Life creative of creative entrepreneurs is neither nirvana nor is it about making money. Nevertheless, it provides choice, autonomy and satisfaction. Additionally it involves constant uncertainty and changes (Leadbeater and Oakley, 1999). I have learnt that it is vital to know who the funding bodies are, their criteria (as it’s always easier to formulate projects around their criteria and deadlines – using the language they expect to hear outlined within their guidelines. Maya Angelou (2013) states “You can’t use up creativity. The more you use it the more you have”. Creative entrepreneurs are synonymous for not letting anything in their way as they can also “…use barter as a standing agreement” (Kolb, 2016, p.111) if need be.
These characteristics are prevalent in entrepreneurs who exude creativity, with the ability to come up with more than a 100 ideas a day emanating from nothing even in dire situations and also not fazed if only one idea flourishes. It is a process of connecting ideas with resources in unique ways that are not always immediately envisioned by other people from the outset. Entrepreneurs are continuously iterating and reinventing ideas with no set rules other than a self-determination, tenacity, and a flexible optimism. Leadbeater and Oakley (1999) states passion is a driver beyond which words can explain based on tacit knowledge.
Henry (2007) states the creative industries is the fastest growing and one of the most important in the twenty-first-century global economy. My ideas as a cultural entrepreneur are community-based with diasporic themes aiming to promote various aspects of cultural preservation, community enrichment, social cohesion sense of belonging, awareness, shared meanings, knowledge exchange, and aspirations to break down cultural barriers. Music sets an optimal platform to share and understand cultures in ways that are not condescending. This requires skill in communication, performance, networking being a people person, knowing your customers as if to get into their head space.
Cultural entrepreneurs are synonymous with being self-reliant, self-managing to construct a career in a Do-It-yourself (DIY) approach (Harrison; 2009, Hesmondhalgh, 1998; Moore 2007 cited in Scott, 2012). However, Passman (2014. p.11) talks about personal philanthropy in which he states that much as musicians have creative skills and capable of generating multimillions of dollars they must think of themselves as a business. However, it is only the minority who are astute in business. Notwithstanding, that that minority may have love or skill for business this, is not the best use of their time as the love and skill for creating and performing is much stronger and potent.
Clothier, J. (2017) Creative Entrepreneurship, Med 7022 Popular Music As Commerce, Birmingham City University, 15 March [Lecture notes taken Millicent Chapanda]
Henry, C. (2007). Entrepreneurship in the Creative Industries: An International Perspective. 1st ed. Cheltenham: Edward Elgar Pub.
Kolb, B. (2015). Entrepreneurship for the creative and cultural industries. 1st ed. London [u.a.]: Routledge.
Leadbeater, C. and Oakley, K. (1999). The independents. 1st ed. London: Demos.
Peterson, R. and Berger, D. (1971). Entrepreneurship in Organizations: Evidence from the Popular Music Industry. Administrative Science Quarterly, 16(1), pp.97-106.
Scott, M. (2012). Cultural entrepreneurs, cultural entrepreneurship: Music producers mobilising and converting Bourdieu’s alternative capitals. Poetics, 40(3), pp.237-255.
Harrison, A.K., 2009. Hip Hop Underground: The Integrity and Ethics of Racial Identification. Temple University Press, Philadelphia.
Hesmondhalgh, D., 1998. The British dance music industry: a case study of independent cultural production. British Journal of Sociology 49 (2), 234–251.
Moore, R., 2007. Friends don’t let friends listen to corporate rock: punk as a field of cultural production. Journal of Contemporary Ethnography 36 (4), 438–474.