**5. Conclusion**

rounded by a team" ([43], p. 14). Instead, Berglund et al. ([44], p. 268), pointed out that the artist-entrepreneur may not respond to the type of "hero entrepreneur," but can be a creative imitator, who uses "multiple identities in legitimizing their work," and often does not work

Ultimately, exploring literature on the entrepreneur in the arts, we found three subthemes, which concern, respectively, the culture-business relationship, the similarities between the

Another debated theme concerns entrepreneurship education in the arts. The main reference in this area is the contribution of Beckman [45]. The author noted that the arts entrepreneurship programs are mostly idiosyncratic, and this led to different "philosophical and curricular trajectories" that "reflect the unique microcultures of theater, art, and music units" ([45], p. 87). Thus, given this situation, Beckman ([45], p. 87), identified some "best practices" and deepened the structure of curricula in arts entrepreneurship education. In particular, three practices help to shape adequate curricula ([45], p. 102): a reassessment of "the nineteenth century romantic esthetic"; the acquisition of a "supportive and visionary leadership"; and the definition of "entrepreneurship in a manner that informs and guides the effort." Also Bridgstock [46] examined the implications of the peculiarities of arts entrepreneurship on education programs. The author focused on the characteristics of curricula instrumental to the development of the "arts entrepreneurship capabilities" ([46], p. 133). Arguing that entrepreneurship should be included from the beginning of the education programs in the arts, and considering it as "a complex set of qualities, beliefs, attitudes, and skills that underpin all areas of working life" ([46], p. 133), the author suggested specific strategies to develop entre-

Besides the studies centered on the main issues related to arts entrepreneurship education and on the definition of appropriate curricula, a new area of research concerns arts incubators. Incubators constitute a particularly promising instrument in the arts. Phillips [47] noted that arts incubators, and cultural institutions eventually related to these, can play a key role in promoting the development of arts entrepreneurship. The point is then deepened by Essig [48], who intercepted the different functions performed by incubators, the goals to which they tend, and identifies different types of incubators in the arts. To date, due to the novelty of the phenomenon, few contributions examine arts incubators, but they will probably lead to a

Marketing scholars approached arts entrepreneurship, although in most cases, they consider

Colbert ([49], p. 30), pointed out that entrepreneurship, marketing, and leadership are interconnected; moreover, he emphasized that entrepreneurship and leadership allow improving the level of service offered to customers ([49], p. 38). Fillis [50, 51] explored the marketing/

artist and the entrepreneur, and the idealized arts entrepreneur.

**4.2. Entrepreneurship education and training in the arts**

preneurial skills within educational programs ([46], p. 122).

growing attention from scholars.

it collaterally when examining other themes.

**4.3. Other areas of research**

alone.

16 Entrepreneurship - Trends and Challenges

Arts entrepreneurship is a promising field of research that involves different disciplines. In the last 20 years, publications grew considerably, and most of them are placed in specialized journals. The purpose of this chapter is to shed light on arts entrepreneurship literature, trying to make order in a complex scenario constituted by studies on different subthemes, often following different perspectives.

The main themes explored in literature concern, respectively, the entrepreneur in the arts, with a special focus on his identity and characteristics, and entrepreneurship and training in the arts. With respect to the first theme, many studies are based on the culture-business relationship, which seems problematic. Another subtheme concerns the similarities between the artist and the entrepreneur, on which many scholars focus. Finally, we also intercepted another subtheme, concerning the entrepreneur "idealized" in the arts. The second main theme, that is entrepreneurship education and training in the arts, attracted the attention of many scholars interested in identifying best practices to design curricula, in order to favor the development of an entrepreneurial mindset. Moreover, some scholars are focusing on arts incubators, instruments designed to favor entrepreneurship in the arts. Besides these two main themes, other arguments are the object of investigation. Some marketing scholars are interested in entrepreneurship, but in most cases they consider it "collaterally." Other scholars approach arts entrepreneurship in order to investigate its role in the development of new products. Finally, entrepreneurial bricolage is of interest of scholars because it seems suitable to artistic contexts. In sum, literature is not yet consolidate but is already complex. In this chapter, we tried to make order among a heterogeneous set of publications.

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