SAEE’s 2024 CONFERENCE DETAILS COMING SOON!
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Thank you for joining us for the 2023 Online Conference. Recordings of keynotes and presentations are available to everyone who registered in the online conference platform. The full schedule is listed below.
Thank you to all presenters and our keynote speakers, Athena Stevens and Jane Chu.
Special thanks to the 2023 SAEE Conference Committee: Chair, Mike Panesis, Conference Coordinator, Kristen Bell, SAEE President Jim Hart, Secretary Marie Segares, Treasurer Hannah Grannemann, Board Members Adrian Fung, Johanna Smith, and Steven Sparling. Supporting the promotional efforts for the 2023 Conference was the Community Engagement Team Adrian Fung, Hannah Grannemann, and Steven Sparling - many thanks for your efforts.
Society for Arts Entrepreneurship Education
2023 Annual Conference
Thursday, April 13 & Friday, April 14
Pedagogy. Research. Community. Practice.
Online.
Join us online for two days of inspiring keynote addresses, networking, and presentations on arts entrepreneurship from established and emerging researchers and practitioners. Two days with SAEE will fill you with arts entrepreneurship ideas that you can use right away and throughout your year.
Questions? Contact Conference Committee Chair Mike Panesis at mpanesis@callutheran.edu.
Conference Registration
First, join SAEE as a member here (US$75, or US$50 for students). Then, register for the 2023 Online conference here (US$75, or US$50 for students). You won’t be able to register for the conference without a current SAEE membership. Current members can proceed straight to registration.
Questions or problems? Contact Conference Committee Chair Mike Panesis at mpanesis@callutheran.edu.
Conference Registration Fees
The registration fee for the 2023 Online Conference is US$75 (US$50 for students). To register for the conference, you must be a member of SAEE. Membership is US$75 (US$50 for students). Membership automatically renews annually unless the member cancels prior to renewal.
We don’t want anyone to miss participating in our conference because of financial limitations. To request a reduced rate for the conference, please complete this form.
Conference Schedule
Schedule subject to change. Full presentation list with presenters names, affiliations, and presentation abstracts
below schedule grid - keep scrolling. With three simultaneous tracks of presentations, we know you can’t watch everything. That’s why we’re recording all sessions. Recordings will be available to registrants following the conference.
| Time (EDT) | Day 1: Thursday, April 13 | ||||||
|---|---|---|---|---|---|---|---|
| 1:00 PM | Welcome & Keynote Athena Stevens: "Fail Safe versus Failing Safely: How the perfect entrepreneur never existed in the first place" | ||||||
| Track 1 | Track 2 | Track 3 | |||||
| 2:00 - 2:25 PM | Educating the Whole Musician Through an Entrepreneurial Lens | Pedagogical and Practical Insights from Visually Impaired Music Entrepreneurs: A Multiple-Case Qualitative Study | Fusion on First: A Uniquely Creative Entrepreneurship-Centered Live-Learn-Work Community | ||||
| 2:30 - 2:55 PM | Incorporating Entrepreneurial Skill Building into Private Studio Teaching | Pros & Cons of the Arts Portfolio Career | Community Engagement & the Artist-Entrepreneur | ||||
| 3:00 - 3:25 PM | Using Backward Design to Build Effective Performing Arts Business Curriculum | Building and Sustaining Creative Careers for the 21st Century Performing Artist: A Literature Review | The Potential of Hybrid Events for Emerging Arts Entrepreneurs | ||||
| 3:30 - 3:55 PM | Wealth and Opportunity: Teaching the full spectrum of financing for Arts Entrepreneurship | Entrepreneurial Education in American Universities and Systemic Inequities in Arts Employment: Statistical Insight from SNAAP | The value-based creative philosophy: a foundation of arts entrepreneurship education | ||||
| 4:00 - 4:25 PM | Minding the Motivational Mix: A Classroom Exercise in Arts Business Consulting | By Design: Instructional Design Theories, Learning Strategies and Their Utility in Crafting Arts Entrepreneurship Curriculum for Higher Ed | Getting to the GRAMMYs and Beyond part two: Music Entrepreneurship Curricula Meets the Red Carpet | ||||
| 4:30 - 4:55 PM | Teaching International Arts Entrepreneurship? Pedagogical Implications, Challenges and Possibilities of Working Across Borders | To Prove and To Improve: Evaluators as Arts Entrepreneurs in Policy Making | Beyond professional and field development, what’s an academic journal for? And is this changing? | ||||
| 5:00 - 5:30 PM | Networking Reception | ||||||
| Time (EDT) | Day 2: Friday, April 14 | ||||||
| 11:00 AM | Welcome & Keynote Jane Chu: "Arts Entrepreneurs: A Celebration of Immigrant Stories" | ||||||
| Track 1 | Track 2 | Track 3 | |||||
| 12:00 - 12:25 PM | There Is a Customer Born Every Minute: Economics, Time, and Cultural Entrepreneurship | Lean-Entrepreneurship in Higher Music Education | Scaling Career Services and Creative Agency through Blended Learning in Arts Higher Education | ||||
| 12:30 - 12:55 PM | Art is Important Research Business: Literature Reviews in Arts Entrepreneurship | Ethics and the Teaching of Arts Entrepreneurship: An Exploratory Study | Creating Entrepreneurship & Innovation Lab | ||||
| 1:00 - 1:25 PM | New Experiential Exercises for the Arts Entrepreneurship Classroom | The Entrepreneurial Model In The Cultural Sector: The Case Of Urban Music In Casablanca | Ad Hoc Learning Outcomes Working Group: Progress Report | ||||
| 1:30 - 1:55 PM | Create, State, Maintain: An Interactive Lesson on Professional Boundary-setting for Arts Entrepreneurs | Creative Producers: the heroes we need and deserve to save the performing arts | Critical Discussion: Grand Challenges faced by Artist Entrepreneurs in Canada in a Post-Pandemic Environment | ||||
| 2:00 - 2:25 PM | Implementing Case Studies into Creative Education | A Case for Institutional Entrepreneurship: The Globe to Globe Festival During the London 2012 Olympics | Delight is Essential! Puppetry and Improvisation as catalysts for creativity | ||||
| 2:30 - 3:30 PM | How to use AI for curricular development inspiration | ||||||
| 3:30 - 4:00 PM | Networking | ||||||
Conference Presentation List
Subject to change.
