Characteristics of Student Arts Entrepreneurs

I’m often asked if arts entrepreneurs are different from regular entrepreneurs. Given that there is no such thing as a regular entrepreneur, and given that my empirical knowledge on the topic comes almost entirely from working with arts entrepreneurs, what I can offer is limited, albeit interesting.

My comparison points come from extensive research, observing so-called regular entrepreneurs and through meeting with numerous experts from various business schools.

So here goes.

Arts entrepreneurs seem to have little difficulty developing innovative ideas. They are almost never at a loss in creative problem finding and solving. They are discerning analysts of existing ventures, seeing possibilities for expansion and improvement of them.

They tend to be wed to their ideas, often in the face of countervailing evidence. They tend to resist deep market research and feasibility studies. And, this should be of no surprise. Their backgrounds often include stories of being told they will not “make it” in some pursuit, followed by intense dedication and personal successes.

Some of my most satisfying moments as a teacher have been when a student, who is deeply and personally wedded to an idea, conducts excellent market research, finds out that h/her idea is not feasible and decides to abandon it, or remake it (better).

I’m going out on a limb on this one. Arts entrepreneurs tend to actualize their ventures then leave them fairly quickly and move on to something else. Here the difference between them and “regular” entrepreneurs is that the “regulars” stay considerable longer with their initial pursuit. Again, I think this tendency, on the part of arts entrepreneurs in the result of their backgrounds: write a play, have it produced, move on; execute a major sculpture, move to the next work; play a recital, begin plans for the next one.

This characteristic should be no surprise. Profit, or compensation is of minor interest. Often, in developing business plans, arts entrepreneurs build in their “support” income, knowing that their venture is more artistic or socially oriented and will never provide the income needed to support them.

And last for now, evaluation and revision is extremely painful. Artists express their personalities through their work. It makes sense that criticism of their entrepreneurial ventures would hurt.

What I find compelling about these observations is what they mean for pedagogy in working with arts entrepreneurs. I believe it points to approaches that differ from those that have been the standard.

–next post will focus on the nature of ideas that arts entrepreneurs develop–