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Read This First READ THIS FIRST Colophon Editorial Committee Giep Hagoort, Annefloor Oostinjen, Marijn van Thiel, Jane Szita Coordination and Project Manager ECCE Annefloor Oostinjen Writers Danielle Arets, Andrew Bullen, Marieke Coumans, Roy van Dalm, Alexander Fernandez, Sandy Fitzgerald, Tom Fleming, Nelly van der Geest, Evert van Gelderen, Giep Hagoort, Remy Harrewijn, Debi Hayes, Yolanda van Heese, Menno Heling, Anthony Kent, Peter Kersten, Gabrielle Kuiper, Dorian Maarse, Hugh Mason, Eva van der Molen, Gerardo Neugovsen, Pieter de Nijs, Annefloor Oostinjen, David Parrish, Greg Pestrak, Stephan Raes, Gaynor Richards, Simon Roodhouse, Karen de Ruijter, Joeri van den Steenhoven, Marijn van Thiel, Aukje Thomassen, Anamaria Wills. Lay-out Autobahn, Utrecht Print Libertas, Bunnik First Published 007 / 500 prints Publishers Research Group Art and Economics, Faculty of Art and Economics at the Utrecht School of the Arts. This publication is published for ECCE, Economic Clusters of Cultural Enterprises, a European funded project implemented by CMKBU (Creative SME Utrecht) for the Utrecht work package. Contact Annefloor Oostinjen, Project Manager ECCE, Utrecht PO Box 50 / 3500 BM Utrecht / The Netherlands t: 003 (0)3034959 / f: 003 (0)3033096 / [email protected] Acknowledgements This publication has been made possible by the subsidies from the European Union, Interreg IIIB programme and the Council of Utrecht. Creative Commons This work is licensed under the Creative Commons Non-commercial No Derivatives (by-nc-nd) License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/.0/legalcode ISBN/EAN: 978-90-80079--4 READ THIS FIRST GROWTH AND DEVELOPMENT OF CREATIVE SMEs 3 INDEX Topic Author Caption Page Introduction 0. Editorial ………………………………………… Editorial Comittee ………………………………… 0. 6 Introduction……………………………………… Giep Hagoort, Daniëlle Arets, Annefloor Oostinjen, Marijn van Thiel and Aukje Thomassen ……………. 0. 7 Reading Guide…………………………………… Annefloor Oostinjen ………………………………... 0.3 4 Creative Economy 1. Creative Industries and Innovation …………….. Karen de Ruijter, Yolanda van Heese, Stephan Raes… . 8 Creative Regions: a Recipe for Succes…………. Marijn van Thiel ………….………………………… . 3 Growing Creative Industries SMEs …………….. Hugh Mason ……………..………………………… .3 30 Creating Creative Capital ………………………. Joeri van den Steenhoven……………………….…… .4 38 Defining Cultural Quarters …………………….. Simon Roodhouse ………………………………..… .5 4 Creative Industries/Field Related Issues 2. Educating for Entrepreneurship………………… Debi Hayes and Anthony Kent …………………….. 50 Embedding Entrepreneurship at the Heart of Education ……………………………………… Gaynor Richards …………………………………… . 56 Cultural Managers: Clues for Developping Competencies …………………………………... Gerardo Neugovsen………………………………… .3 63 Eight Recommendations for a More Effective Design Export Policy………………………….. Peter Kersten …………………………..………… .4 70 Behind the Facade…………………………….. Sandy Fitzgerald……………………………..…… .5 74 Lodz: Renaissance of the Promised Land …….. Roy van Dalm ……..……………………………... .6 79 The Importance of Being Networked………… Anamaria Wills …………………………………. .7 83 The Game Business ………………………….. Alexander Fernandez and Danielle Arets…………… .8 88 Investing in Creative SMEs …………………… Tom Fleming …………………………………….. .9 9 Copyright: an Introduction …………………… Evert van Gelderen and Marieke Coumans………… .0 00 4 Topic Author Caption Page Creative/Cultural Entrepreneurship 3. Managing the Growth Challenge in Creative Businesses ……………………………………… Greg Pestrak ………………………………………... 3. 06 Commercialism’s Artistic Assignment ………... Giep Hagoort……………………………………….. 3. 8 Cultural Business Modelling…………………… Giep Hagoort and Gabrielle Kuiper ………………… 3.3 4 Project Management in a Creative SME ……… Gabrielle Kuiper……………………………………… 3.4 30 Effective Teamwork …………………………… Dorian Maarse……………………………………… 3.5 36 A Personal Toolkit for Cultural Entrepreneurs… Eva van der Molen………………………………….. 3.6 43 Making a Business Plan ……………………… David Parrish ……………………………………… 3.7 5 Innovation in Cultural and Creative SMEs …… Andrew Bullen …………………………………… 3.8 56 The New Marketing …………………………… Menno Heling and Pieter de Nijs…………………… 3.9 60 Meeting in the Lion’s Den …………………… Remy Harrewijn…………………………………….. 3.0 64 Intercultural Competences in the Creative City.. Nelly van der Geest ………………………………. 3. 