| Title of Session | Names of Presenters | Organizational Affiliations of Presenters | Presentation Description |
|---|---|---|---|
| A Case for Institutional Entrepreneurship: The Globe to Globe Festival During the London 2012 Olympics | Tiffany Bourgeois | The Ohio State University | This paper argues that the Globe-to-Globe Festival hosted as part of the World Shakespeare Festival during the London 2012 Olympics provided opportunities for institutional entrepreneurship. The festival hosted 37 productions of Shakespeare’s plays in 37 different languages over a six-week period. The festival was primarily intended to be an experiment with foreign language Shakespeare in the languages of London, however, it also aimed to discover how important Shakespeare is to the rest of the world (Global Shakespeares). This work expands mega-event legacy theory (Preuss, 2015) to examine the outcomes of the festival and instances of subversion during the selection process, presentation or post the games by the participating institutions and organization. The outcomes of the Olympics are commonly defined in terms of economic improvement and infrastructure development, but the effects of cultural programming are not frequently defined or even examined. For these reasons this study offers a case study of the Globe-to-Globe Festival during the London Olympics that frames and identifies its cultural outcomes and instances of institutional entrepreneurship. |
| Ad Hoc Learning Outcomes Working Group: Progress Report | Gary D. Beckman, Rand Harman | NC State University, University of Northern Colorado | The SAEE Ad Hoc Committee on Learning Outcomes is investigating stated learning outcomes in Arts Entrepreneurship courses from member programs to identify commonalities and gather foundational data. The objective is to create a foundation for composing universal learning outcome recommendations for the field. During the session, the SAEE Committee on Learning Outcomes will share their preliminary findings from a comprehensive review of syllabi and an SAEE member survey. This will be followed by an open conversation on learning outcomes in the field of arts entrepreneurship, where attendees have the opportunity to share their own experiences and insights. This session is an ideal opportunity for educators, professionals, and students to come together and discuss ways to achieve greater consistency and effectiveness in the field. |
| Art is Important Research Business: Literature Reviews in Arts Entrepreneurship | Marie Segares, Maggie Murphy | St. Francis College, University of North Carolina Greensboro | Sutton et al. (2019) identified 48 types of literature reviews. In this interactive workshop, an entrepreneurship professor and a visual art & humanities librarian will discuss tackling the literature review in a systemized way with focus on three review types. Selecting the right review for the job can help you advance artistic or entrepreneurial practices, identify gaps in the literature to formalize research topics, or develop a review paper for publication in an academic journal or as a book chapter. Review publications can be highly cited; other researchers use them to support their arguments, note gaps in the literature, and maximize their reading time. We will share an overview of different review types, and then focus on rapid reviews, scoping reviews, and systematic literature reviews. We will explore the approach, timeline, and best practices for conducting these different types of literature reviews from identifying the research question through conducting the search, selecting publications, documenting your process, and writing up your results. |
| Beyond professional and field development, what’s an academic journal for? And is this changing? | Diane Ragsdale, Andrew Taylor, Gary Beckman, Dr. José Valentino Ruiz, Olaf Kuhlke | Artivate: A Journal of Entrepreneurship in the Arts, Journal of Arts Entrepreneurship Education | The way academic journals are published has been evolving in recent decades, largely in response to the affordances of digital publication. The 1990s brought the shift towards open-access journals and since then, the emergence of Plan S and other similar initiatives pushing for radical open-access. In the past decade we have begun to see some journals shift to publishing rolling articles rather than issues. Additionally, we have of late seen increased pressure from various scientific communities for timely publication and widespread distribution of articles. Given a somewhat restrained reshaping of the landscape of academic publishing, the co-editors from two journals focused on arts entrepreneurship, propose a discussion revisiting the function of academic journals and, in particular, the ways in which journal publication is both critical and valuable for arts entrepreneurship educators and disciplinary development. There is widespread understanding that journals enable conversation among scholars, document knowledge and its evolution over time, and are an arena for testing practical and theoretical ideas. But are there ways in which those working in arts entrepreneurship education are using academic journals (or could) to further advance other goals (e.g. those related to teaching, entrepreneurship, or new forms of research creation)? Beyond professional advancement and field development, why does academic publishing matter? What are academic journals good for and is this changing? These are among the questions we would propose to raise during a roundtable discussion among the co-editors of Journal of Arts Entrepreneurship Education and Artivate: A Journal of Entrepreneurship in the Arts and session attendees. |
| Building and Sustaining Creative Careers for the 21st Century Performing Artist: A Literature Review | Valerie Hartman | Peabody Institute of The Johns Hopkins University | Music programs focus on vocal or instrumental skills. While technical artistry is essential for a music career, it is no longer sufficient in the competitive 21st century market. Today’s economy no longer supports full-time performing positions for most musicians. Thus, most artists build portfolio careers and engage in diverse roles, including education, production, composition, arts administration, and recording. To support these diverse activities, artists need to maintain competitive technical abilities as well as develop entrepreneurial skills. Entrepreneurial skills, or practical business skills, include communication, audience research, marketing, programming, as well as interpersonal skills in collaboration and community engagement. This literature review explores the rising trend of portfolio careers and critical arts entrepreneurship skills. It investigates how music programs in higher education can broaden students’ definition of entrepreneurship and expand what it means to be a musician through the lifespan. It advocates for music programs to introduce students to professional artists with a wide range of musical identities to prepare students for the transition to professional musicians. By integrating excellence in artistry with a variety of practical skills and exposure to music industry professionals, musicians can better build and sustain a creative career in the arts. |
