeper Knowledge Hub (WEKH) is a Dr. Alia Weston, Associate Professor, social connections and relationships nation-wide network funded by the Creative and Business Enterprise at that go beyond traditional networking Government of Canada consisting OCAD U, and was supported by Jacquie interactions. The Hang @ Home dinner of researchers, business support Shaw and Karli Ferriolo, Strategic series hosted participants in the homes organizations, and key stakeholders Foresight and Innovation Design or workspaces of Toronto-based art and aiming to reduce barriers and grow Consultants. design professionals, while the Good w/ women’s entrepreneurship in Canada. The CEAD is committed to Food dinner series focused on exploring Led by Ryerson University’s Diversity supporting the early-career social entrepreneurship in the context of Institute, the Brookfield Institute for advancement of OCAD U students art and design. In the publication Food Innovation + Entrepreneurship, and the and recent alumni. The team delivers as an Arts-Based Research Method in Ted Rogers School of Management specialized programs and services Business and Management Studies, Dr. with over 75 partner organizations. that connect individuals to meaningful Alia Weston and Zev Farber (2020) OCAD University’s Centre for Emerging opportunities, communities of highlight the value that a food-based, Artists and Designers (CEAD) is one of practitioners, skill-building resources, experiential learning method has for 10 regional hubs across Canada, and income generation, and facilitated capacity building as it brings people is focused on entrepreneurship in the learning experiences. These supports together in a manner that encourages creative sector. As a hub of WEKH, the are offered through the career collaborative learning by fostering CEAD’s goal is to create programming development, experiential learning, intimacy and subverting hierarchies. that builds on applied research and and creative entrepreneurship For this current project, a further develops capacity among creative portfolios. Since 2014 the CEAD has edition of the Good w/ Food dinner women entrepreneurs. This report run experiential learning opportunities series was hosted for creative women summarises the outcomes of the State which support emerging artists and entrepreneurs. A salient insight that of Entrepreneurship Project which designers to connect with industry stands out in this research is that the is part of OCAD U’s activities in the professionals over curated food systemic challenges faced by creative WEKH initiative. This project was led by experiences. The purpose of using women entrepreneurs -- such as the Alexandra Hong, Project Officer, Centre

2 lack of appropriate supports structures, This report is structured as follows. Thank you to all the participants inadequate governmental policies, First it outlines the approach and of the Good w/ Food dinner series, and lack of recognition of the types methods used in this project. Next it the team at OCAD U’s Centre for of work that creative entrepreneurs highlights the findings and insights Emerging Artists & Designers; our actually engage in -- is compounded by from the dinners and a creative dinner facilitators Kathryn Ellis, Zviko additional intersectional issues, such as entrepreneurship environmental scan. Mhakayakora, Farihah Shah, and Farah gender discrimination in the available Following this, entrepreneurship based Yusuf; Aaron Millard for designing programming and entrepreneurial on alternative practices and values are the tablecloth; Alysha Rocca; Nisa support structures. This reinforced the illustrated through a series of creative Malli and Stephanie Fielding of the importance of this research and the entrepreneur personas and journey Brookfield Institute for Innovation + need for the WEKH network to develop maps, and a case study of Tea Base Entrepreneurship for peer-reviewing programming that addresses the a local Toronto organization. The this report; and Ryerson University’s systemic challenges faced by creative report concludes with a discussion of Diversity Institute for funding this women entrepreneurs. The format key outcomes, limitations and further project. of the dinners allowed participants research. As a final note, it is important to gain value by actively building to highlight that throughout this authentic social relationships, while research we refer to our focus and developing an understanding of the participants as women and individuals creative entrepreneurship ecosystem as of marginalized genders. This use of it occurs through the lived experiences language is not to erase the experience of participants at all stages of their of trans, non-binary, and Two-Spirit careers. Insights from this project have people within entrepreneurship, and our been used to inform future program own participants, but rather to make development and advocacy work done explicit the lack of research including by OCAD University and the WEKH the explicit inclusion and representation network. of trans, non-binary, and Two-Spirit people.

3 Approach & Methods

This project had two interrelated the system of organizations that facets. The first was hosting the provide resources for creative Good w/ Food dinner series to entrepreneurs. The findings collected explore the experiences of creative from the Good w/ Food dinners women entrepreneurs and ways and environmental scan were that community building can be synthesized to create four personas fostered through meal sharing. and scenario journey maps which The second was to understand illustrate how different women the ecosystem for creative women and individuals of marginalized entrepreneurs. The Good w/ genders engage with creative Food dinner series used an arts- entrepreneurship. The data was based food methodology to build additionally distilled into a set of key knowledge in a way that enabled an insights about the state of creative embodied, critical understanding of entrepreneurship, which indicate creative entrepreneurship (Farber recommendations for further & Weston, 2020). An environmental research. scan was conducted to understand

4 5 Good w/ Food Dinner

Figure 1: Good w/ Food Dinner Tablecloth

The Good w/ Food dinner series challenges faced, as well as Liberal Arts and Science, and School for creative women entrepreneurs resources and supports needed to of Interdisciplinary Studies). The took place across three dinners succeed in the entrepreneurship make-up of the dinners featured between November 2019 – March ecosystem. The three dinners were current students, alumni, faculty, 2020. 80 women-identified, non- loosely themed around the three and professionals in the community. binary, and Two-Spirit creatives faculties at OCAD U (Faculty of Art, These individuals ranged from shared their experiences around Faculty of Design, and Faculty of students, early-, mid-, and advanced-

