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Cover -- Endorsement -- Half Title -- Series Information -- Title Page -- Copyright Page -- Table of Contents -- Foreword -- Acknowledgements -- Introduction -- Notes -- References -- 1 Culture at the Crossroads of the Twenty-First-Century Transitions -- 1.1 Setting the Context: Evolutionary Trends in the Labour and Cultural Spheres -- 1.2 Recent Transformations Within the Field of Culture and Cultural Work -- 1.2.1 Artists and Cultural Workers as Epitomes of the 'New Professionals' -- 1.2.2 The Emergence of New Institutional Arrangements for Culture: Social Enterprises -- 1.2.3 Transformative Collective Entrepreneurial Endeavours: The Social and Solidarity Economy -- 1.2.4 The Incorporation of Culture Into the Transition Discourse -- 1.3 SMart and Its Presence Across Europe -- References -- 2 Social Enterprise as a Vehicle for Social Innovation in Culture -- 2.1 Preliminary Concepts -- 2.1.1 Social Value -- 2.1.2 Social Transformation -- 2.1.3 Social Innovation -- 2.2 The Varied Landscape of Social Enterprise -- 2.2.1 Conceptualising Social Enterprise -- 2.2.1.1 Social Enterprise, the Social Economy, the Solidarity Economy and the Third Sector -- 2.2.1.2 Recent Developments in Social Enterprise Research, Policy and Practice -- 2.2.2 Social Enterprise and Social Transformation -- 2.3 Approaching Social Transformation Through Social Innovation -- 2.3.1 Social Innovation as a Novel Institutional Space -- 2.3.1.1 Main Approaches to Social Innovation: Technological Versus Emancipatory -- 2.3.1.2 Types of Social Innovation -- 2.3.1.3 A Working Definition of Social Innovation for the Current Research -- 2.3.2 Framing Social Enterprise Within Social Innovation -- Notes -- References -- 3 Culture as a Field for Social Innovation and Social Enterprise -- 3.1 The Complex Relationship Between Culture and Social Transformation.

"Faced with a depleted planet and a series of connected crises, socially-minded agents and entities within the world of culture and the arts are reacting from within. With insights from sociology, economics, and cultural management and policy, this book aims to chronicle the journey of SMart - a cultural and artistic social enterprise now present in eight European countries - in order to illustrate such organisation's efforts to achieve its potential for social innovation and transformation. Tackling the endemic precariousness and intermittency of work through innovative arrangements for cultural workers and artists has been central to these efforts. In many cases, however, this activism not only had a direct impact at the level of individual and collective labor, but has transformed the ways culture is 'governed'. Readers of this book will better understand the connection between social innovation and culture and the arts; gain awareness of the trends and transformations within the field of culture and cultural work and their connection with institutional arrangements: and critically engage with the processes, challenges and benefits of scaling up and diffusing social innovation. The debates presented will be of relevance to scholars and students across disciplines, policy makers at both EU and national levels, practitioners and social activists"--

Purpose
The purpose of this paper is to explore how, in a context of economic, political, social and environmental transitions, SMart, a cultural and artistic social enterprise (CASE), has developed a relevant cooperative model to contribute to mitigate the structural labour precariousness of artists and creators.


Design/methodology/approach
The research design includes a mixed-method approach that combines qualitative and quantitative methodologies with emphasis on the former. Namely, the organisation is SMartbe and its replication across nine European countries was studied as a revelatory case study. Five main types of techniques were deployed in the course of this research, including desk review, direct (participant) observation, interviews, focus group and questionnaire (Likert-scale survey).


Findings
CASEs constitute a specific institutional arrangement that offers innovative labour arrangements for cultural workers and artists to fight against precariousness. Social enterprises are embedded in the social and solidarity economy and stand at the crossroads of markets, civil society and the public, which places them in a critical position: depending on the logic, actors and contexts at play, social enterprises can ensure to varying degrees the general interest through their social mission, their sustainability via the real participation of all their stakeholders and the carrying out of economic activities that are fully consistent with their mission.


Originality/value
It is within this type of sustainability and participation that transformative social innovation can emerge within CASEs. Their potential to contribute to transformative social innovation is based on its four objectives: cultural (to imagine human, participative and sustainable alternatives); social (to achieve a social –including the environment – mission and join the ecosocial transition); participatory (empowering and impacting the public sphere); and economic (being financially sustainable and fair).