| By Design: Instructional Design Theories, Learning Strategies and Their Utility in Crafting Arts Entrepreneurship Curriculum for Higher Ed | Jennifer Reis | University of North Carolina Greensboro | Instructional Design is situated at the crossroads between traditional educational curriculum design and professional/workforce development for adult learners within the contexts of business, non-profits, healthcare, and education. Subsequently, the foundational theories, learning strategies, design processes, and facilitation tools of the Instructional Design (ID) field are positioned to be impactful to arts entrepreneurship curriculum creation in higher education. This presentation will review foundational information about ID, implications for classroom use, and concrete examples of previous and current utilization in arts entrepreneurship practice-based curriculum within UNC-Greensboro courses. These include the use of ARCS, Dick & Carey, and Gagné design models; Cognitive and Social Constructivism learning theories; ADDIE process of design; and discrete tools like Needs Assessment. The presenter has been an “accidental Instructional Designer” for numerous foundations and non-profits for many years and is now intentionally bringing those mindsets and tools into the college classroom largely informed by current graduate work and research in the ID sector. |
| Community Engagement & the Artist-Entrepreneur | Jeffrey Nytch | University of Colorado-Boulder | The idea that artists and arts organizations should be involved in their community is hardly new, but recent trends – including increased focus on issues of Diversity, Equity, and Inclusion (“DEI”) and disruption from the COVID-19 pandemic – have brought greater urgency to the matter. Despite this, there is little formal training in either the applied arts or arts administration academies; artists and organizations are still remarkably prone to a “try it and see what works” mentality when it comes to attempting to engage with current and potential audiences. Entrepreneurial principles offer a clear way to identify, plan, and execute programming that is truly community-based—that is, focused on the needs of individuals and groups rather than those of the organization presenting it. This “flipping of the narrative” is key to all entrepreneurial thinking; moreover, it constitutes a mindset that is particularly subversive to the status quo within the arts. This session will examine key challenges facing artists and arts organizations seeking to engage in effective community engagement programming, and offer an entrepreneurship-based approach to realizing that goal. |
| Create, State, Maintain: An Interactive Lesson on Professional Boundary-setting for Arts Entrepreneurs | McKenzie Shelton | Embody Media Productions | Defining and reinforcing boundaries are essential skills for entrepreneurs, especially those who freelance in the arts. For many, arts practices are intrinsically linked to our psychosocial and emotional wellbeing, and thus must be sustained with strong explicit and implicit boundaries. This workshop demonstrates how arts entrepreneurship educators can teach students how to create, state and maintain boundaries as an act of professional and personal self-preservation, with attention to structuring contracts and client interactions. Workshop participants will practice recognizing and setting boundaries in our daily lives and work through a sample lesson plan using multimedia, interactive activities including online polling, small group scenarios, large group discussion and independent reflection. Further, we will review how best practices in instructional design and learning technology are applied to this lesson and can help modify for in-person, online and hybrid instructional settings. Attendees will leave this workshop with a ready-to-go lesson plan and an individualized list of ideas on how to carry boundary-setting forward into their own professional and educational practices. |
| Creating Entrepreneurship & Innovation (CEINNOV) Lab | Stacy Stube, Ayo Figueroa | Maryland Institute College of Art | Creative Entrepreneurship & Innovation (CEINNOV) Lab // SAEE Proposal What if the failures of the venture competition system could be adjusted to better suit the arts community to nourish sustainable growth for early stage creative ideas? Just as one cannot teach dance from text, neither can we expect a student to learn enterprise through a business plan and pitch competition alone. In 2026, the Maryland Institute College of Art (MICA) will celebrate its bicentennial. In the lead up to many more years of art exploration MICA’s Ratcliffe Center for Creative Entrepreneurship begins to blur the lines between practice and progress through experiential entrepreneurial learning. What Johns Hopkins is to medical innovations MICA can be for innovations in the creative industries. Artists are investing in educational places that understand integrative mixed reality for career preparation. They are seeking opportunities to work entrepreneurially through industry social engagement and innovative partnerships. In January 2023, the CEINNOV began taking form as a lab to test business ideas through ready made go to market business system templates that allow artists to learn how to share their creative practice while generating an income through their work. Moving from the classroom directly into a market ready educational space located in a Baltimore based entrepreneurship ecosystem to incubate. CEINNOV enters the market to initially incubate early stage creatives to grow their ideas into fully formed MVP’s (minimum viable products) that they can go to market with to learn, grow and build momentum. |
| Creative Producers: the heroes we need and deserve to save the performing arts | Owais Lightwala, Sarah Garton Stanley | Toronto Metropolitan University | The performing arts sector is facing a multitude of crises, including the ongoing COVID-19 pandemic, rising economic unsustainability, the digital revolution, climate change, and social justice. In order to address these challenges, there is a growing need for more and better-trained creative producers. As arts entrepreneurs at their core, creative producers have the ability to think outside the box, take calculated risks, and lead their organizations to success in an ever-changing landscape. Creative producers play a vital role in addressing the challenges facing the performing arts sector. They possess the ability to think creatively and strategically which is essential in navigating the complex and ever-changing landscape of the industry. They are able to identify new opportunities, develop innovative solutions and lead and manage teams and resources effectively. Furthermore, they are able to build partnerships and collaborations that help to create a more sustainable ecosystem for the performing arts. This session will focus on the Canadian context and the role of the creative producer in addressing the challenges facing the performing arts sector. It will be based on a literature review and 100 interviews conducted in Canada and internationally, providing valuable insights into the need for more creative producers and how to train them. The session will also include a proposal for what components a creative producer training curriculum should include, which will serve as a roadmap for organizations and institutions looking to develop or enhance their own training programs. |