6 career creatives. Some of these sovereignty. NishDish was chosen table was appointed a facilitator that individuals strongly identified as the caterer because of their helped guide the conversation. At as entrepreneurs, while others commitment to community and the the end of the evening, the groups defined aspects of their practice land. come up with key takeaways, and if as entrepreneurial. The dinner was The tablecloths for the dinner time permitted, each table shared structured around conversations were designed as an interactive these takeaways with the broader that were captured on the pre- notetaking tool that would group. After the dinner, notes from designed tablecloths (Figure 1), and encourage participants to contribute the tablecloths were transcribed participants were encouraged to throughout the evening. To begin and participants were contacted 2-4 take photos throughout the night the event, participants were asked months after their attendance to when they felt connected to the to draw or describe how they saw participate in an interview. other participants. All the meals themselves as creative women Following all three dinners, half- were catered by NishDish, a Toronto- entrepreneurs into the placemat hour interviews were conducted with based catering business that area. As a group, everyone got a participants. Prior to the interview, celebrates traditional Anishnawbe chance to share what they drew participants were asked to give food. NishDish serve locally and and share how they responded to verbal consent to audio record seasonally sourced ingredients from the idea of being a creative women their interviews for transcription different First Nations communities, entrepreneur. Then, over food, each and data collection. The goal of the and run community programming table dived into conversations that interviews was to better understand and educational workshops were framed with accompanying participants experience during the about Aboriginal cuisine and food prompt questions (Figure 2). Each Good w/ Food dinner they attended,

7 along with participants’ experiences with creative entrepreneurship. Questions asked during the post In the placemat area, draw how you see yourself 1 as a creative woman* entrepreneur. As a group, Draw here! dinner interviews inquired about take turns describing your drawings. participants experiences at the Over dinner, have a conversation around the following prompts. There are markers on the table for dinner, and further explored their 2 you to write, draw and doodle. Facilitators will be at each table to support the process. perspective of challenges, resources, and supports in the entrepreneurial Prompts: ecosystem. The recorded audio of the interviews was auto-transcribed using the speech-to-text platform Support Existing & Needed Trint and reviewed by researchers for Challenges Resources accuracy. Faced as Entrepreneurs Present & Proposed From the transcribed interviews and tablecloth notes, the research • Identify challenges for • What do y ou need around you • What resources are creative women entrepreneurs to feel supported? currently present? in the current entrepreneurial team reviewed the data to identify environment. • Consider organizations, • Consider: knowledge, programs, mentors, networks, programs, mentors, access, and generate a list of key themes • Consider: barriers, communities, collaborators, opportunities stereotypes, questions, clients; how can or how do and unknowns they support you? • Consider both real and and subthemes to better understand imagined resources: what do • What challenges have you • What does sustaining your they look like, and how do the experiences and challenges faced or overcome? practice look like they help you? or what do you need? • How is creative labour valued? • What is or would be the impact of the participants in relation to • Consider your individual from accessing these resources and environmental/systemic on your practice or business? creative entrepreneurship. The needs, what gaps exist for the themes were first examined following available types of support? the framework from the dinners and interviews which included Key Takeaways topics of challenges, supports, and • What knowledge, new ideas, • When did you feel most • How could these takeaways resources. In the second stage of opportunities did you gain? connected to those around you? help you? analysis, insights were distilled from emergent themes within the data and was not restricted to topics of challenges, supports, and resources.

This generated a list of themes Throughout the night, take photos of any moment and subthemes which were used you feel connected to other participants! to re-examine the interviews and tablecloth data to generate further Figure 2: Good w/ Food Dinner Prompts insights.

8 Image: Examples of tablecloths at the end of the evening

9 Good w/ Food Results Theme Most Mentioned # Total # Unique Mentions Mentions (/21) Post-Dinner Interviews 1.4.3 Socializing 35 15 1. Business Topics The post-dinner interviews 1.3.3 Professional diversity 27 9 gleaned several findings pertaining to the experiences 2.2.1 Cultural diversity 14 9 and challenges faced by creative women entrepreneurs. A total of 21 2. Transforming 2.2.2 Love/care 13 9 interviews were conducted. Table Entrepreneurship 2.3 Alt models of 1 highlights the themes that were 14 8 entrepreneurship most referred to by participants during the post-dinner interviews. 3.5 Industry standards 11 7 3. Barriers These results show that the 3.8 Lack of resources/ 8 7 Good w/ Food dinner participants funding mentioned mentorship, more 4.2 Making connections specifically making connections through exchanging stories/ 60 18 through exchanging stories/lived 4. Mentorship lived experiences experiences, to an overwhelming extent compared to other themes. 4.4.3 Shared experience 38 17 Socializing was a theme that was 5.5 Gender bias/ also mentioned numerous times 24 15 discrimination during the post-dinner interviews. 5. Challenges Making connections through 5.17 Systemic/societal 14 9 exchanging stories/lived experiences and socializing are two themes that 6.8 OCAD University 20 11 complement each other, especially 6. Institutions, Orgs 6.5 Centre for Emerging 13 6 considering the format of the Artists and Designers dinners were intentionally designed to with these two elements in mind Table 1: Most Mentioned Themes from Post-Dinner Interviews in order to foster an environment where participants felt comfortable and not institutionalized.

10 Since the dinners were hosted Although these key takeaways creative entrepreneurship for women for women and individuals of are merely excerpts of more and individuals of marginalized marginalized genders, the challenges nuanced conversations, it was up to genders. From the November dinner, mentioned in the post-dinner the group members to decide what most of the key takeaways from the interviews include systemic/societal takeaways were most important tablecloth notes referred to concepts challenges in the ecosystem, as to them. Table 2 indicates that the of connecting and sharing resources. well as gender bias/discrimination. conversations at each of the dinners From the January dinner, however, The mention of systemic gender focused on different aspects of concepts of foundational business discrimination in the post-dinner interviews was a noteworthy Date & Total # of Most Mentioned Themes from Key # Total takeaway that is further discussed in Dinner Groups Takeaways Mentions the Insights section. Across Groups Key Takeaways from Dinner Notes 2.1 Paradigm Shift 4 November 2019 4.2 Making connections through During the dinner, participants 4 exchanging stories/lived experience were encouraged to write on 4 Groups tablecloths to capture the 4.4.7 Shared resources, knowledge sharing 4 conversations they were having. Prompts were provided to 1.1 Foundational business topics 6 encourage conversation around topics of challenges, support, and January 2020 1.3 Relationships 5 resources. Based on the notes 4 Groups 1.3.3 Personal networks 4 gathered from the tablecloths, it was clear that the groups at each dinner 4.3.1 Interdisciplinary communication 4 had unique, divergent conversations. The insights from the “Key 2.3 Alternative models of entrepreneurship 5 Takeaway” section on each of the tablecloths’ was thematically sorted 2.1 Paradigm shift 4 using the same themes generated March 2020 from the post-dinner interviews. 5 Groups 4.3 Mentorship topics 4 Table 2 shows the most mentioned key takeaways from each of the 4.4.5 Engaging with care 4 dinners. Table 2: Most Mentioned Themes Taken from Key Takeaway Section of Each Dinner Group

