The Attributes of the Cultural Entrepreneur

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Essay from the year 2014 in the subject Business economics - Company formation, Business Plans, grade: 1.6, Central Queensland University, course: Cultural Entrepreneurship, language: English, abstract: For generations, Zen philosophy has taught the importance of finding tranquillity inside yourself instead of foolishly seeking it in the world around you. One of the most profound teachings from this philosophy, and probably one that is most relevant to the entrepreneur, is that of ignoring doctrine and listening to your gut instinct. (Butt, 2014a) Google (N/A) defines entrepreneur as 'a person who organizes and operates a business or businesses, taking on greater than normal financial risks in order to do so', from the French 'entreprendre', meaning to 'undertake' and 'go between'. Branagan (2003) outlines several critical success factors: .being able to make connections and spot opportunity .taking a creative approach to problem solving .being able to cultivate networks of appropriate contacts .being able to persuade, inspire and motivate others through enhanced vision .the ability to take calculated risks and having the nerve to work outside convention .the ability to overcome rejection and failure .keeping pace with technology and innovation .an understanding of business strategies and tactics It is the spirit of undertaking something novel and innovative, in some sense either pushing forward with avant-garde activities, or combining elements from previous concepts for new markets or audiences. There are many entrepreneurs within the arts world who do just this, acting as go-betweens for artists and clients, or audiences. Furthermore, the common preoccupation with originality, implementing ideas and making progress, held by many artists and arts consultants, is itself an entrepreneurial trait, translating vision into a creative act. From a contemporary and historical perspective, an entrepreneurial outlook has either inadvertently or intentionally ensured the successful progression of many very influential figures within both the commercial and non-commercial arts sectors. (Branagan, 2003)