| Critical Discussion: Grand Challenges faced by Artist Entrepreneurs in Canada in a Post-Pandemic Environment | Charlie Wall-Andrews, MaryElizabeth Luka | Toronto Metropolitan University | This session allows scholars to hear the stories of independent artists in Canada that are navigating ways to grow their careers after an exhaustive pandemic. The stories that will be shared will help shape the future of artists' entrepreneurship scholarship by providing insight into the needs and desires of artists and entrepreneurs in the music industry. |
| Delight is Essential! Puppetry and Improvisation as catalysts for creativity | Johanna Smith | California State University - San Bernardino | Join Professor Johanna Smith for a lively, interactive exploration of dynamic exercises she uses with her Entrepreneurship students. She will share unique insights from her decades of professional experience in her beloved art forms, Puppetry and Improvisation. Be prepared for silliness and joy! Participants will need access to an ordinary object from their home or office. |
| Educating the Whole Musician Through an Entrepreneurial Lens | Dr. Deanna Swoboda, Han-Ning Chen | Arizona State University | Dr. Deanna Swoboda and Han-Ning Chen have collaborated to explore music students’ experiences in music entrepreneurship courses in a large university program and how that experience helps them develop future goals. They collected data through self-designed semi-structured individual interviews with undergraduate and graduate students who have taken the music entrepreneurship courses in the past 10 years. The interview questions included the participants’ background information and their experience in the music entrepreneurship courses. The preliminary findings suggest that a primary benefit of the course is that students’ mindsets shift and they can see themselves contributing to society as performing musicians in broader contexts. Guest speakers and other course activities seem to provide useful information about marketing and finances. Results of this study can be used as a reference for teachers in higher education designing music entrepreneurship curriculum to be more relevant to students' needs and expectations, to shorten the skills and knowledge gap, and to better respond to the changing society. Future studies could explore in more depth career preparation and entrepreneurial identity of music students. |
| Entrepreneurial Education in American Universities and Systemic Inequities in Arts Employment: Statistical Insight from SNAAP | Dr. Wen Guo | Elon University | The American creative workforce has reported high levels of self-employment. Choosing to be an arts entrepreneur can be a viable career path for creatives who do not find their skills and experience valued by traditional cultural organizations and corporations. Yet alumni of arts programs in higher education have reported gaps in the preparation they received for self-reliant careers, including training in arts entrepreneurship. Moreover, BIPOC arts workers are underrepresented in higher education, which compounds career entry barriers. Using data from the Strategic National Arts Alumni Project, this exploratory manuscript contributes to the study of innovative institutions and inequities in the arts by examining the association of student diversity, professional development outside of the classroom, and community-based experiential learning opportunities at higher education institutions with alumni’s entrepreneurial intentions, particularly in the career paths of freelancing and new venture creation. |
| Ethics and the Teaching of Arts Entrepreneurship: An Exploratory Study | Josef Hanson | University of Memphis | While ethical belief systems– the values and principles that guide us in determining “right” and “wrong” conduct – serve a critical role in shaping educational practice, the ethical codes underpinning arts entrepreneurship education have not received substantive scholarly attention or empirical scrutiny. Ethical teaching requires “attention to avoiding actions or inactions that may cause students educational or emotional harm” (Hill & Zinsmeister, 2012). Further, entrepreneurship educators contend with a unique set of ethical quandaries, ranging from the ways that curricula might exclude different types of students to potential financial exposure or harm that students may experience as a result of their teachers’ tutelage (O’Connor, 2015). Past research indicates that most new teachers do not receive training in educational ethics and therefore are poorly prepared to successfully resolve ethical issues in their teaching (Barrett et al., 2012; Branstetter & Handelsman, 2000). It stands to reason that this trend likely extends to teachers in the still-emerging field of arts entrepreneurship. Thus, the purpose of this exploratory study was to establish an understanding of the ethical principles and behaviors that inform the teaching practice of experienced arts entrepreneurship educators. I distributed an electronic survey to a sample of SAEE members and other arts entrepreneurship educators in which participants were asked to respond to a series of ethical scenarios, behaviors, and dilemmas using Likert-type rating scales that measured both the severity of each offering and the prevalence of similar ethical issues in their own teaching. Although some overarching ethical beliefs did emerge, results indicated several points of disagreement among participants concerning certain ethical quandaries, often in ways that also diverged from the beliefs of educators in other fields of specialization (such as psychology). During the presentation, I will discuss implications of the findings as well as recommendations for future research on the ethics of arts entrepreneurship education. Barrett, D. E., Casey, J. E., Visser, R. D., & Headley, K. N. (2012). How do teachers make judgments about ethical and unethical behaviors? Toward the development of a code of conduct for teachers. Teaching and Teacher Education, 28(6),890–898. https://doi.org/10.1016/j.tate.2012.04.003 Branstetter, S. A., & Handelsman, M. M. (2000). Graduate teaching assistants: Ethical training, beliefs, and practices. Ethics and Behavior, 10, 27–50. https://doi.org/10.1207/s15327019eb1001_3 Hill, G., & Zinmeister, D. (2012). Becoming an ethical teacher. In W. Buskist & V. Benassi (Eds.),Effective College and University Teaching: Strategies and Tactics for the New Professoriate (pp. 125–134). Sage Publications O’Connor, A. (2015). Questioning the ethics of university entrepreneurship curriculum. Challenges of Ethics and Entrepreneurship in the Global Environment (Advances in the Study of Entrepreneurship, Innovation and Economic Growth, Vol. 25) (pp. 79–107). Emerald Group Publishing. https://doi.org/10.1108/S1048-473620150000025005 |