11 elements, such as legal business key takeaways section show that come together in a setting they structures, finding entrepreneurial women creatives see relationships feel comfortable in, they can foster support, networking, etc. were the and making connections through relationships and make connections main topics from the tablecloth’s exchanging stories/lived experiences based on shared lived experiences. key takeaways. And from the March as important aspects on their Furthermore, the prevalence dinner, the key takeaways from the journey with entrepreneurship. of the theme of transforming tablecloth notes highlighted topics Participants also cited industry entrepreneurship across the post- of shifting paradigms and alternative standards and gender bias/ dinner interviews and the tablecloth models of entrepreneurship. The discrimination as barriers and key takeaways indicate a need for diversity of participants across the challenges that they face as creative exploring and supporting alternative dinners is reflected in the diversity women entrepreneurs. With that, models of entrepreneurship that of insights that came out of each many participants were clear in their don’t solely focus on growth and dinner conversation. Capturing this articulation of a desire for alternative profit. diversity was essential because the models of entrepreneurship. ecosystem includes a diversity of These findings show that when entrepreneurial experiences. creative women entrepreneurs can

Post-Dinner Interviews & Key Theme Most Mentioned # Total Takeaways Mentions

Making connections through 1. Business Topics 1.3 Relationships 34 exchanging stories/lived experiences was the theme that was the 2. Transforming 2.3 Alternative models of entrepreneurship 24 most referred to across all of the Entrepreneurship post-dinner interviews and the Key Takeaway sections from the 3. Barriers 3.5 Industry standards 12 tablecloth notes. Table 3 provides 4.2 Making connections through exchanging an overview of the most mentioned 4. Mentorship 69 stories/lived experiences themes of the post-dinner interviews and the tablecloth’s key takeaways 5. Challenges 5.5 Gender bias/discrimination 28 combined. The combined findings from both 6. Institutions, Orgs 6.8 OCAD 20 the post-dinner interviews and the Table 3: Most Mentioned Themes from Post-Dinner Interviews and Tablecloth Key Takeaways

12 Environmental Scan

This environmental scan reviewed and Research and Education. For Government: is any agency that a collection of organizations that the purposes of this research, the is a part of federal, provincial, provide resources for creative categories are defined as follows: or municipal government. entrepreneurs as an inroad to Business Support Organizations: Organizations that receive understand what resources currently are agencies that offer programs government funding are not exist and where resources may and/or services that aid creatives classified as government agencies. be lacking for creative and social in pursuing their entrepreneurial Financing: refers to agencies whose entrepreneurs who are women endeavors. Programs and/or services primary function is to provide and individuals of marginalized offered could include, but are not funding to creative entrepreneurs. genders. This environmental scan limited to, notary, event planning, Research and Education: includes began by generating a list of 62 web design, publishing, accounting, organizations that support creative organizations that collect data physical space, and business and publish research to provide and social entrepreneurs mostly consulting. based in the Greater Toronto and educational resources to creative Hamilton Area. From this list, we Community: includes organizations entrepreneurs. Research and gave each organization a category that are focused on cooperative and education organizations are not that is reflected in the Women collaborative relationships across limited to government or higher Entrepreneurship Knowledge Hub the creative industry. The main goal education institutions. categories for support resources for community organizations is (Women Entrepreneurship not economic growth but instead Knowledge Hub, 2020). While fostering space for social and generating this list, we designated communal organizing. Organizations organizations under the following classified as community could be categories: Business Support, targeting a specific demographic or Community, Government, Financing, lived experience.

13 Canadian Association of School for Social Graphic Designers Filmmakers Artscape Daniels ImagineNATIVE Registered Graphic Business / Arts CARFAC ALAS Generator TO Entrepreneurs of Canada Distribution Centre Launchpad Designers (RGD) (CFMDC)

The Canadian Incubator for Canada’s Music Association of Native Women in Centre for Social Good Gorilla Make Lemonade In Her Shoes East End Arts North York Arts Creative Incubator (CMI) Professional Image the Arts Innovation (CSI) Entrepreneurship Creators (CAPIC)

Neighbourhood Toronto Designers Toronto Fashion Business in the Critical Distance Pro Bono Ontario HXOUSE Craft Ontario Workman Arts Myseum Arts Network Market Incubator Streets Centre for Curators

Toronto Animated Feminist The Artists’ Black Futures Women Drawn Feminist Scarborough Arts Image Society Scadding Court Photography Sisterhood Media Girls’ Art League Network Now TO Together Art Collective (TAIS) Network

Wildseed Centre Black Artists’ Inspiration Michaëlle Jean Black Women Dames Making Xpace Cultural AIRSA for Activism Network in Womxn Paints SKETCH Studios Foundation in Film! Games Centre and Art Dialouge

Waterloo Institute Aboriginal Inspirit Toronto Arts For Social Indigenous Art Canadian Council Art Starts Curatorial ArtsPond Work in Culture Partner in Arts Foundation Foundation Innovation and Centre for the Arts Collective Resillience

Ontario Arts Toronto Arts Key Council Council Research & Business Community Government Funding Education

Figure 3: Colour-coded representation of 62 organizations visualizing distribution of support resources

14 With the list of 62 organizations in an inclusive sense, either using we visualized the distribution of the “women-identified” or including the WEKH categories. We did this by mention of marginalized genders. using post-it notes to thematically While there are the same amount of sort the organizations into groups organizations focused on business based on their primary support and community support, when function: business, community, filtered down to see organizations government, financing, and and women centric programming, research and education. In some most of the organizations are cases, organizations fit into more community oriented. This finding than one category, or offered is discussed further in our Insights multiple services, but we selected section. one most relevant based on their This environmental scan is by mission statement and/or current no means a comprehensive or programming. exhaustive list of resources. Rather, From this ordering (Figure 3) it is a starting point to visualize we found that most organizations the difference between types were focused on business support of organizations. As the work is (41.9%) and community (41.9%), with continued, this list will be added six organizations focusing primarily to in an ongoing basis. These early on research and education, and one findings can direct further research within the government category. into what programming may exist, Following this sort, we further or what gaps can be filled, or to filtered the organizations to see further grow the environment of which were either women-centric support for creative entrepreneurs or offered recurring women- who are women or individuals of centric programming. From this, marginalized genders. we found 15 (24.2%) out of the 62 organizations were women-centric or offered recurring programming for women (Figure 4). Interestingly, all but one of these organizations specified explicitly that their programming defined “women”

