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Artivate: A Journal of Entrepreneurship in the Arts  Volume 4, Issue 1 
http://artivate.org  pp. 1 
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Copyright © 2015, the author      
 
 

EDITOR’S INTRODUCTION 
Joseph Roberts, Webster University 
 

As we launch the Winter 2015 issue, 4 (1) with much fanfare and excitement, we start by 
congratulating our publisher, The Pave Program in Arts Entrepreneurship at Arizona State 
University for receiving The United States Association of Small Business and Entrepreneurship 
(USASBE) award for Excellence in Entrepreneurship Education Specialty Program, namely Arts 
Entrepreneurship. We are also ushering in a new feature, “Editorial Board Perspectives on Arts 
Entrepreneurship.” Such viewpoints will outline logics, schema and probable Arts 
Entrepreneurship research and pedagogical constructs. Our editorial board members provide 
their assessments of challenges faced by the constantly shifting topography of Arts 
Entrepreneurship and provide their insights to effect changes that can help artists everywhere. 
We hope that such perspectives can provoke dialogue, diversity in thought and action, 
recognition of the need to always answer the “so what” question, and postulate a global platform 
for realistic and reasonable Arts Entrepreneurship dialogue.  

We have assembled contributions from a diverse collection of authors and an estimable 
book review for this Winter 2015 issue. Gareth Smith and Alex Gillett explore how collaborative 
innovation networks (COIN) function. Shoshanah Goldberg-Miller’s article elucidates how 
Toronto’s economy has yoked the power of arts and culture. In his review of the book 
Performing Policy, Neville Vakharia provides readers with his understanding of “artist-
producers” and how they play a primary role in effectuating “Performing Policy.”  

In explaining the “So What” question we are happy to report the following. This winter 
issue reports and explains how a drummer and a guitar player (Smith & Gillett) advanced a 
framework based on “COIN,” Collaborative Intelligent Network that musicians and music 
educators can employ in their creative practice. Goldberg-Miller shares how the City of Toronto 
became vibrant and provides valuable information that can help policy makers effect economic 
development by harnessing the power of arts and culture entrepreneurship. The book review in 
this issue provides a clear view of how the artist can work as an activist and provides a policy 
framework effecting sustainable performing arts policy. The perspectives provided by our 
editorial board members and our publisher, Linda Essig, elucidates how Arts Entrepreneurship 
can succeed as a field of practice and inquiry. Contributors explore what entrepreneurship is, 
what it is perceived to be, and how we can bridge the gap between theory (the development of 
theory) and the practice of arts entrepreneurship. We believe that this issue fosters our 
understanding of Arts Entrepreneurship as a discipline, and how it is evolving and is positioned 
to help individuals practice their passions as viable economic ventures without compromising 
their standards and the sagacity of aesthetics and artistic values. 
  



Roberts            Editor’s Introduction 
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Artivate 4 (1)   

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