Entrepreneurship in the Creative Industries
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Entrepreneurship in the Creative Industries

An International Perspective

Edited by Colette Henry

The creative industries represent a vital, exciting and rapidly changing field of activity; one that is now recognised as a key growth sector in the knowledge-based economy. However, there is still a general lack of understanding of what is meant by the term ‘creative industry’, and thxe creative sector has not, to date, been the subject of concerted academic research. This book redresses the balance by providing valuable insights into the creative entrepreneurial process and platforming some of the key challenges yet to be addressed.
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Chapter 8: Promoting Entrepreneurship in Arts Education

Ralph Brown


Ralph Brown1 INTRODUCTION The recent Lambert Review of Business–University Collaboration commented that employers from the creative industries were particularly concerned about the quality of courses in their subject areas and whether, in all cases, they were properly equipping students for careers in the creative industries (Lambert, 2003, p. 118). The Higher Education Funding Council for England (HEFCE) national study of employability in higher education also revealed significant differences between managerial assessments of the skills requirements for graduate jobs and graduates’ own assessments of the skills they were able to use and the extent to which their university education had helped them to develop those skills (HEFCE, 2003, p. 78). The relationship of higher education to the labour market is bound to become more important because student numbers are rapidly expanding. There are currently 1.5 million students in UK higher education, with around 400 000 graduates entering the labour market each year, but there are only around 62 000 ‘graduate jobs’ on offer in major household-name organizations. Brown and Hesketh (2004, p. 63) claim that there is ‘no prospect of the graduate labour market expanding in line with the increased supply of graduates’. Up to 40 per cent of graduates are now in ‘non-graduate’ work, and that figure is likely to increase with further moves towards the 50 per cent target for participation in higher education (Brown and Hesketh, 2004, p. 216). At the same time, the demand for performing arts courses at all levels is booming....

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