15 Canadian Association of School for Social Graphic Designers Filmmakers Artscape Daniels ImagineNATIVE Registered Graphic Business / Arts CARFAC ALAS Generator TO Entrepreneurs of Canada Distribution Centre Launchpad Designers (RGD) (CFMDC)

Neighbourhood Toronto Designers Toronto Fashion Business in the Critical Distance Pro Bono Ontario HXOUSE Craft Ontario Workman Arts Myseum Arts Network Market Incubator Streets Centre for Curators

Ontario Arts Toronto Arts Key Council Council Research & Business Community Government Funding Education

Figure 4: Visualization of the 15 organizations that offer women centric resources and programming

16 Insights: Experiences of Creative Women Entrepreneurs

The insights in the following with others who share similar lived Making Connections Through section, drawn from both the experiences. Additionally, it became outcomes of the Good w/Food clear that creative women engage Shared Stories/Lived dinner series and the environmental with concepts of entrepreneurship scan of resources and support differently than men, however most Experiences organizations, highlight the unique of the literature that focuses on experiences and challenges entrepreneurship has yet to reflect Network building is a dynamic that creative women face when this, presenting the sector (or) process and one that researchers participating in entrepreneurship. practice as inherently masculine. have indicated is a central tenet to These insights have been distilled We used these insights to begin entrepreneurial success (Cope et from the outcomes of the Good exploring alternative models of al., 2007). Building one’s network w/ Food dinner series and the entrepreneurship, where success can happen through various forms, environmental scan of resources does not have to be tied to such as attending events and and organizations that support monetary growth and can instead connecting online through social creative entrepreneurs. One such be seen as a framework for “making media platforms. For the Good w/ insight is that we found that women stuff happen”. Food dinner participants, one of the seek connections and mentorship most referred-to points throughout this phase of the research was the

17 idea of making connections through to a greater extent than male of mentor-mentee relationships. shared stories and lived experiences. mentors, regardless of the gender The Good w/ Food dinner series Many dinner participants indicated of the mentee” (Fowler et al., 2007: demonstrated that there is a need that they felt comfortable and at 674). The Good w/ Food dinner for women-oriented events that home when eating dinner with series was intentionally structured allow women and individuals of women who shared similar interests to embody experiential learning marginalized genders to connect or who had experienced similar principles that allow participants and share stories in an environment hardships. One participant said, to develop social capital and build that feels safe and comfortable. “I think it creates a really natural networks and connections in an Fostering these environments could and organic setting for people authentic environment. The format lead to meaningful connections or to just come together and share successfully fostered an environment grow mentor-mentee relationships. information” (Dinner Participant where participants were able to Although mentorship was a #19). Making connections through develop meaningful connections common topic of conversation shared stories and lived experiences to one another as participants throughout the Good w/ Food is a subtheme that was categorized cited concepts of mentorship dinner series, additional research under the main theme of mentorship, the most across all the dinner suggests that mentorship is not which is an important distinction. conversations. This is important always an integral component of Many participants shared memorable because all participants at the women’s entrepreneurial success stories of the connections they made dinners were women or individuals in Canada, instead networking with other dinner participants. As of marginalized genders, it is likely was the more important success one participant said, “I think that that participants were able to feel factor (Reavely and Lituchy, 2008). that dinner is a perfect example of a sense of connection to others as Networking can be useful for what happens when so many voices they share the experience of being individuals looking to build and are introduced into a room like it of minoritized genders. It is easy to grow their networks with contacts would kind of start becoming like an see yourself represented in someone that they may refer to at some orchestra” (Dinner Participant #20). who shares similar experiences, point. However, networking and Research indicates that therefore, it is possible that women mentorship are not synonymous gender plays an important role in who have experienced certain and function differently. While relationships between mentors and situations can “remember the need networking can potentially lead mentees, and one study by Fowler for advice and assistance” (Fowler et to mentorship, mentor-mentee et al. (2007) highlights instances al., 2007: 674) and can then create relationships create different in which a mentor’s gender can connections through exchanging relationships that are more greatly impact a mentee. Women lived experiences with individuals personal, emotional, and supportive, have been found to provide “more who are facing similar situations especially for women (Fowler et personal and emotional guidance or challenges, an important part al., 2007, p. 676). While this may

18 be true for some, it should not be clear: 1) the majority of programs findings from the environmental generalized to include all women or organizations that are women scan show that organizations with entrepreneurs, since each individual focused are classified as “community women focused programming and their entrepreneurial pursuits organizations”; and 2) non-women are classified as community are unique. These insights highlight focused programs or organizations organizations, it is clear that women the importance of programming are primarily classified as “business in entrepreneurship have specific that creates a context which fosters support organizations”. These points needs and face structural barriers authentic, diverse social relationships are noteworthy because it shows in their entrepreneurial pursuits, in the entrepreneurial process. that entrepreneurial programming and thus adjust their programming targeted towards women creatives to reflect those needs. However, is organized and marketed in a research on women-focused Community v.s. Business way that is not solely focused on capital funding demonstrates Support & the Uniqueness of economic growth. that while there are some funding In recent years, the Canadian opportunities that are marketed as Women’s Entrepreneurship government has introduced gender inclusion initiatives, in reality programs to encourage more they undermine these aims because The Women’s Entrepreneurship women to participate in they reinforce gender stereotypes. Knowledge Hub at OCAD entrepreneurship, such as the A further issue is that eligibility University has defined community Women Entrepreneurship Strategy criteria often focus on technology- organizations as organizations that (2020), of which the Women’s led business, and there are few are focused on cooperative and Entrepreneurship Knowledge Hub is capital funds that support alternative collaborative relationships across a part. With increasing government business initiatives that focus on the creative industry. The main goal support, it appears that now, more socially beneficial aims. A noted for community organizations is than ever, women can participate lack is support of co-operatives or not economic growth but instead in entrepreneurship. However, social enterprise structures (Orser fostering space for social and research on the topic of women’s et al., 2019). This reinforces the fact communal organizing. Business entrepreneurship policy indicates that many Good w/ Food dinner support organizations in this context that most interventions that support participants noted access to funding are defined as any agencies that entrepreneurship do not address and resources as a common barrier. offer programs and/or services institutional or structural barriers As a result of lack of funding and that aid creatives in pursuing their faced by women (Henry et al., resources relevant to their business, entrepreneurial endeavors. In 2017), instead they only focus on many creative women entrepreneurs conducting an environmental scan of ‘fixing’ surface-level gaps in the are forced to find other sources organizations that support creative level of skills between women and of income or juggle multiple jobs entrepreneurs, two things became men (Foss et al., 2018). Since the on top of their creative practices,

