Volume 5, Number 1, 265-283, January-June 2020 doi.org/10.1344/JESB2020.1.j074 Online ISSN: 2385-7137 COPE Committee on Publication Ethics http://revistes.ub.edu/index.php/JESB Creative Commons License 4.0 265 Leonel Corona Treviño Universidad Nacional Autónoma de México (Mexico) Culture and university entrepreneurship Abstract Latin American universities typically fulfil the functions of teaching, research and the dissemination of culture. To become entrepreneurial universities, they incorporate knowledge transfer or, more generally, the commercialization of academic research and involvement in socio-economic development. However, proposals have been made to treat culture as a horizontal activity that also encompasses the creation of university cultural enterprises. To achieve this requires the crossing of the Arts and Sciences and the promotion of the resulting knowledge transfer. Here, an exploratory study of 16 cultural firms in Mexico allows us to identify strategies aimed at enhancing the entrepreneurial potential of the universities’ cultural activities in the country. Keywords: Culture; University; Cultural entrepreneurship; Creative industries; Mexico Introduction Cultural entrepreneurship is concerned with creating a business that is “grounded in the arts, creatively inclined and/or is relevant to the cultural heritage of a specific community. (…) Cultural entrepreneurship [has been] characterized as a sub-set of social entrepreneurship” (Buford 2017). Corresponding author: e-mail: leonel.corona.trevino@gmail.com Received 20 Nov 2019 - Accepted 08 January 2020 This is an Open Access article distributed under the terms of the Creative Commons Attribution-Non-Commercial-No Derivatives License (http://creativecommons.org/licenses/by-nc-nd/4.0/), which permits non-comercial re-use and distribution, provided the original work is properly cited, and is not altered or transformed in any way. http://revistes.ub.edu/index.php/JESB http://creativecommons.org/licenses/by-nc-nd/4.0/ Volume 5, Number 1, 265-283, January-June 2020 doi.org/10.1344/JESB2020.1.j074 Online ISSN: 2385-7137 COPE Committee on Publication Ethics http://revistes.ub.edu/index.php/JESB Creative Commons License 4.0 266 Since the 1980s, cultural businesses in all fields of the traditional arts have been promoted and funded within UNESCO, forming what has become known as the “cultural and creative industries” (CCIs) (Cunningham 2002) in the nascent field of creative economy research (CER) (Lazzeretti et al. 2018). The study of cultural entrepreneurship has emerged as a scholarly task in three fields: 1) From a sociological perspective, focusing on the organizational processes by which cultural products are created; 2) From a managerial perspective, focusing on the dissemination of cultural processes; and 3) From a cultural perspective, as a new wave in “cultural making”, where culture is both a medium (a “deploying”) and an outcome (a “making”) of entrepreneurial actions (Gehman and Soublière 2017). When universities are conceived fundamentally as a way of life and of cultural development 1 , then we should observe, first, the deploying of cultural activities; second, the undertaking of cultural research; and third, the teaching of cultural activities and the implicit values that form culture itself 2 . This means that the entrepreneurial university seeks to complement its traditional teaching and research functions with cultural activities, at the same time as it incorporates cultural content with external productive relations through cultural entrepreneurship. Thus, in considering how to profile their main activities, universities have to make a dual selection: on the one hand, undertaking research, technology transfer and providing services in artistic and cultural knowledge; and, on the other, the promotion of innovative spin-offs from their cultural services. 1 The university is a space of cultural learning: “It is critical to develop once more within the University the teaching of culture or of the system of the living ideas that time possesses…This must be the radical task of the University. This, before anything else, has to be the university” (Ortega y Gasset 1976). 2 As such, the three functions of the universities are: I. Cultural transmission, II. Teaching of the professions, and III. Scientific research (Ortega y Gasset 1976). http://revistes.ub.edu/index.php/JESB Volume 5, Number 1, 265-283, January-June 2020 doi.org/10.1344/JESB2020.1.j074 Online ISSN: 2385-7137 COPE Committee on Publication Ethics http://revistes.ub.edu/index.php/JESB Creative Commons License 4.0 267 This paper reports a study and critical analysis of a number of cultural ventures. Here, by means of a questionnaire, data were gathered aimed at identifying innovations and factors that promote or impede links – i.e. relationships founded on knowledge, technology transfer and incubation – between cultural firms and universities, where the requirements of entrepreneurship are recognized as needs for obtaining and developing management skills, financing, linkages, visibility and, sustainability. The hypothesis underpinning this study is that the consolidation of cultural entrepreneurships depends on their differentiation and on their commercialization capabilities in accordance with their specific cultural/artistic type, and on available institutional support, in particular that provided by the universities, within a diverse environment of factors and relationships that enable such start-ups to survive in the various stages of the life cycle. As part of the conclusions, some develop criteria are elaborated for designing policies to increase the generation, survival and consolidation of cultural and artistic ventures. Methods An evolutionary approach to the functions of the University provides a new dimension to its cultural activities. Here, since the end of the 19 th century, the historical context and the need to construct a national identity in Mexico have served as the primary motives underpinning the development and promotion of the cultural activities of the country’s universities (Molina Ahtziri and Ejea 2019). Indeed, the importance attached to cultural activities in various Mexican universities can be inferred by the relative financial weight assigned to promoting these goals within their total budget. At this point, we examine the University’s functions based on its evolution and the marked increase in its interrelations with the dissemination of knowledge. http://revistes.ub.edu/index.php/JESB Volume 5, Number 1, 265-283, January-June 2020 doi.org/10.1344/JESB2020.1.j074 Online ISSN: 2385-7137 COPE Committee on Publication Ethics http://revistes.ub.edu/index.php/JESB Creative Commons License 4.0 268 Two levels of data are considered: First, an analysis of nine aggregate creative industries, making up Mexico’s cultural and creative sectors, is reported, focusing on their impacts, at both the regional and national levels, on employment and the number of firms. Second, an estimate of the sustainability of ten cultural start-ups and identify the challenges they face. We then contrast their prospects with those of six mature cultural firms and examine how Mexico’s universities might boost the capacities of these cultural ventures. The firms’ innovativeness is measured using a structured questionnaire, the INDICO Index (Corona Treviño 2015), specifically adapted to cultural entrepreneurships. Here, we formulate and address three main questions: 1) How can a university incorporate within its functions the objectives of an entrepreneurial university? 