| Fusion on First: A Uniquely Creative Entrepreneurship-Centered Live-Learn-Work Community | Kelsea Aaberg, Juliet Surdyn | Arizona State University | Fusion on First at Arizona State University is a unique space where creativity and entrepreneurship coalesce. The state of the art facility houses Herberger Institute of Design and the Arts’ Fashion Design and Popular Music programs, with J. Orin Edson Entrepreneurship + Innovation Institute and Creative Careers staff and resources embedded into the experience. There are also 13 floors of student residential space, where students of any major can reside, creating opportunities to build cross-disciplinary relationships united by entrepreneurship. We endeavor to inspire the entrepreneurial mindset in ASU students in creative fields as a tool to help them build resilient careers in an ever-changing world. Making the arts a viable career choice is one of the many ways we strive to make our programs welcoming to students from underprivileged backgrounds not only in theory, but in practice. This presentation will explore how we’ve built positive relationships with academic units by demonstrating how entrepreneurship and Creative Career Services can add value to their programs and the experiences of their students. One example is how Creative Careers and Entrepreneurship has been able to cultivate a relationship with the Popular Music Program through collaborations on guest artist visits and hosting a career fair. We will outline how we have found success in these collaborations by following these principles: actively creating opportunities for participation and interaction with guests, prioritizing student-led initiatives and putting students in leadership roles, and actively striving to add value for our collaborative partners. |
| Getting to the GRAMMYs and Beyond part two: Music Entrepreneurship Curricula Meets the Red Carpet | Dr. José Valentino Ruiz, Derris Lee, Chris Shelton, Robert Acevedo Jr., Dr. Thaddaeus Bourne, Dr. Silviu Ciulei, Eliezer Gabriel Nieves | University of Florida, JV Music Enterprises, Jellybean Creative Agency, Rimshot Studios, Maharajah Productions, Out the Lamp Enterprises | A continuation from SAEE's 2021's online conference presentation, "Getting to the GRAMMY® and Beyond: An Insight to Student-Professor Collaborative Albums/Music Video Projects for Promoting Ecological Advocacy and Social Impact", this presentation highlights another classroom music production project that was (this time, a children's music album) done in collaboration with students (i.e., Derris Lee & Chris Shelton),professors (i.e., José Valentino Ruiz, Thaddaeus Bourne, and Silviu Ciulei),community music entrepreneurs (i.e., Robert Acevedo Jr. and Eliezer Gabriel Nieves),and music creators from Mexico, Costa Rica, Argentina, Puerto Rico, and Bolivia. The album they produced, "A La Fiesta de la Música Vamos Todos" was selected by The Recording Academy as the Winner of the 2022 Latin GRAMMY® Award for Best Latin Children's Album! This SAEE presentation will world-premiere an exciting 10-minute film documentary that highlight's student/professor's collaborative work on the album, interactions with other nominees, and how they celebrated in taking part in Latin Music's "Biggest Night of Music", ultimately, to WIN the GRAMMY®. Following the documentary premiere, the presenters discuss the following: 1) How the faculty and students implemented the "COVID Response Model (JAEE article, "Entrepreneurial Responses to the COVID Era") to successfully produce, launch, market, scale, and leverage the album to produce a) impact, b) community development with the Latin music and Ibero-American elementary music education markets. 2) Pedagogical implications for music entrepreneurship curricula in higher education. |
| How to use AI for curricular development inspiration | Jim Hart | Southern Methodist University | In this hands-on workshop, participants are introduced to popular AI platforms such as Chat GPT, Cactus, and Grammarly.com. They will learn how to use these dynamic technologies to assist with research and develop dynamic course curricula and other processes relevant to entrepreneurship education. Tips for citing sources, avoiding plagiarism, confirming the accuracy of the information, and finding inspiration for new curricular advances relevant to professors' aspirations, interests, and identified processes are explored. Participants will also be introduced to AI tools to detect student essay plagiarism. During the workshop conclusion, participants will be urged to share their insights and tips on using AI for educational purposes. |
| Implementing Case Studies into Creative Education | Dr. Blaire Koerner | Eastman School of Music | Case studies are an incredibly insightful pedagogical tool that bring real world experiences into the classroom. They examine issues and challenges that face today’s leaders and place the reader in the role of consultant, charged with assessing business problems and making key decisions in resolving them. They are often timely, relevant, and cover a wide range of entrepreneurial and social topics. But, how exactly do you incorporate case studies into a classroom of artists? What are some forms of assessments that can be used in conjunction with case studies? What are the skills young arts entrepreneurs will develop through experience? In this workshop, we will explore the multitude of ways case studies can be effectively utilized in creative classrooms. This session will delve into identifying case study learning objectives; designing hands-on case study learning activities; mapping out a variety of case study instructor teaching and facilitation methods; and integrating case study lessons with creative and artistic student development. Drawing examples from The Eastman Case Studies, the session with explore cases focusing on arts businesses and topics in both non-profit and for-profit arts organizations. Attendees will walk away with tools to successfully integrate case studies into any creative learning environment. |
| Incorporating Entrepreneurial Skill Building into Private Studio Teaching | Sarah Off & Dr. Rand Harmon | University of Northern Colorado | This session is primarily for studio instructors who are interested in ways in which they can help their students develop entrepreneurial skills through their private lessons. In today’s competitive and quickly changing industry being a musician is somewhat synonymous with being an entrepreneur. Building an entrepreneurial mindset and business savvy can give graduating music majors a competitive edge when entering into the professional field of music. As private instructors, we spend a great deal of time individually with each of our students and are in a unique and exciting position to prepare them for a career in the modern music industry. This session will discuss ways in which we can create opportunities to foster entrepreneurial skills and mindset through simple discussion, studio activities, and career planning, without disrupting or taking away from the primary focus of the private lesson. By looking at the skills that modern musicians need today and finding ways to explore and practice them in daily activities, we can help students to begin to think like entrepreneurs, while reaching their full potential as musicians. This session will offer several key talking points to get the conversation started with your students, as well as ideas for creative performance-based activities that provide opportunities for students to practice skills such as public speaking, networking, and marketing. Finally, it will explore various resources that can be utilized within the private studio to help students actively develop these skills while staying relevant to their performance activities. |