19 an additional commonality that Alternative Models of efforts of entrepreneurship worked was discussed amongst dinner towards egalitarian and horizontal participants. Entrepreneurship models of relationship building and Assuming all women participating labour (Dinner Participant #18). An in entrepreneurship are similar is The concept of entrepreneurship additional theme that emerged from essentializing and diminishes the today is rooted in traditional the Good w/ Food dinner series experiences of women from different ideas of business, economics, was exploring alternative models of race and class groups. Looking and scalability. Even more so, entrepreneurship. specifically at the experiences of recently entrepreneurship has There appears to be a shifting women entrepreneurs of Afro- become synonymous with tech paradigm, where artists are studying Caribbean descent in Toronto, start-ups. These narrow views of entrepreneurship alongside their Knight found that “bureaucratic entrepreneurship discredit the creative practice. The blurring of hierarchies, such as funding and entrepreneurial nature of creatives. lines and practices is on the rise, as mentorship, are racially gendered As a result of entrepreneurship’s can be seen through the emergence and exclude racialized women traditional commerce background, of creative programs in business in specific ways” (Knight, 2016: some Good w/ Food dinner schools, and vice versa. Some 322). The Good w/Food dinner participants did not personally programs indicate that artists should series, along with WEKH at OCAD identify as entrepreneurs. For be trained in both making and selling University is especially important example, one participant said, because they are so intertwined when considering the unique “I’m a little awkward around the (Deresiewicz, 2015). The duality of entrepreneurial needs of diverse word entrepreneur because I think creative versus entrepreneur seems creative women and individuals of it’s almost [broader] than that. I as if it is forcing individuals to label marginalized genders. It shows that don’t know if you want to call [it] themselves as either “creative” there is no one-size-fits-all model for entrepreneurs or makers or creative or “entrepreneur”. Calcagno and entrepreneurship, women are not a practitioners” (Dinner Participant Balzarin (2016) found that practicing homogenous group, and it is critical #7). This is important to note creative entrepreneurs emphasize to examine entrepreneurial resources because if creatives do not self- their artistic practice rather than with an intersectional lens. These identify as entrepreneurs, they are their entrepreneurial skills, because insights emphasize issues of gender then not able to access resources there is a common misconception bias in the ecosystem and reinforce that are targeted to entrepreneurs, that an entrepreneur is wholly how important it is to develop such as funding and other business defined by economic principles. new programming that addresses support opportunities. Aside from In a capitalist society, creative the systemic challenges faced by not self-identifying as entrepreneurs entrepreneurs’ personal work is creative women entrepreneurs. in the traditional sense, some dinner subject to neoliberal economic participants felt that their creative principles. Eikhof et al. (2007) argue

20 that following economic market-led types of activities and relationships who are women and individuals of principles is detrimental to artistic that are valued by them. marginalized genders. practices because they endanger As highlighted in our essential resources that are environmental scan, and reinforced fundamental to the creative process. by Coleman et al., (2019), initiatives Creative Entrepreneur Broadening the idea that privilege values and outcomes Personas of entrepreneurship and which are social, community-led, exploring alternative models of or support marginalized individuals These four personas represent entrepreneurship, especially when are typically not supported in the four speculative experiences and current economic models are facing entrepreneurial landscape. This can scenarios of different women intense pressures, is critical. It is clear lead to creatives feeling further and individuals of marginalized that freelancers, contract workers, distanced and misrepresented genders who participate in and gig workers make up a large in entrepreneurial policies and creative entrepreneurship. The portion of the economy. Research discourse. Instead of seeing personas are written from collected on the impact of COVID-19 on entrepreneurship solely as a by- experiences from Good w/ Food freelance work in Canada estimates product of capitalism, one of the interview participants and creative that over 20,000 gigs will be lost, Good w/ Food dinner conversations practice professionals. Each amounting to over CAD$14 million viewed entrepreneurship as “a persona includes a scenario and (“Survey Update”, 2020). Of the framework for making stuff happen” a journey map. The journey maps 657 gig workers that responded (Dinner Table Notes, March 4, 2020). outline what each persona may to the survey, seventy percent are This can be a more inclusive way to be doing, seeing, thinking, and women (“Survey Update”, 2020). view entrepreneurship that is not feeling as they engage with creative Freelancers, contract workers, and inherently tied to growth and capital. entrepreneurship. These personas gig workers are entrepreneurial; in According to one dinner participant, show the diverse experiences of Canada, more than 52% of artists are it is integral to her practice to creative entrepreneurs that are not self-employed (Hill Strategies, 2019). work to identify the intersection of represented by traditional male- Creative entrepreneurs play an entrepreneurship, care, and empathy dominated entrepreneur archetypes. important role in Canadian society, (Dinner Participant #18). These both culturally and economically. insights emphasize the importance However, current policies/programs of exploring alternative models of that centralize economic success entrepreneurship that centralize are disadvantageous to women concepts of social responsibility and entrepreneurs since policies and care, which can lead to policies that programs that support women are more inclusive for entrepreneurs, entrepreneurs do not focus on the freelancers, and contract workers

22 Sharron (she/her) successful so although she is highly motivated, she’s unsure of what Sharron is 20 years old, lives post-school life looks like. in Toronto with 3 roommates, and Sharron is also very actively works part-time in retail. She’s a 4th creating a personal network with year printmaking student at OCAD other students. She actively seeks University. mentorship from professors or Sharron grew up as a 2nd professionals she’s met through generation Canadian, her family her placement but is unsure where supports her but doesn’t know what to meet other practicing creative she’s going to be doing after school women who are further in their with an art degree. This year Sharron careers, especially women of colour. had a placement at a local gallery Much of her network is around and started to make connections the same age as her so while in the local art scene and really they’re able to share successes and loves the socialization. She doesn’t frustrations they’re all figuring it out see many women like her being as they go.

