Artivate: A Journal of Entrepreneurship in the Arts
Volume 3, Issue 1
http://artivate.org
pp. 1-2
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EDITORS’ INTRODUCTION TO VOLUME 3, ISSUE 1 (WINTER 2014)
Gary Beckman, North Carolina State University
Linda Essig, Arizona State University
A new year is typically greeted with both hope and optimism of continuing success as
well as new and sustained growth. The “new growth” in this issue focuses on the application of
research. This edition of Artivate also continues its emerging international presence. With The
“Entrepreneurial Mindset” in Creative and Performing Arts Higher Education in Australia,
Vikki Pollard and Emily Wilson write about the continued interest in an “entrepreneurial
mindset” as it applies to the field’s pedagogy and suggest ways this popular research topic could
integrate into the arts classroom. This is a holistic and practical view of applying “mindset”
research, which we view as a welcome addition to the field’s scholarly oeuvre.
Continuing the international perspective, Stephen Preece’s Social Bricolage In Arts
Entrepreneurship: Building A Jazz Society From Scratch again takes a popular research
trajectory and demonstrates its application. In his multi-faceted role of both founder and
researcher, Preece describes the development of Waterloo, Ontario’s Grand River Jazz Society
through the lens of another recent popular research stream – entrepreneurial bricolage. His
description of the bricolage premise and its application in the arts is a valuable and practical
contribution to the field. A reflective case study of the application of a theory of entrepreneurial
process, this article may become required reading for both the field’s graduate programs and
emerging educators.
Drawing on Markusen and Gadwa’s definition of “Creative Placemaking,” Debra Webb’s
Placemaking and Social Equity: Expanding the Framework of Creative Placemaking articulately
describes how the arts can impact communities. Yet far from simply advocating for art’s
localized presence, Webb outlines the importance of broadly surveying a community’s social
construct as a precursor to entrepreneurial artistic action. Perhaps more importantly, the author
argues “that placemaking practitioners have a responsibility … to incite systemic social justice
through place.” This “artist as social change agent” stance is important to educators and
emerging arts entrepreneurs as it broadens the field’s practical applications, further challenges its
educators and hopefully inspires future arts entrepreneurs.
As promised in the previous issue, Mark Hager examines the Michael Rushton edited
essay collection, Creative Communities: Art Works in Economic Development. For those
interested in Debra Webb’s article on creative placemaking, Mark’s review will be especially
welcome. Susan Badger Booth critiques Lynn Book and David Phillips’ collection, Creativity
and Entrepreneurship: Changing Currents in Education and Public Life. This volume may
interest readers seeking connections between the “entrepreneurial mindset” and “bricolage.”

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Copyright © 2013, the authors