Journal of Arts Entrepreneurship Education Society for Arts Entrepreneurship Education en-US Journal of Arts Entrepreneurship Education 2693-7271 <p>Authors retain copyright of their work, with first publication rights granted to&nbsp;<a href="" target="_blank" rel="noopener">The Society for Arts Entrepreneurship Education</a> (SAEE).</p> Introduction from the Editors Gary D. Beckman Josef Hanson Copyright (c) 2020 2020-10-16 2020-10-16 2 1 1 2 10.46776/jaee.v2.47 Utilizing the Stanislavski System and Core Acting Skills to Teach Actors in Arts Entrepreneurship Courses <p>With insight into key pedagogical approaches of theatre training, an understanding of research regarding common psychological characteristics of actors and awareness of identified parallels between arts entrepreneurship and acting course content, arts entrepreneurship instructors can, in their classrooms, increase the likelihood of relating to acting students and subsequently, leverage their students’ inherent and developed skills. Research-based psychological characteristics of actors are offered, as are suggestions to appeal to actors’ general sensibilities (and how they may wish to be engaged). The Stanislavski System is the most popular approach to actor training; its critical structural components are discussed in addition to various offshoots of the original technique. Unique features of acting training such as encouraging imagination, reflection, openness to experience, emotional connections, pursuit of goals and the importance of soft skills are emphasized.</p> James D. Hart Copyright (c) 2020 2020-10-16 2020-10-16 2 1 3 31 10.46776/jaee.v2.49 The Many Facets of Music Entrepreneurship Education <p>As the field of arts entrepreneurship education has developed, so has our collective understanding of the nature of arts entrepreneurship theory and pedagogy. At the same time, critical differences exist between the various arts sectors, with music entrepreneurship embodying a number of specific characteristics more or less unique to it. This essay identifies and explores five such issues and discusses the programmatic, pedagogical and theoretical implications of each, offering insights into how entrepreneurship education can benefit music students.</p> Jeffrey Nytch Copyright (c) 2020 2020-10-16 2020-10-16 2 1 32 41 10.46776/jaee.v2.53 Do Dance Majors Need Entrepreneurial Skills? <p><span style="font-weight: 400;">Dance majors take courses in technique, history, theory, choreography and production, but do not often take entrepreneurship-based classes. It might be said that if dance majors wish to be dance entrepreneurs or business owners, they should supplement their education with specific courses/certificates/degrees that teach those skills. It could be argued, however, that all dancers need these skills to have a sustainable career. Looking at the dance industry from the vantage point of a 25-year career, I wonder: Are we cheating dance students and the dance industry by not consistently incorporating entrepreneurial skills into a formal dance curriculum? </span><span style="font-weight: 400;">This opinion paper delves into this very question. I sent an online survey to dance studio and company owners to evaluate the hard and soft skills they are seeing from current and potential employees with dance degrees. I also provide a brief overview of degree plans in the nation’s top dance programs. The results of the survey suggested a gap in both hard and soft skills needed to be an entrepreneur. The results of the overview indicated that few departments have robust required offerings in career/marketing/entrepreneurship-based performing arts courses. </span><span style="font-weight: 400;">These findings are a springboard for further research and conversation regarding whether there is a need for entrepreneurship-based courses in dance majors’ course of study. </span></p> Tara Z. Mullins Copyright (c) 2020 2020-10-16 2020-10-16 2 1 42 47 10.46776/jaee.v2.55 Creative Freedom: Arts Entrepreneurship as a Mindset <p>This essay explores the importance of arts entrepreneurship educators in developing curriculum and classroom practices that guide visual art and design students to appreciate the transferability of creative training to various roles in the creative sector. Observation, empathy, critique and iteration are essential elements of the creative process. These skills are also valuable outside the creative sector, providing insights in business and entrepreneurial settings. It is essential that art and design students are exposed to the idea that, for them, business theories, methods and tools provide a means to communicate the inherent value of their creative solutions to non-creatives. When they achieve this level of understanding, students will grow more comfortable knowing they are not simply working in service of business, but are equal creative collaborators who are essential to the success of any project. When developing arts entrepreneurship curricula, educators can better incorporate the skills presented across visual art and design with the language of business. As a result, students may become more confident in seeing their critical thinking and creative problem-solving skills as providing deeper value to a variety of projects beyond their roles as developers of creative content.</p> Stephen Rueff Copyright (c) 2020 2020-10-16 2020-10-16 2 1 48 52 10.46776/jaee.v2.57 Libraries and Arts Entrepreneurship Education <p>In reaction to evolution in the way information is digested, libraries have undergone a transformation over the past couple of decades. Consequently, libraries everywhere have become more than just warehouses for books. Being a relatively new field, arts entrepreneurship has the opportunity to continue to grow along with libraries. This essay discusses ways that academic libraries can benefit arts entrepreneurship educators, as well as possibilities for collaboration between the two areas for research and planning events. Reaching out and establishing relationships with library personnel serves to reinforce the foundation of any arts entrepreneurship program.</p> Joel Roberts Copyright (c) 2020 2020-10-16 2020-10-16 2 1 53 56 10.46776/jaee.v2.59 On Being a Female Entrepreneur in the Arts: Comparative Experiences <p>This essay explores some of the issues facing female arts entrepreneurs by establishing findings from research data and comparing these findings with the experiences of two established international women artists from the culinary world and contemporary music, respectively. Themes such as revenue inequality, struggles by women to find and maintain venture capital and the dilemma of how to label women in the arts are joined by emerging conversations about the role of art in business, the importance of giving and receiving support, the dilemma of balancing family life, especially with partners who are also artistically engaged, and the role of motherhood. Implications and recommendations for further discussions in arts entrepreneurship education are provided as channels for change.&nbsp;</p> Katherine Annett-Hitchcock Copyright (c) 2020 2020-10-16 2020-10-16 2 1 57 64 10.46776/jaee.v2.61