24 Lena (they/them) creating opportunities for women and gender diverse creatives. Lena is 37 years old. They live in They have gotten better at setting Toronto with their partner and two boundaries and delegating tasks young children. instead of taking everything on Lena grew up in rural themself. Saskatchewan and doesn’t have a Lena stopped going to relationship with their immediate networking events because they are family members. Because of this, tired of transactional and hierarchical they know the importance of environments. Lena is looking to community and they focus on make deeper connections in settings inclusion, love, and care in their work. that don’t feel like work. They are Lena practices community-based thinking about how to foster deep art and has grown and run their own connections in comfortable settings neighbourhood based non-profit in where they can meet new people the creative/social sector for the last and foster relationships that don’t 10 years. They’re passionate about feel forced.

26 Carmen (she/her) space; she finds the work of those have to go through what she did. around her inspiring. Carmen is also She isn’t the most tech savvy and Carmen is a 55-year-old fashion a social butterfly and attends a lot appreciates in-person connections designer. She lives in Toronto of networking events in hopes of but realizes that social media and with her wife, who works as the making meaningful connections. online platforms are becoming the lead seamstress for her ethical She knows how hard it can norm for working and connecting. sustainable slow and made to order be for women to start their own fashion business. business and in an ideal world, she She has had many different jobs would start a program for women over her career and, as such, Carmen that helped them turn their ideas considers herself to be a jack-of-all- or passion projects into successful trades. She never wanted to be tied business ventures. As she ages, she down to one practice so she makes wants to share her knowledge and sure she learns new things whenever experiences with younger creatives. she can. She loves what she is She learned a lot of things the hard doing now as a fashion designer way and wants to make connections and loves working in a coworking with young creatives so they don’t

28 Colleen (they/them) comic/graphic novel makers. Along themself through a retail job. To with local community Colleen is very combat this, Colleen frames their Colleen is a 28-year-old illustrator, active on social media, maintaining “day job” as actually a part of their they live in Toronto and work a weekly web comic since 3rd year creative practice, since working multiple jobs to maintain and grow university. As such, Colleen has a allows them to afford to continue their illustration practice after decent online network of people. making illustration work. graduating from university. Every year Colleen applies to table Colleen knows there are many An active member of at comic and illustration art festivals paths to take to be an illustrator but communities focused around and conventions across North they’re passionate about editorial illustration, Colleen often goes to America. Through participating illustration and comics, so they illustration meet ups and events at conventions, they continue to support their independent work thrown by a local group of other grow their networks of illustrators, with a full-time retail job while they illustrators, a disciplinarily diverse comic makers, and supporters of establish and continue to grow their group of people ranging from full- independent art. body of work, knowing this will help time illustrators to emerging artists Colleen often experiences them attract clients in the future, but including storyboard artists, science impostor syndrome; not feeling like also out of love for making work. illustrators, editorial illustrators, and a “real artist” for having to support

29 Case Study Tea Base: Artist Run Incubator For Community Activism With this case study, we show how artists act as entrepreneurs, and how supports for creative entrepreneurs may be lacking because these pursuits may not look like “traditional” ideas of entrepreneurship. As an illustrative example, we highlight the creative, entrepreneurial pursuits of Tea Base, a Toronto-based, artist-run incubator that focuses on community activism. Details from the case study are framed through an alternative view of entrepreneurship following Eisenmann (2013), and these alternative practices are emphasized

in relation to participant insights

from the Good w/ Food dinners.

Founded in 2019, Tea Base is a

grassroots artist run incubator for community activism (Beedham, 2020). Tea Base is a strong example of an organization that shows alternative practices of approaching and understanding entrepreneurship by providing programming guided by a visionary pursuit of community- Figure 5: Model of Entrepreneurship at Tea Base based arts, activism, and education.

30 Changing Perceptions of founders including human, social, and building collectives. Tea Base Entrepreneurship and financial capital. Using this continues this lineage of work by framework, we can analyze the engaging and building with and Acting entrepreneurially within work of Tea Base through a lens of for their community and growing creative communities looks different entrepreneurship that promotes their through not only their messaging, than perceived ideas of traditional practices, rather than traditional but also through practice and entrepreneurship. A theme from terms of reference which they do not programming to support the the Good w/ Food dinner series identify with and would undermine sustainability of their community/ies. research related to perceptions their objectives. and terminology surrounding During the Good w/ Food dinner Approach at Tea Base entrepreneurship. Participants series participants highlighted that expressed a discomfort in identifying perceptions of entrepreneurial Tea Base describes themselves as entrepreneurs as their perception leadership trends towards the idea as “a curious community arts of the term reflected start-ups, for- of fast growth, fueled by male space tucked away in Tkaronto/ profit business, and tech ventures. dominated start-up culture. This Toronto’s Chinatown Centre Mall” Likewise, co-founder Hannia Cheng perception of entrepreneurship with the goal to “make accessible “is reticent to identify the space as a perhaps constricts the view that space for intergenerational activists business, more comfortable referring entrepreneurs are collective, and artists who support social to it as a living room” where all creative, and built off relationships. justice movements in and around elements are built off relationships In interviews, participants Chinatown” (“Homepage”, n.d.). They (Beedham, 2020). mentioned that women and people describe themselves as part-tea Though the colloquial definition of marginalized genders valued shop, office, garden club, Mahjong of entrepreneurship has come entrepreneurial pursuits that worked Hall, library, and mostly a living room to signify male-dominated start- towards egalitarian and horizontal for community members (“About”, ups, tech, and business culture, models of relationship building and n.d.). Tea Base sees relationships as entrepreneurship can be defined as labour. As highlighted in Figure fundamental to what they do. They the pursuit of opportunity beyond 5, Tea Base models a community accomplish this by: funded entrepreneurial space that resources controlled (Eisenmann, Holding/Making Space: celebrates the relationality and 2013). Figure 5 highlights the three Located in Chinatown Center, community, which reflects alternative main factors of this definition: a mall in Toronto’s Chinatown, ways of perceiving and practicing 1) pursuit of a singular focus; 2) Tea Base is embedded within entrepreneurship. opportunity, which can include the community they support. As offering innovative/novel products Within arts and culture work, Chinatowns across North America and services, and 3) going beyond artists have acted entrepreneurially are threatened by gentrification resources controlled and built by by creating community art practices