El arte y la cultura se hallan ante una encrucijada que apela directamente a las formas en las que arte y vida se entretejerán en las próximas décadas. Esa encrucijada es similar a la de la economía, cuya reformulación se hace esencial a fin de asegurar la organización de las condiciones materiales que aseguren la reproducción de una vida digna para todas las personas. En medio de estas encrucijadas, la cultura constituye un ámbito mismo de transición a partir de las transformaciones necesarias que se están produciendo en la esfera artística y cultural pero también actúa como mediadora en otras transiciones. En especial, la contribución de la cultura crítica no es solo el superar modelos culturales obsoletos e inadecuados sino facilitar acciones hacia transiciones en ámbitos (desde el material y productivo al simbólico y político) que componen nuestras vidas. Los nuevos comunes y la economía social y solidaria proporcionan enfoques originales en las que enmarcar la generación y el apoyo a esta cultura crítica y transformadora ; Art and culture are at a crossroads that relates directly to the way in which they will interwave with life in the next decades. This crossroads is similar to that of the economy, whose reformulation becomes essential in order to ensure the organization of the material conditions that ensure the reproduction of a dignified life for all people. In the midst of these crossroads, culture constitutes a field whereby a transition itself based on the necessary transformations occurring in the artistic and cultural sphere, but it also acts as a mediator in other transitions currently at play. In particular, the contribution of critical culture is not limited to overcoming obsolete and inadequate cultural models but mostly to facilitate actions towards transitions in areas that make up our lives. The new commons and the social and solidarity economy provide fresh strategies where this critical and transformative culture can thrive

Art and culture are at a crossroads that relates directly to the way in which they will interwave with life in the next decades. This crossroads is similar to that of the economy, whose reformulation becomes essential in order to ensure the organization of the material conditions that ensure the reproduction of a dignified life for all people. In the midst of these crossroads, culture constitutes a field whereby a transition itself based on the necessary transformations occurring in the artistic and cultural sphere, but it also acts as a mediator in other transitions currently at play. In particular, the contribution of critical culture is not limited to overcoming obsolete and inadequate cultural models but mostly to facilitate actions towards transitions in areas that make up our lives. The new commons and the social and solidarity economy provide fresh strategies where this critical and transformative culture can thrive. ; Resumen: El arte y la cultura se hallan ante una encrucijada que apela directamente a las formas en las que arte y vida se entretejerán en las próximas décadas. Esa encrucijada es similar a la de la economía, cuya reformulación se hace esencial a fin de asegurar la organización de las condiciones materiales que aseguren la reproducción de una vida digna para todas las personas. En medio de estas encrucijadas, la cultura constituye un ámbito mismo de transición a partir de las transformaciones necesarias que se están produciendo en la esfera artística y cultural pero también actúa como mediadora en otras transiciones. En especial, la contribución de la cultura crítica no es solo el superar modelos culturales obsoletos e inadecuados sino facilitar acciones hacia transiciones en ámbitos (desde el material y productivo al simbólico y político) que componen nuestras vidas. Los nuevos comunes y la economía social y solidaria proporcionan enfoques originales en las que enmarcar la generación y el apoyo a esta cultura crítica y transformadora.

The aim of this thesis is to explore how in a context of economic, political, social and environmental transitions, SMart, a cultural and artistic social enterprise (CASE), has developed a relevant model to contribute to mitigate the structural labor precariousness of artists and creators. We study SMart as a solution emanating from within the cultural sector that is also able to address other challenges related to changing notions of the role and place of artists and creators in society. Social enterprises emanating from and active in the cultural sector constitute a specific institutional arrangement that offers innovative labor arrangements for cultural workers and artists to fight against precariousness. Social enterprises are embedded in the social and solidarity economy and stand at the crossroads of markets, civil society, and the public, which places them in a critical position: depending on the logic, actors, and contexts at play, social enterprises can ensure to varying degrees the general interest through their social mission, their sustainability via the real participation of all their stakeholders and the carrying out of economic activities that are fully consistent with their mission. It is within this type of sustainability and participation that transformative social innovation can emerge. Even though they already existed under different forms and names, social enterprises began to be noticed by public administrations in Europe three decades ago and they developed firstly under the auspices of policy-makers as a result of their effectiveness in tackling the needs of disadvantaged groups. More recently, groups of citizens working for the general interest across various activity areas or within transitions-enabling initiatives have also embraced the transformational potential of social enterprises. Culture is one of the activity areas where CASE are appearing despite the difficulty of articulating innovation and culture in a way that facilitates social transformation for all citizens. The thesis is ...