| Lean-Entrepreneurship in Higher Music Education | Mads Walther-Hansen | Aalborg University | This presentation discusses how lean entrepreneurship strategies can benefit students in higher music education. Lean entrepreneurship emerged as a method in the software industry to develop products faster and reduce the risk of economic loss. A key feature of this method is the minimal viable product (MVP) the basis for continuous iterations with customers. The MVP is a means to learn from the market: to find out who the customers are, to learn what the customers value about the product, and to develop the product further based on feedback from customers. But how do these principles work when the product is not software but a music track – or another artistic creation of aesthetic value? Independent music artists in the post-digital era have access to more data than ever before about their customers. Still, many students are reluctant to work with this data because they find that iterations of music ‘products’ based on customer feedback challenge artistic integrity. Some even see entrepreneurship more broadly as antithetical to artistic practices. In this presentation, I illustrate with examples from my teaching at Universities in Denmark, how lean entrepreneurship might be meaningfully integrated into the curricula, to help music students navigate the inherent instability of the music market. |
| Minding the Motivational Mix: A Classroom Exercise in Arts Business Consulting | Kathryn L. Brown | North Carolina State University | For this session, I would like to demonstrate the pedagogical exercise that I developed in my contribution to Case Studies on the Arts (Ed. Tonelli, Heise; pub. Edward Elgar) "Jason Harrod, Singer-Songwriter: Minding the Motivational Mix." The exercise, inspired by a chapter in Hans Abbing's book Why are Artists Poor?, puts students in the role of "arts business consultant." Students learn to address what Abbing calls "path dependency" (A.K.A. being "stuck in a rut") by developing and proposing incremental innovations designed to appeal to their client's unique "motivational mix" of sought rewards. |
| New Experiential Exercises for the Arts Entrepreneurship Classroom | Jim Hart | Southern Methodist University | Experiential learning is now widely viewed as an optimal means of teaching entrepreneurship. In this workshop, Hart will present new exercises he has developed, which attendees are urged to consider adopting and adapting for their classes. In addition to these new exercises, he will share a new method he's devised to assess student learning. Participants will actively engage in the new exercises to develop an experiential understanding of their value and how they work. Tips and thoughts will be provided, along with learning outcomes educators can include in their curricula. |
| Pedagogical and Practical Insights from Visually Impaired Music Entrepreneurs: A Multiple-Case Qualitative Study | Chris Shelton & Dr. José Valentino Ruiz | University of Florida | Visually impaired arts entrepreneurs have demonstrated their abilities to be resilient, innovative, tactful, and solution seeking throughout the history and spectrum of arts entrepreneurship. History has documented the impact of numerous visually impaired artists who have 1. successfully sustained careers, 2. enriched people's lives through their arts, and 3. revolutionized their respective sectors within arts industries. All of which are attributes needed to be a successful entrepreneur in a post-COVID multimodal creative economy. In an age where art products and services are largely consumed through visual modalities, it's important that visually impaired arts entrepreneurs navigate and overcome barriers so they can continue to stay afloat in an industry that is continually vacillating and expanding. The research is completed in a multiple case qualitative study of two thriving visually impaired music entrepreneurs who navigate their respective sole proprietorships in the context of performance, education, and music production locally and globally. Based on the results of this study, the researchers provide pedagogical and pragmatic implications for both visually impaired aspiring and seasoned music entrepreneurs as well as music entrepreneurship educators. This study is merely an attempt to inspire further conversations and investigation for how we can help equip visually impaired artists to launch, manage, and grow their dream careers. |
| Pros & Cons of the Arts Portfolio Career | Karen Munnelly | Florida State University | Many performing and visual artists find themselves in the role of an entrepreneur and small business owner as they manage multiple overlapping jobs while engaging in portfolio careers. While previous research does indicate that many artists engage in portfolio careers, there appears to be a lack of research into the career patterns of portfolio artists. This research hopes to fill some of these gaps by asking artists to share about the process they engage in to build and maintain their portfolio careers. The research questions include: - What types of jobs make up the artist portfolio career? - What factors do artists take into consideration when deciding what work to accept or decline? - Do artists engage in portfolio careers out of necessity or by choice? - What Pros and Cons do artists associate with the Arts Portfolio Career? Data was collected through a survey consisting of closed and open-ended questions. Participants were recruited through arts agencies and artist services organizations. Despite existing assumptions that artists engage in a portfolio career due to a supply and demand issue, this study found the issue to be more complex. For many, the decision was both a choice and a necessity. Although many of the respondents associate risk with the portfolio career model, the majority expressed a preference for an arts portfolio career. While prior research has indicated that artists engaging in portfolio careers often experience low pay and underemployment, artists in this study appear to value the benefits afforded by the portfolio career. |