31 leading to displacement and Ways which Tea Base uses their of Coast to Coast Chinatown’s unaffordability, Tea Base’s presence programming and activities to create Against Displacement week of within Toronto’s Chinatown takes community engagement include: Action. The community garden up space —which may otherwise • Mahjong Mondays, a popular event acts to show the importance of go unused. It maintains a physical held every Monday which is open the community of Chinatown over presence and representation to the public. Tea Base sets up profit-driven development and of cross-generational efforts to a Mahjong Hall in the basement gentrification (Tea Base, 2019). maintain Pan-Asian diasporic of Chinatown Center mall. This The ribbon cutting ceremony held cultures, and offers a gathering public event welcomes people of in July 2019 saw attendees ranging space self-described by Tea Base as all experience, offering lessons to in ages from 6 – 60, exhibiting the “speakeasy living room”. At Tea Base, beginners and a space for older multigenerational engagement that community members can gather and community members to join in. Tea Base cultivates (Tea Base, n.d.). organize, demonstrating a “physical • Friends of Chinatown Toronto manifestation of the politicized • Mother Tongue language classes and conversation cafés. These (FoCT) emerged out of Tea Base community art space [that Tea Base as a collective that advocates for founders/co-parents] wished for language classes and conversation cafés are presented by Tea Base anti-displacement in Toronto’s [their] younger selves” (“Become a Chinatown (Beedham, 2020). Member of Tea Base”, n.d.). as a way for people of various Asian heritage to improve their Most notably, in November Through Tea Base’s physical speaking skills and reconnect with 2019 after seeing an all English location and community program, their language. Language classes sign notifying the community they provide space which addresses are offered at a sliding scale and of potential development of a and engages in many frequently follow a 5-week program led by 13-storey mixed use building, mentioned subthemes within our skilled facilitators. Conversation FoCT erected a parody City of research. Acting as a hub for Pan- cafés follow a pay-what-you- Toronto development notice which Asian diaspora, Tea Base engages can model and are open to included English and Traditional and activates community members anyone looking to practice their Chinese (the written language of through regular events, activism, and conversational skills. Cantonese speakers). FoCT’s sign other programming. brought attention to the lack of • Chinatown Anti-Gentrification meaningful engagement by the Relationship Building: Tea Base Garden and Tea Base’s Anti- offers regular and special events city with the community members Gentrification gardening club of non-English speaking residents to engage community members creates a seasonal community through programming centered in Chinatown in regard to new garden outside of Chinatown developments that shape the around community, education, Center which houses Tea Base. and recreation (Beedham, 2020). existing community (Miller, 2019; Starting in June 2019 as part CBC/Radio Canada, 2019).

32 Relating the Tea Base Case Study to Theme from Good Subthemes Good w/ Food Dinner Insights w/ Food Dinners *Denotes frequently mentioned subthemes

Tea Base offers numerous 1.3 Relationships * examples of how an organization 1. Business Topics 1.4.3 Socializing * can address some of the subthemes 1.3.3 Professional diversity * which emerged from our research. 2.2 Philosophical ways of being From these themes, we’re able to see the holistic system that is 2.2.1 Cultural Diversity * nurtured by Tea Base co-parents, 2.2.2 Love/care * members, and surrounding 2. Transforming 2.2.3 Collaboration community. Entrepreneurship 2.2.4 Reciprocity By taking a systems perspective, 2.2.5 Holding Space we can map how the actions and relationships of Tea Base support 2.3 Alternative models of entrepreneurship * themes of entrepreneurship which 2.3.5 Organizing emerged from our research (Figure 3. Barriers 3.8 Lack of resources/funding * 6) 4.2 Making connections through exchanging stories/lived This map looks at how providing 4. Mentorship experience * a physical space and programming, such as the popular Mahjong 5. Challenges 4.4.3 Shared experience * Monday, Tea Base supports themes relating to mentorship and 6. Institutions, Orgs 6.8 OCAD entrepreneurship that resonate with the Good w/ Food dinner series. This Table 5: Tea Base Programming Representative of Themes Generated from Good w/ Food Dinners. illustrates an alternative example of entrepreneurship that is not captured by traditional definition, Summary of Case Study entrepreneurship. In our research, nevertheless alternative models do many participants in the Good w/ exist. Tea Base is a successful model Using Tea Base as a case study Food dinner series indicated that of entrepreneurship and this systems for creative entrepreneurship looks entrepreneurship is not something map illustrates how the themes flow at how creatives and creative they self-identify with; this may through the organizational structure. collectives can engage with be attributed to the colloquial

Figure 6: Map of Tea Base’s Actions & Relationships Illustrating Good w/ Food Dinner Themes understanding of entrepreneurship that is valuable and relevant to framework for making stuff happen” which often evokes ideas of start-up themes identified from our research, (Dinner Table Notes, March 4, or business culture. such as intergenerational mentorship 2020). By highlighting Tea Base In using Tea Base as a case study, and making connections through as both a creative collective and it is our intention to highlight how exchanging stories and lived entrepreneurial organization, we Tea Base’s focus on community- experience, the work of Tea Base can frame and imagine what other based programming and activism does not center economic growth organizations, in the present and shows an alternative understanding or success, but rather reflects on future, can do to support creative and practice of creative a sentiment brought up during entrepreneurs beyond economic entrepreneurship. With programming one of the Good w/ Food dinners growth. of viewing entrepreneurship as “a

