






































Artivate: A Journal of Entrepreneurship in the Arts    Volume 8, Issue 1 
http://artivate.org  pp. 1-2 
 
_____________________________________________________________________________________________________________________ 
 

_____________________________________________________________________________________________________________________ 
Copyright © 2019, Paul Bonin-Rodriguez and Neville Vakharia   

 

EDITOR’S INTRODUCTION TO THE WINTER 2019 ISSUE 
Paul Bonin-Rodriguez, The University of Texas at Austin 
Neville Vakharia, Drexel University 
 

 
We are pleased to introduce the Winter 2019 issue of Artivate: a Journal of 

Entrepreneurship in the Arts. This issue, the first for Volume 8, marks our first as co-editors.  
 

We begin this issue by thanking Linda Essig, who has shepherded the journal since its 
inception. Under Linda’s guidance, the journal has amassed an ambitious number of articles, built 
a solid readership, and provided a valuable intellectual resource for the growing field of arts 
entrepreneurship. Now Dean of the College of Arts and Letters of California State Los Angeles, 
Linda remains a tremendously generous mentor, guide, and resource for the journal and the field. 
 

This issue features three very different approaches to arts entrepreneurship in practice and 
scholarship, providing new insights and implications for learning, policy, and education. 
 

Benjamin Toscher’s “Entrepreneurial Learning in Arts Entrepreneurship Education” 
begins with his well-researched provocation: the growth of research on arts entrepreneurship in 
the classroom has opened up a space for more study on how entrepreneurship is actually learned. 
Offering a broad and highly categorical survey of arts entrepreneurship scholarship, both 
theoretical and empirical, Toscher’s article proposes a conceptual framework for entrepreneurial 
learning. His context-specific focus on music in higher education renders a very focused case study 
on cognition, skill-building, and outcomes.  
 

In a similar spirit of addressing the gaps in arts entrepreneurship scholarship, Brea 
Heidelberg’s “Learning from Negative Space” argues that a focus on success stories in policy 
entrepreneurship has left little room for a consideration of what constitutes failure, much less how 
it can help define success. Reading John Frohnmeyer’s actions as Chair of the National 
Endowments for the Arts from 1989-1992 – during a period of crisis often called the culture wars 
– against extant literature on success in policy entrepreneurship, Heidelberg discerns three areas 
where policy entrepreneurs might actually claim success: as “agency leader, advocacy coalition 
manager, oppositional respondent.” Her study offers a timely consideration of efficacy in public 
arts policy.  
 

Josef Hanson’s “Entrepreneurship Among Public School Arts Educators” builds on his 
quantitative study of music teachers in New York State, to better understand how arts 
entrepreneurship education is embraced, understood, and still lacking in the public school 
environment. On the whole, his research reveals a readiness among teachers to offer arts 
entrepreneurship to their students and identifies the types of teachers most ready to embrace the 
field. Like Toscher, Hanson’s work in music speaks to other arts disciplines and offers an 
optimistic outlook for the prospects and benefits to entrepreneurship in arts education.  
 

The books reviewed in this issue focus on the classroom and the transmission of 
entrepreneurial skills and knowledge. As Scott Blackshire observes in his review, James D. Hart’s 

http://artivate.org/


Bonin-Rodriguez & Vakharia  Editor’s Introduction 
______________________________________________________________________________________________________________________ 

 

________________________________________________________________________________________________________________ 
Artivate 8 (1) 

 
2 

new book Classroom Exercises for Entrepreneurship: A Cross-Disciplinary Approach offers an 
expansive pedagogy for entrepreneurship training through creative play and experiential learning. 
Karen Munnelly notes that Mark Rabideau’s 21CM Introduction to Music Entrepreneurship lays 
out a curriculum for arts entrepreneurship education, with exercises for both instructors and 
students alike.  
 

We were excited by the scope and diversity of submissions we received for this issue, 
demonstrating a growing interest in all facets of arts entrepreneurship. We look forward 
to Artivate’s continued role as a key resource to advance and disseminate knowledge of this 
important field of study. We are now accepting submissions for our Summer 2019 issue. Articles 
received by April 30, 2019 will receive priority consideration. For more information, please 
visit www.artivate.org. 
  

http://www.artivate.org/

	EDITOR’S INTRODUCTION TO THE WINTER 2019 ISSUE

