Artivate: A Journal of Entrepreneurship in the Arts
Volume 4, Issue 1
http://artivate.org
pp. 1
______________________________________________________________________________________________________________________

EDITOR’S INTRODUCTION
Joseph Roberts, Webster University
As we launch the Winter 2015 issue, 4 (1) with much fanfare and excitement, we start by
congratulating our publisher, The Pave Program in Arts Entrepreneurship at Arizona State
University for receiving The United States Association of Small Business and Entrepreneurship
(USASBE) award for Excellence in Entrepreneurship Education Specialty Program, namely Arts
Entrepreneurship. We are also ushering in a new feature, “Editorial Board Perspectives on Arts
Entrepreneurship.” Such viewpoints will outline logics, schema and probable Arts
Entrepreneurship research and pedagogical constructs. Our editorial board members provide
their assessments of challenges faced by the constantly shifting topography of Arts
Entrepreneurship and provide their insights to effect changes that can help artists everywhere.
We hope that such perspectives can provoke dialogue, diversity in thought and action,
recognition of the need to always answer the “so what” question, and postulate a global platform
for realistic and reasonable Arts Entrepreneurship dialogue.
We have assembled contributions from a diverse collection of authors and an estimable
book review for this Winter 2015 issue. Gareth Smith and Alex Gillett explore how collaborative
innovation networks (COIN) function. Shoshanah Goldberg-Miller’s article elucidates how
Toronto’s economy has yoked the power of arts and culture. In his review of the book
Performing Policy, Neville Vakharia provides readers with his understanding of “artistproducers” and how they play a primary role in effectuating “Performing Policy.”
In explaining the “So What” question we are happy to report the following. This winter
issue reports and explains how a drummer and a guitar player (Smith & Gillett) advanced a
framework based on “COIN,” Collaborative Intelligent Network that musicians and music
educators can employ in their creative practice. Goldberg-Miller shares how the City of Toronto
became vibrant and provides valuable information that can help policy makers effect economic
development by harnessing the power of arts and culture entrepreneurship. The book review in
this issue provides a clear view of how the artist can work as an activist and provides a policy
framework effecting sustainable performing arts policy. The perspectives provided by our
editorial board members and our publisher, Linda Essig, elucidates how Arts Entrepreneurship
can succeed as a field of practice and inquiry. Contributors explore what entrepreneurship is,
what it is perceived to be, and how we can bridge the gap between theory (the development of
theory) and the practice of arts entrepreneurship. We believe that this issue fosters our
understanding of Arts Entrepreneurship as a discipline, and how it is evolving and is positioned
to help individuals practice their passions as viable economic ventures without compromising
their standards and the sagacity of aesthetics and artistic values.

_____________________________________________________________________________________________________________________
Copyright © 2015, the author

Roberts
Editor’s Introduction
______________________________________________________________________________________________________________________

_____________________________________________________________________________________________________________________
Artivate 4 (1)

2