7 5 0. Editorial EDITORIAL It is with great pride that we introduce our handbook, Read and Creative/Cultural Entrepreneurship, on the micro level. This First, Growth and Development of Creative SMEs. The articles tackle their subjects with a theoretical approach, The book is the result of true European cooperation, with followed with practical conclusions, consequently relating to renowned writers on key aspects of the creative industries readers across many borders. and creative entrepreneurship playing a major role in it. The CMBKU, as part of the Research Group Art and Economics, aim of the book is to help raise the professional development Faculty Art and Economics of the Utrecht School of the Arts, of creative small and medium enterprises (SMEs) and (art) is responsible for implementing the Utrecht work package management students to a higher level. We imagine that our of ECCE, Economic Clusters of Cultural Enterprises; a Pan- readers will be creative and cultural entrepreneurs, students European project, running from December 005 until June following degree courses pertaining to the creative industries, 008, aiming to stimulate the development of creative SMEs lecturers and members of intermediary organisations, as well in different regions and cities in Europe. The handbook is one as policy makers active on local, regional, national and Euro- of the results produced by CMKBU, and will be followed by pean levels. workshops and a second publication in the spring of 008. The creative industries are now a given, and ‘creative entre- After reading the introduction, the reader is advised to consult preneurship’ is one of the buzzwords of the day. There are still the reading guide on page 4, which will further discuss the con- many obstacles to be overcome, however. Definitions of terms tent of each article. The introduction will scratch the surface of - such as cultural or creative industries and economy, creative definitions of terms such as the creative economy, creative in- class, creative cities and regions, and creative SMEs - all re- dustries, creative cities and creative or cultural entrepreneurship. main influenced by specific perceptions and cannot be found in generic textbooks. The discussion around such definitions, Only you can decide whether our pride in this publication is however, illustrates the fast moving character of these sectors justified, but we hope that you will find the information pre- and the involvement of experts from all different backgrounds sented here relevant and useful. This also goes for the litera- (creatives, artists, geographers, demographers, economists, ture referenced in each article. Comments about the content politicians, etc). This handbook therefore includes contribu- are most welcome. tions from experts in many different fields, who shed light on the various topics relating to their specialist subjects. Finally, we would like to thank all our writers for contribut- ing, the CMKBU team for their support and, of course, our The handbook has been divided into three different sections: ECCE partners. the Creative Economy addressing the subject on the macro level; the Creative Industries, on the regional or sector level; The Editorial Committee 6 0. Introduction INTRODUCTION Giep Hagoort, Daniëlle Arets, Annefloor Oostinjen, Marijn van Thiel and Aukje Thomassen Marian Jacobse is a Utrecht-based sculptor. She ganisation above water. Sometimes he manages this is also the director of Sophies Kunstprojecten, with support received from European funds, and in other which manages more than 15 studio complexes cases with assistance provided by embassies. What is and produces community-oriented arts projects in decisive, however, is his artistic entrepreneurship. the city. Its operations are determined by the di- Many European artists, designers and creative profes- lemmas affecting art and commercialism, or more sionals have similar experiences. Many are involved in specifically, the creation of art and earning money. smaller organisations, such as those of Marion Jacobse The various studios support not only the practice and Tomas Zizka. All have a great need for information of art by independent artists, but also works pro- on how to structure their cultural business operations duced by creative professionals: people who man- as effectively as possible. age and stage cultural shows in an enterprising manner, based on creative concepts. Jacobse did In this article, we set out to provide an insight into cul- her arts training in Utrecht and developed her en- tural and creative entrepreneurship. After all, it is an trepreneurship by acquiring experience, attending established fact that, if cultural and creative entrepre- courses and, in particular, developing networks. neurs are to flourish, their success will partly depend She aspires to keeping the artistic flame burning, on the up-to-date knowledge of the milieu in which while avoiding financial disaster. their entrepreneurship receives expression. Our aim is to present this knowledge in the form of several sketch- 1. Introduction es, to ensure that cultural entrepreneurs and students There are plenty of people like Jacobse, in all parts are well-prepared as they structure their own practical
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