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Much existing marketing theory of the firm fails to account for the particular behaviour of the smaller firm and, more specifically, the microenterprise. Research at the Marketing and Entrepreneurship interface has produced a range of alternative insights into smaller firm marketing and in terms of how formal models of marketing need to be altered in order to account for the practices of networking, word of mouth marketing, opportunity recognition and other entrepreneurial marketing factors. A radical rethinking of small firm marketing theory is needed, based on the joining together of existing Marketing and Entrepreneurship inter-face constructs and additional insight from other disciplines. Creativity is one of the central components of the Marketing and Entrepreneurship interface, giving the smaller firm competitive advantage in the marketplace. This paper examines evidence of creative, entrepreneurial marketing from a biographical perspective by focusing on the behaviour of the risk taking artist. By adopting a little used methodology in small firm research, this gives fresh insight and informs small firm marketing theory and practice.

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.

This paper focuses on a biographical approach to entrepreneurial marketing research. Conventional research methodologies such as in-depth interview and questionnaires have a range of advantages, disadvantages and bias. Biographical research can result in the generation of longitudinal data which can be triangulated with data and theory from these more conventional approaches in order to enhance understanding of entrepreneurial marketing behaviour. In marketing, formal prescriptions of stepwise, linear processes dominate and in entrepreneurship the focus is often on new venture formation rather than in growing the firm. Previous research by the authors has focused on the creativity of individuals, groups and organisations using a combination of conventional research methods and the biographical approach. The paper builds on this research by investigating the entrepreneurial marketing endeavour of perhaps the best known British engineer, Isambard Kingdom Brunel. Although Brunel was first and foremost an engineer he was also a shrewd business person who demonstrated understanding of entrepreneurial marketing procedures. Comparing the findings with previous research results, it can be seen that a set of core entrepreneurial marketing constructs hold true over long periods of time. These factors can then be taken into consideration when developing more creative, entrepreneurial marketing theory for the firm.

Many nonprofit organizations face revenue uncertainty due to funding cuts. It is crucial for them to supplement existing revenue streams by private donations, and apply thoughtful market segmentation in their pursuit of donors. We introduce the behavioral concept of "nudge" based on the possibility of loss aversion affecting willingness-to-donate, and investigate its implications for fund-raising strategies. Potential donors are nudged to donate by the hypothetical scenario of "losing" an existing exhibition, and also by that of "gaining" an additional exhibition. We observe significant loss aversion effects as frequent gallery-goers donate more to avoid losing an exhibition. While both prospective gain and loss scenarios are effective in nudging nonfrequent gallery-goers, the prospect of enjoying "one more" event is observed to be stronger. We argue that there may be scope to increase support for nonprofit organizations, particularly in the cultural sector, by exploiting the psychological characteristics of prospective donors.

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.

PurposeThe purpose of this paper is to develop an understanding for the social inclusion of disabled performers in a developing country to create awareness and improve policies/practices.Design/methodology/approachThe study employed qualitative methodology, and data were collected through semi-structured interviews, site visits/observations and review of secondary data.FindingsThe data from different respondent groups showed the social inclusion should be reviewed at three levels: the state, society and individual. The review of existing policies revealed the neglect of the state regarding disabled people in general and even more so in performing arts due to the lack of enforcement of national and international agreements. Findings indicate that social inclusion of disabled performers is a minor issue, especially in a developing country where access to basic human rights and needs may be difficult. Amidst such difficulties, performing arts is not seen as a priority compared to other needs of disabled people and performers.Research limitations/implicationsLimitations include the limited number of disabled performers who could be identified and were willing to participate in the study. Those working in venues/public offices were also reluctant to participate. The greatest limitation was the broad lack of interest in disabled performers.Originality/valueIn Türkiye, studies on disabled people tend to focus on basic needs like health, education and employment. None, to best of researchers' knowledge, explore the social inclusion of disabled performers. This is an original study because it collects and discusses primary data on this topic, revealing the state-level negligence/oversight, the apathy of society and the degree to which an individual with disabilities must struggle to participate in performing arts. Consequently, this study shows the difficulty of developing social inclusion, equality and diversity in an emerging economy for disabled performers to raise awareness and present grounds for further legal enforcement. Moreover, implications allow for a global understanding of social inclusion that moves beyond a biased or privileged understanding/critique of disability centered on the developed world.