34 Conclusion

This research offers new insights entrepreneurship often discourages that is representative of the needs into the unique experiences that their self-identification as creative of creative women entrepreneurs. creative women and individuals of entrepreneurs. As a result, this led to This research also advocates for marginalized genders face on their the conclusion that we should begin more inclusive entrepreneurship journey with entrepreneurship. The to explore alternative models of programming beyond OCAD Good w/ Food dinner series created entrepreneurship. University. a space for creative women to come This research offers a critical together over dinner to share their examination of the systemic stories and foster connections with shortcomings of traditional other creative women. By mapping entrepreneurship programming the entrepreneurial ecosystem, since entrepreneurship literature and we were able to highlight creative practice continue to be dominated resources and organizations that are by men and masculine archetypes. dedicated to creating community- The purpose of this research is oriented and women-centric not to create a binary of men’s programming. Creative women and entrepreneurship and women’s individuals of marginalized genders entrepreneurship, but instead, who, to varying degrees, participate offer insights into the different in entrepreneurship identified the ways that all genders participate desire for resources and supports in entrepreneurship. Through the that allow them to create meaningful WEKH network at OCAD University, connections through sharing stories the CEAD is applying the insights and lived experiences. Participants gathered from this research into also indicated that traditional the development of programming

35 Limitations & Further Research

A limitation encountered a barrier to entry. Reflected in our entrepreneurship that go beyond throughout this research highlights research these binary and restrictive accumulating economic growth. the lack of research on the notions show up as identifying Reflecting on creative women’s experiences of trans, non-binary, and entrepreneur or non-entrepreneur, entrepreneurship literature has Two-Spirit people within the practice or masculine vs feminine practices shown that the dominant discourse and study of entrepreneurship. of entrepreneurship (Bruni et surrounding entrepreneurship Throughout our research we refer to al., 2004, p. 261, 265-266), and is inherently tied to ideas of our focus and participants as women highlight the need for mentorship masculinity (Ahl & Marlow, 2012). As and individuals of marginalized based on shared experience, and a result, women’s entrepreneurship genders. This use of language is not alternative models of understanding is often seen in opposition to men’s to erase the experience of trans, entrepreneurship which may lead entrepreneurship. Bruni et al. (2004) non-binary, and Two-Spirit people to more expansive understanding states that “a knowledge system within entrepreneurship, and our of knowledge and resources for constructed on implicitly reductionist own participants, but rather to women, non-binary, trans, and Two- gender assumptions thus becomes make explicit the lack of research Spirit entrepreneurs. an instrument of dominance because including the explicit inclusion and The insights from the Good it is used to draw boundaries among representation of trans, non-binary, w/ Food dinner series and the categories of persons, to exercise and Two-Spirit people. The lack environmental scan of resources control over resources, and to devise of non-binary and non-cisgender and organizations supporting support policies” (p. 266) for women entrepreneurship discourse and creative entrepreneurs offer a and individuals of marginalized knowledge can perhaps be seen glimpse into the importance of genders. The pervasiveness of men as both a symptom of the current women-specific entrepreneurship in the collective imagination and position of knowledge and discourse and show that there is a desire understanding of entrepreneurship relating to entrepreneurship and to explore alternative models of facilitates men’s domination of

36 access to entrepreneurial funding (Bruni et al., 2004: 261). As as well as men. It is not enough (Marlow & Patton, 2005; Kanze et entrepreneurship continues to be to merely create more resources al., 2017). This leads to women not tied into concepts and ideas of and supports for creative women, accessing funding or resources masculinity, and if men continue to non-binary, trans, and Two-Spirit to support their entrepreneurial dominate entrepreneurship spaces, entrepreneurs within the current endeavours because supports do women’s entrepreneurship will paradigm of entrepreneurship; not systemically address their unique always be viewed as less than in we must also support creative needs in entrepreneurship (Orser opposition to men. However, it is women, non-binary, trans, and Two- et al., 2019). This point is further reductionist to create a dichotomy of Spirit entrepreneurs by making accentuated for creatives, who men’s entrepreneurship and women’s room for genuine connections, may not identify as entrepreneurs entrepreneurship. Instead, we should networking, mentorship, community because of entrepreneurship’s begin to push the boundaries engagement, and alternative models ties to growth and capitalism, and of imagining these concepts in of entrepreneurship. even further for trans, non-binary, opposition to each other; we and Two-Spirit people, who lack should begin to imagine alternative representation in entrepreneurship models of entrepreneurship. It is research. important to present knowledge Research indicates that discourse that is cognizant of the ways that focuses on concepts of gender in which creative women, non- in entrepreneurship “maintains and binary, trans, and Two-Spirit people reproduces a system of gender engage with entrepreneurship, relations that renders masculinity as well as how current systems invisible while giving corresponding may not be set up in ways that visibility to “other” experiences” allow them to succeed and thrive

37 Future Research

This research offers a preliminary rather as a framework for making entrepreneurship value mentorship glimpse into the challenges and stuff happen? that comes from shared lived experiences of creative women • How do we better understand the experience, along with practices that entrepreneurs. Future research spectrum of entrepreneurship, surround community, and encourage for the WEKH project at OCAD as it relates to creative diversity of experience. To address University might look to elaborate entrepreneurship, women the limitations of this research, we on the findings from this phase of entrepreneurs, and creative would like to see further research be the research project. This could workers in the gig economy? inclusive of all people engaging in include examining the ways that entrepreneurship. To further research creative women entrepreneurs Our recommendation — and with an intentional intersectional access mentorship, what makes what should be a requirement in any lens would begin by explicitly mentorship programming for women work looking to grow knowledge including research pertaining successful, and understanding how and practice of marginalized to trans and non-binary people, entrepreneurship resources can groups — is that research and Black, Indigenous, and people of reach creatives who do not self- programming that continues to look colour, disabled and chronically ill identify as entrepreneurs. Some at creative women entrepreneurs people, people with diverse socio- points of further research can should also be oriented using an economic experiences, members include: intersectional framework. This is of the 2SLGBTQIA+ community, essential to expand understanding amongst other underrepresented • What does it look like to create of interconnected experiences of women centric business support? entrepreneurs and their experiences privilege and discrimination amongst with entrepreneurship. • What does entrepreneurship creative entrepreneurs. In our resources, programming, and research we identified that women support look like when it is not and individuals of marginalized tied to concepts of growth but genders that engage with creative

38 References

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