[eng] The aim of this thesis is to explore how in a context of economic, political, social and environmental transitions, SMart, a cultural and artistic social enterprise (CASE), has developed a relevant model to contribute to mitigate the structural labor precariousness of artists and creators. We study SMart as a solution emanating from within the cultural sector that is also able to address other challenges related to changing notions of the role and place of artists and creators in society. Social enterprises emanating from and active in the cultural sector constitute a specific institutional arrangement that offers innovative labor arrangements for cultural workers and artists to fight against precariousness. Social enterprises are embedded in the social and solidarity economy and stand at the crossroads of markets, civil society, and the public, which places them in a critical position: depending on the logic, actors, and contexts at play, social enterprises can ensure to varying degrees the general interest through their social mission, their sustainability via the real participation of all their stakeholders and the carrying out of economic activities that are fully consistent with their mission. It is within this type of sustainability and participation that transformative social innovation can emerge. Even though they already existed under different forms and names, social enterprises began to be noticed by public administrations in Europe three decades ago and they developed firstly under the auspices of policy-makers as a result of their effectiveness in tackling the needs of disadvantaged groups. More recently, groups of citizens working for the general interest across various activity areas or within transitions-enabling initiatives have also embraced the transformational potential of social enterprises. Culture is one of the activity areas where CASE are appearing despite the difficulty of articulating innovation and culture in a way that facilitates social transformation for all citizens. The thesis is divided into seven chapters and includes four annexes. The introductory first chapter begins by setting up the context for the research, namely the challenges that 21st century transitions pose for culture and how cultural actors are articulating viable and sustainable responses in response to those challenges. The case study proposed, SMart and its expansion or geographic scaling-up process throughout Europe, is then presented. The five research objectives driving the research and the hypotheses associated to two of them are then described. The methodology used is introduced at this stage although a detailed account of the research design is included in Annex 1. The next three chapters describe the main notions and theories that frame the research: social enterprise and social innovation (chapter 2); the intricate relationship of social enterprise and (social) innovation with culture and the arts (chapter 3); and the diffusion of (social) innovation, with an emphasis of the adaptation and replication of social enterprises (chapter 4). Chapter 5 dives into the source or mother social enterprise (SMartbe) at the heart of the expansion process under study. It also summarizes the main stages involved in the launch of the European platform, SMarteu, gathering the various national SMart offices in nine countries. The chapter ends with an evaluation of the scaling up strategy based on the statistical analysis of the data. Chapter 6 opens with the set of criteria applied to select the three country cases (Austria, Spain and Hungary) and is then divided into the contextual general analysis and the description of the national SMart implementation efforts. The institutional framework analysis in the three countries describes the development of civil society, the third sector and social enterprise as well as the cultural field. Each country analysis ends with some conclusions about the context and the repercussions for the launch of SMart. Then each national SMart experience (SMartat, SMartib, and SMarthu) is described at length emphasizing its history, the functioning and services offered, and reflecting on the lessons learned and prospects for the future. The last chapter gathers the discussion and main conclusions of the research. The main research objectives and questions are reviewed and discussed and so are the specific lessons learned from the SMart case about the potential of the cultural sector for adapting possible solutions to contexts different to the ones where they originated. Then, some recommendations both for policy-makers at EU and local level and practitioners follow, including for SMart members, umbrella organization in the field of culture and social and solidarity economy organizations. Lastly, a discussion about limitations of the research and possible contributions is offered with a view on suggesting some valuable avenues for future research efforts. ; [spa] El objetivo de esta tesis es explorar cómo en un contexto de transiciones económicas, políticas, sociales y ambientales, SMart, una empresa social cultural y artística (ESCA), ha creado un modelo relevante que contribuye a mitigar la precariedad laboral estructural de artistas y creadores. Se