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"Since the crisis in governance which led to a shortage of capable board members, recent years have seen the emergence of the enterprising arts organisation - a development which has led to the need for new types of board members who have a greater understanding of 'mission, money and merit' within a cultural construct. This innovative book explores the world of the arts board member from the unique perspective of the cultural and creative industries. Using a wide range of research techniques including interviews with board members and stakeholders, board observations and case studies this book provides a rich and deep analysis from inside the boardroom. It provides in-depth insight into the changing pressures on arts boards after the financial crisis, and focuses uniquely on the role of passion on arts boards. Part of the Routledge Research in Creative and Cultural Industries Management series, written specifically for people seeking to develop their careers in cultural and creative management, this book is also for people working in and with arts organisations, in government and non-profit arts organisations. It will also be of interest to academics and researchers working in the wider corporate governance field"--

This paper evaluates the contribution of creativity to entrepreneurship theory and practice in terms of building an holistic and transdisciplinary understanding of its impact. Acknowledgement is made of the subjectivist theory of entrepreneurship which embraces randomness, uncertainty and ambiguity but these factors should then be embedded in wider business and social contexts. The analysis is synthesised into a number of themes, from consideration of its definition, its link with personality and cognitive style, creativity as a process and the use of biography in uncovering data on creative entrepreneurial behaviour. Other relevant areas of discussion include creativity's link with motivation, actualisation and innovation, as well as the interrogation of entrepreneurial artists as owner/managers. These factors are embedded in a critical evaluation of how creativity contributes to successful entrepreneurship practice. Modelling, measuring and testing entrepreneurial creativity are also considered and the paper includes detailed consideration of several models of creativity in entrepreneurship. Recommendations for future theory and practice are also made.

PurposeThere is growing interest by marketers in historical accounts that paint early female artists as entrepreneurial marketers. The purpose of this paper is to challenge the traditional view of entrepreneurship to incorporate a feminist theory of cultural entrepreneurship by considering the role of two female artists.Design/methodology/approachUsing calls for historical research and new methods of enquiry in marketing, this paper traces early female artists and applies modern entrepreneurial theory to their marketing methods to identify their innovation, adaptability to change and planned marketing approach.FindingsThe paper suggests that entrepreneurial marketing is fused with the artists' persona resulting in their celebrated status being widely recognised. It contributes an important fresh body of knowledge to the wider entrepreneurship debate by offering a new model of cultural entrepreneurial marketing. The three concepts of innovation, adaptability and marketing approach have not previously been applied to link women artists as entrepreneurs, however, this article argues that there is plenty of evidence to do so.Research limitations/implicationsWhile these artists are Australian (which could be seen to be a limitation), the art market is indeed international. In this respect, these artists join a longer international history as producers and consumers involved in entrepreneurial organisations from early days.Originality/valueThe artists' significance falls within the context of emerging modernism, feminism and cultural identity during the 1920s and 1930s in Sydney, Australia. It is combined with and explains the actions and the success of two female artists' unusual marketing approach. It is of value to readers interested in historical context regarding equality in the visual arts.

While considerable attention has been given to the spate of attacks on Indian students in Australia in 2009 and 2010, less attention has been paid to how the students who were at the centre of the furore perceived the violence. In this paper we explore the perceptions of Indian postgraduate and undergraduate male students studying in Melbourne, Australia, based on data gathered in focus groups. Analysis revealed four broad themes in students' explanations for the attacks: race hate versus opportunism, intercultural issues, systemic ineffectiveness, and media reporting. Students' perceptions of the reasons for the attacks were divided in some areas and aligned in others. There was divergence among students about whether the attacks were race hate crime or opportunistic, and about intercultural issues. Students' perceptions were aligned on issues of systemic ineffectiveness and media reporting. In the current context of decreased international enrolments from Indian students, in which we seek to better understand them, the findings provide implications for international student policy and planning priorities.

PurposeThe main aim of this paper is to stimulate more relevant and critical ideas about marketing and the wider management field by exploring the actual and potential contribution of metaphor to marketing theory and practice. The subsequent connections made can help contribute towards understanding and coping with the theory/practice gap.Design/methodology/approachTo date, the majority of metaphor application has tended to be literal and surface‐level rather than theoretically grounded. This paper interrogates the literature surrounding metaphor in marketing and management fields, while also examining the contribution of other areas such as art. The paper constructs and debates the conceptual notion of the marketer as an artist.FindingsIncorporation of theoretically grounded metaphors into marketing theory can help develop a form of marketing which is capable of dealing with ambiguity, chaotic market conditions, creative thinking and practice.Originality/valueAdoption of a metaphorical approach to marketing research helps to instil a critical and creative ethos in the research process. Marketers are concerned with identification and exploitation of opportunities. Metaphor assists in the process by enhancing visualisation of these future directions. We live out our lives to a large degree through the making of metaphorical connections. We should therefore embrace more qualitative, creative associations in marketing theory, as well as practice.

This article examines diversity on corporate boards, focussing on gender diversity and taking both contemporary and historical perspectives. Australia forms a particular focus of this article, but, as far as mandatory quota legislation is concerned, other jurisdictions provide comparisons. The authors illustrate how Australian corporate board gender diversity is starting from a low base in contrast to some other types of boards. Arguments for and against more women on boards are analysed in order to provide a comprehensive examination of extant research. The article also examines briefly whether a business case can be made for board gender diversity within the wider framework of board diversity. The authors acknowledge that there are unanswered questions about the right gender balance on boards and whether, without mandatory quota legislation, a voluntary system can achieve best practice targets. They explore the notion of critical mass - the idea that, upon board representation reaching approximately 15 per cent, efforts to further redress the imbalance may lose momentum. Their conclusion is that, in the Australian jurisdiction, progress is being made belatedly towards increasing gender diversity on corporate boards. However, substantial challenges are envisaged if significant progress is not made imminently to increase the number of women serving on corporate boards.

Relational pressures across multiple levels push organisations to behave socially responsibly or sometimes irresponsibly. But how do relational pressures across multiple levels influence social responsibility of small nonprofit organisations working with marginalised groups? Nonprofit organisations are increasing in importance owing to their role in development and representation of marginalised groups' interests, yet their social responsibility is little understood. Using the lens of standpoint theory, we explore social responsibility of small disability arts organisations in the nonprofit sector in Australia drawing on 53 interviews involving actors at multiple levels, supplemented by site visits and observations. We find small nonprofit organisations' social responsibility in a state of flux, influenced by differing priorities, expectations, and demands from various actors across levels. We provide insights into organisational social responsibility dynamics, identifying three major tensions that small arts organisations face – formality versus informality, agency versus representation, and access versus excellence – in seeking to be socially responsible. Our findings have relevance for organisations in the wider nonprofit sector, underscoring the need to explore their social responsibility from a relational perspective. Further, the resultant tensions from relational pressures, as identified in our study, provide important implications for organisational social responsibility advancing theoretical and practical knowledge in this emerging field.