| Scaling Career Services and Creative Agency through Blended Learning in Arts Higher Education | Valerie Hartman, Christina Manceor, Joseph Montcalmo | Johns Hopkins Peabody Institute | In an evolving arts industry, professional business skills are critical for higher education arts graduates. Through blended learning practices and curricular integration with career services, an arts conservatory is tackling this challenge to ensure students have equitable access to entrepreneurial resources to build and sustain creative careers in the arts. Instructional design and career services teams collaborate to develop required courses that offer rich technological integration, both real-time and asynchronous learning opportunities, spatial choices for faculty and students, and high-tech pedagogical strategies. The blended delivery allows for a diverse range of faculty voices and student choices. Instructors are working professionals spanning a variety of arts careers. This session shows how to increase the scalability of general resources while also offering flexibility, mentoring opportunities, and personalized learning pathways for students. This practice provides a consistent learning experience and appropriate administrative support to ensure staff, faculty and student needs are met. |
| Teaching International Arts Entrepreneurship? Pedagogical Implications, Challenges and Possibilities of Working Across Borders | Natalia Grincheva, Jonathan Gander, Adrian De La Court, Siân Prime | University of the Arts Singapore, LASALLE College of the Arts, Institute for Creative and Cultural Entrepreneurship, Goldsmiths, University of London | In the conditions of increasing globalization and digitalization of our society Arts Entrepreneurship as a practice is progressively acquiring an international dimension. New international business models are constantly developing tapping on existing opportunities in the interconnected world under the pressure of expanding gig-economies and devastating disruptions caused by Covid-19 pandemic, especially in the arts sector. There is a growing need and demand in higher education to equip students with skills and knowledge needed to survive and thrive as emerging artists, designers, digital creatives, and practitioners who can sustain their creative practices and make an impact not only on the local, but also on the global level. This Panel will focus on international arts entrepreneurship to discuss why it is becoming critical to open the classroom for cross-border collaborations to expose students to the international ecosystem of arts entrepreneurship. The Panel will explore two case studies and examples of teaching international arts entrepreneurship. The first part will feature SYNAPSE, the business development education program for students to master entrepreneurial tools that was developed at Goldsmiths, University of London. The program benefited 5,500 Goldsmiths from various departments as well as was successfully delivered in dozens of countries from Chile to Hong Kong. The second part will present the developments of a new Summer School in International Arts Entrepreneurship designed at the University of the Arts Singapore. The School aims to provide a hands-on educational program for local, regional and international students to train them in creation, evaluation, development, and launch-readiness of international creative arts business and social ventures. Discussing both cases, the panellists will share pedagogical implications, challenges, and possibilities of bringing students from different disciplines and geographic contexts together to explore processes of business model development, global customer discovery, financials and legal considerations in different countries and regions. |
| The Entrepreneurial Model In The Cultural Sector: The Case Of Urban Music In Casablanca | Selimane Koubaich | Culture in the Village Project, youth of culture | This study paper aims to look into how urban musicians use their entrepreneurial skills to adopt and develop a business model for their music business. It aims to investigate the essential factors for developing an entrepreneurial model for an artist, the legal entrepreneurial models that can be used in the urban music sector, and the challenges and obstacles that artists and musicians encounter when deciding on an entrepreneurship model for their music projects. This paper aims to contribute to this area of research by providing more insight into the issues confronting musicians' business models and looking at the sector from a variety of perspectives, with a focus on placing urban music in the socio-cultural cycle of entrepreneurship. The theoretical section of this study examines cultural and social entrepreneurship in Moroccan and international academic literature as well as the creative sector, highlighting several case studies in the field on the one hand, and Moroccan elements of cultural entrepreneurship and various components and efforts of all players working or having responsibility in the music industry on the other. A questionnaire was done with urban artists and diverse actors representing the different contributors in the music industry in Morocco for the aims of the empirical research, and the data was evaluated using exploratory quantitative data analysis. The findings show that Moroccan music entrepreneurs make a significant contribution to the country's economic progress and integration into the global market. Along with the numerous benefits that incorporating business concepts into the music industry delivers, this sector also has its own set of complications and challenges. Furthermore, they suggest that, while national policies encourage the younger generation to become entrepreneurs through a variety of programs and policies, further rules for the Moroccan music sector should be enacted. |
| The Potential of Hybrid Events for Emerging Arts Entrepreneurs | Christopher Njunge | California Lutheran University | Emerging Arts Entrepreneurs have a variety of free online tools to share their creations, from social media, to livestreams and other tools. Although these tools enable them to reach new potential audiences, and share their content, there remains a lot of work for them to build relationships with their audiences and continue to grow their practice. Hybrid events offer an opportunity for arts entrepreneurs to strengthen their connection with audiences. This presentation will share the experiences an online event held in 2022, and share reflections on how Data Visualization can provide insights on the audiences and allow for follow up and connection opportunities for arts entrepreneurs. |