considera SMart como una solución que emana del propio sector cultural con la capacidad de abordar también otros desafíos relacionados con nociones cambiantes sobre el papel y el lugar que deben ocupar artistas y creadores en la sociedad. Las empresas sociales que surgen del sector cultural y desarrollan su actividad en él constituyen una respuesta institucional específica capaz de ofrecer respuestas innovadoras a desafíos laborales a los que se enfrentan los trabajadores de la cultura y artistas a la hora de luchar contra la precariedad. Las empresas sociales encuentran sus raíces en la economía social y solidaria y ocupan un lugar único entre el mercado, la sociedad civil y el sector público, lo que las coloca en una posición crítica: según la lógica, los actores y los contextos en juego, las empresas sociales pueden garantizar el interés general a distintos niveles gracias a su misión social y su sostenibilidad a través de la participación real de todos sus grupos de interés, así como la realización de actividades económicas coherentes con su misión. Es en el ámbito de este tipo de sostenibilidad y participación que surge la innovación social transformadora. Aunque ya existían bajo distintas fórmulas y denominaciones, las empresas sociales comenzaron a recibir apoyo de las administraciones públicas en Europa hace tres décadas, desarrollándose en primer lugar bajo los auspicios de los responsables políticos gracias a su eficacia a la hora de abordar las necesidades de grupos sociales desfavorecidos. Más recientemente, grupos de ciudadanos interesados en promover el interés general en diversas áreas de actividad o en el marco de iniciativas que contribuyen a las transiciones anteriormente mencionadas, también han asumido este potencial de transformación que ofrecen las empresas sociales. La cultura constituye una de estas áreas de actividad y es justo ahí que surgen las ESCA, a pesar de la dificultad de articular innovación y cultura de manera que se genere transformación social extensible a todos los ciudadanos. La tesis se divide en siete capítulos e incluye cuatro anexos. El primer capítulo introductorio comienza por establecer el contexto de la investigación, es decir, los desafíos que las transiciones del siglo XXI suponen para la cultura y cómo los actores culturales están articulando respuestas viables y sostenibles en respuesta a esos desafíos. Paso seguido se presenta el caso de estudio propuesto, SMart y su proceso de expansión geográfica en toda Europa. A continuación, se describen los cinco objetivos de investigación que impulsan el estudio y las hipótesis asociadas a dos de ellos. La metodología utilizada se introduce en este capítulo, aunque se incluye una explicación detallada sobre el diseño de la investigación en el Anexo 1. Los siguientes tres capítulos describen las principales nociones y teorías que enmarcan la investigación: empresa social e innovación social (capítulo 2); la compleja relación entre empresa social e innovación (social) con la cultura y las artes (capítulo 3); y la difusión de la innovación (social), con acento en la adaptación y replicación de las empresas sociales (capítulo 4). El capítulo 5 se adentra en la fuente o empresa social madre (SMartbe) que se encuentra en el centro del proceso de expansión incluido en la investigación. También resume las principales etapas que conforman el lanzamiento de la plataforma europea, SMarteu, que reúne las diversas oficinas nacionales SMart en nueve países. El capítulo finaliza con la evaluación de la estrategia de expansión basada en el análisis estadístico de los datos. El capítulo 6 se abre con la descripción de los criterios aplicados para seleccionar los casos de tres países (Austria, España y Hungría). Después se realiza un análisis general contextual y se describen los procesos nacionales de implementación de SMart. El análisis del marco institucional en los tres países incluye el desarrollo de la sociedad civil, el tercer sector y la empresa social, así como el campo cultural. Cada análisis nacional finaliza con algunas conclusiones sobre el contexto y las repercusiones para el lanzamiento de SMart. Luego, cada experiencia nacional de SMart (SMartat, SMartib y SMarthu) se analiza en detalle enfatizando su historia, el funcionamiento y los servicios ofrecidos, y reflexionando sobre las lecciones aprendidas y las perspectivas para el futuro. El último capítulo ofrece una discusión en relación a las principales conclusiones de la investigación. Para ello, se repasan y discuten los principales objetivos, preguntas e hipótesis de partida así como las lecciones específicas aprendidas del caso SMart sobre el potencial del sector cultural para adaptar posibles soluciones a contextos diferentes a aquellos en los que se originaron. A continuación, se formulan una serie de recomendaciones destinadas a los responsables políticos a nivel europeo y local, así como a profesionales de la propia SMart, de organizaciones paraguas de la cultura y de organizaciones de la economía social y solidaria. Por último, se ofrece una discusión sobre las limitaciones de la investigación realizada y sus posibles contribuciones con el fin de sugerir algunas ideas prometedoras para futuras iniciativas de investigación.