Edited by Benson Honig, Joseph Lampel and Israel Drori
Chapter 7: Reinvesting dance with meaning: authenticity and ingenuity in the artistic dance field
Creative industries represent a rapidly growing economic sector that exerts an extraordinary influence on our values, attitudes and lifestyles (Caves, 2000; Flew and Cunningham, 2010; Lampel et al., 2000). Cultural goods are 'nonmaterial' goods serving aesthetic and expressive needs rather than a clearly utilitarian function (Becker, 1984; Hirsch, 1972; Hirsch, 2000). Cultural goods derive their value from subjective experiences that rely heavily on the use of symbols or abstract ideals to manipulate perception and emotion (Lampel et al., 2000). After the establishment of the Creative Industries Task Force (CITF) in the 'post-industrial' UK in the late 1990s, an opportunity has emerged for the sector of cultural goods to gain status as a sector that contributes to national income, overall employment and wealth creation (Flew and Cunningham, 2010). Since creativity is one of the resources crucial to the success of a cultural product (Jones and DeFillippi, 1996; Miller and Shamsie, 1996), the shift in conceptualization of cultural products as providing both economic value and symbolic value has promoted new discourses on the role of creativity in the generation of economic success (Amabile, 1998; Caves, 2000). The potential contribution of cultural products to economic growth has inspired researchers to study how the dilemmas experienced by culture entrepreneurs (Swedberg, 2006) have much in common with those of other industries, where knowledge and creativity are central in sustaining competitive advantage, such as IT, biotech, consulting, and even higher education (DeFillippi et al., 2007; Lampel et al., 2000).
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