| The value-based creative philosophy: a foundation of arts entrepreneurship education | Dr. Emily Martin | Bucknell University | As facilitators of entrepreneurship, teaching and identifying the skills of resilience, intentionality, choice, and discernment within our students is paramount to lay the foundation of a successful career and community life. The development of a value-based creative philosophy early in the arts degree is defined as a series of steps resulting in the discovery of the students’ creative values and their lifelong learning. This work then can be applied to artistic decisions and choices throughout the degree and beyond. It can also identify what additional skills are needed to facilitate education. This endevor is continually in progress throughout the creative life of a student, helping the artist to determine the feasibility of an artistic and entrepreneurial choice or project and helping to further new audiences and grow communities in an increasingly complex world. In this panel session, we will explore what is a value-based creative philosophy, how it is important to the entrepreneurial work we do as facilitators, educators, and community leaders, and why other arts fields, specifically music education, have used similar approaches with success. The panel to discuss this topic will include Renee Jonker, the Coordinator of the New Audiences and Innovative Practices Master Program at The Royal Conservatoire of the Hague. |
| There Is a Customer Born Every Minute: Economics, Time, and Cultural Entrepreneurship | Christopher Parker, David Axelrod | Montclair State University | In this workshop, with an economist and a teaching artist, you will explore the economics of the cultural entrepreneur and learn from still valid insights on novelty and cultural entrepreneurship from the era of Barnum and Edison. You will discuss Supply and Demand, enabling the cultural entrepreneur to develop an art market through innovating new methods and equipment which produce art at a lower cost, and increasing demand by guiding the consumer/audience to deepen the perception of value. To do this, you will learn to develop the buyer's mindset toward appreciating, enjoying, savoring, and desiring the artwork. Ideally, the consumption of artwork leads to a greater demand for that art and, thus, self-valorization. Social media-like "network effects" alter the platform's value to subscribers, increasing value as more people subscribe to it. A savvy cultural entrepreneur creates art that is an attractor of attention. Participants will explore the Three C's through workshops and discussions on: Circular Flow of Resources. Learn how to consider the supply side (creation/production of the artwork) and demand side (creation/production of the audience to desire the artwork)),required to generate the circular flow of resources. Collaboration and Alliances. Learn how to build audiences and buyers by generating cross-promotion or alliances with your enterprise and others. Consumer Experiences. Learn how to increase buying with compelling consumer experiences, including public relations (media, news, advertising, press) and interaction with the art and artist. |
| To Prove and To Improve: Evaluators as Arts Entrepreneurs in Policy Making | WoongJo Chang | Department of Arts and Cultural Management, Hongik University | After WWII and the Korean War, when Korea was rebuilding itself, urban cultural policy planners employed direct policy transfer from so-called advanced countries. Since the turn of the millennia, a period which has seen five consecutive governments, Korean cultural policy has evolved toward looking abroad for inspiration but creating homegrown cultural governance policies. In this paper, I examine the Cultural City Project (CCP) as a case that exemplifies the transformation from borrowing policy structures and best practices from abroad to developing internal policies for cultural governance tailored to Korean society. The entrepreneurial practices of the evaluation process of the CCP’s independent review board illustrate the transformation. To better understand this process, I conducted in-depth interviews with members of the Cultural City Project’s independent review board, the body which, since the project's inception in May 2018, has been responsible for evaluating applications. My findings strongly indicate that the process of evaluation was entrepreneurial in that the board members implemented policies that they had been part of designing and, furthermore, redesigning as they used them. The board member referees were deeply invested in the long-term outcomes of their decisions, which rendered them active participants rather than dispassionate enforcers of rules. Although this has presented challenges, I argue that the result of this entrepreneurial approach has been a policy making process that builds dynamic public private partnerships for cultural governance. |
| Using Backward Design to Build Effective Performing Arts Business Curriculum | Marcus Thomas | The Hartt School - University of Hartford | Often, curricula are designed at the individual course level without full regard for how successful course learning outcomes will serve as evidence of students achieving long-range program learning outcomes. Oversights such as this will sometimes lead students to ask, “why did I have to take that class?” Additionally, many professors start course design with a focus on texts and activities as opposed to learning outcomes. (Wiggins, 1998) For example, in music business education, there is a very common pattern of instructors defaulting to Passman for law, Brabec for licensing, and Baskerville for Intro and everything else. While these may be well-vetted texts for the aforementioned subject areas, automatic text adoption with a table of contents syllabus structure tends to put the focus on what will be taught instead of what will be learned. (Wiggins, 1998) A backward design approach requires an intentional inspection of course lessons and activities to ensure instructional alignment within the course. That is, to ensure that the outcomes we desire students to achieve are made possible by the lessons and activities and that the outcomes are measurable by appropriate assessments. Instructional alignment is aided by teachers creating observable course learning outcomes (S.M.A.R.T. or ABCD orientation) that scaffold into larger program learning outcomes over a two or three course sequence. My presentation will explore ways in which performing arts business instructors can employ backward design to use industry reported data to design curricula that meet student needs. |
| Wealth and Opportunity: Teaching the full spectrum of financing for Arts Entrepreneurship | E. Andrew Taylor | American University | A core requirement of arts entrepreneurship is securing and sustaining both capital and operating support for the venture. Yet it's challenging for students and early practitioners to understand the full array of funding sources, business entities, and resource channels available across for-profit, nonprofit, and social venture. The "wealth and opportunity" framework offers a pathway and pedagogy for students and early practitioners to see the full array of funding sources and the related forms of business entities and financial vehicles through which they operate. The framework has been classroom-tested over six years, and updated as new alignments of wealth and opportunity arise. This session is intended for educators and professional development leaders who seek new ways to teach and learn with their students about finance and funding strategy. |
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