2) What is the relative intensity of cultural activities in the universities of Mexico? 3) What kind of policies and strategies emerge as being most effective from our study of the ten university cultural ventures? Universities begin by fulfilling what is typically and exclusively a teaching function before evolving to establish themselves as research universities. In Latin American, moreover, universities generally also fulfil the function of disseminating culture, which might be related to their teaching and social research. Some universities promote a range of extension activities, which serve to highlight the relationship between the university and the community in which it is immersed, becoming one of the three university’s functions: namely teaching, research and extension. A more recent development has been the evolution of what have become known as entrepreneurial universities, as the latter have incorporated activities of knowledge transfer or, more generally, the commercialization of academic research and a closer involvement in http://revistes.ub.edu/index.php/JESB Volume 5, Number 1, 265-283, January-June 2020 doi.org/10.1344/JESB2020.1.j074 Online ISSN: 2385-7137 COPE Committee on Publication Ethics http://revistes.ub.edu/index.php/JESB Creative Commons License 4.0 269 socio-economic development. To achieve this requires the crossing of the Arts and Sciences and the promotion of the resulting knowledge transfer. Therefore, what has been proposed is the treatment of culture as a horizontal activity that cuts across all university functions, a move that also encompasses the creation of university cultural enterprises. An entrepreneurial university is said to be conceived when this third mission of economic and social development is added to those of teaching and research (Etzkowitz 2003); when it is prepared to take risks in translating the knowledge produced within the university into economic and social utility (Clark 1998), and when the research it undertakes leads to patentable inventions and discoveries, faculty spin-off ventures, and technology transfers (Chrisman 1995) (see Table 1). Table 1. The vision of the entrepreneurial university Entrepreneurial University Henry Etzkowitz (2002) Expansion of university mission Teaching Preservation and dissemination of knowledge New missions generate conflict of interest and controversies Research First academic revolution Two missions: teaching and research Entrepreneurial Second academic revolution Third mission: economic and social development, old missions continue Burton R. Clark (1998) The entrepreneurial university has the ability to generate a focused strategic direction, both in formulating academic goals and in translating knowledge produced within the university into economic and social utility. Taking risks when initiating new practices whose outcome is in doubt is a major factor. James J. Chrisman (1995) Universities are still in the education business and this mission continues to be of critical importance. However, universities also make substantial contributions to local economies through research leading to patentable inventions and discoveries, faculty spin-off ventures, and technology transfers. Source: Based on the works of the authors cited. http://revistes.ub.edu/index.php/JESB Volume 5, Number 1, 265-283, January-June 2020 doi.org/10.1344/JESB2020.1.j074 Online ISSN: 2385-7137 COPE Committee on Publication Ethics http://revistes.ub.edu/index.php/JESB Creative Commons License 4.0 270 However, to become an entrepreneurial university, it is not enough simply to develop external links aimed at solving social and economic problems. A number of fundamental changes are required (see Figure 1): 1) A shift from the diffusion of culture to the inclusion of cultural making activities. Each university must acquire a cultural dimension, based on culture learning, cultural research and cultural development, in general. 2) The promotion and strengthening of interrelations between culture, research and teaching activities, developing additional capabilities for undertaking these activities and introducing a systemic perspective for solving external problems 3 . 3) Facilitating external criticism on and of society but also explicit mechanisms for facilitating internal criticism. Figure 1. Entrepreneurial and Research University (ƐRU) Source: Author’s own. 3 With the objective of a true articulation of cultural diffusion with research and teaching which originates creation and knowledge development (Regil Vargas 2009). An additional aspect is the "collaboration between public services and the private sector with the universities for the promotion of an entrepreneurial culture (de Pablo, Isidro et al. 2011). http://revistes.ub.edu/index.php/JESB Volume 5, Number 1, 265-283, January-June 2020 doi.org/10.1344/JESB2020.1.j074 Online ISSN: 2385-7137 COPE Committee on Publication Ethics http://revistes.ub.edu/index.php/JESB Creative Commons License 4.0 271 Results Cultural activities of Mexico’s universities The cultural activities of Mexico’s universities represent around 6% of their total budget. For the National Autonomous University of Mexico or UNAM, they represent 8.2%, a figure that rises to 11.5% if we include the budgets for cultural teaching activities (1.6%) and cultural research centers (1.7%) 4 (Table 2). Table 2. University budgets for cultural diffusion, 2018 (millions of Mex. pesos). University Income ( $ millions of Mex. Pesos) Cultural diffusion budget ( $ millions of Mex. Pesos) Percentage UNAM 38300 3135 8.2 IPN 15554 - UdeG 13398 328 2.4 UANL 7858 587 7.5 UAM 7097 643 9.1 UV 6529 419 6.4 UABC 4526 353 7.8 Total 93262 5465 5.9 Source:http://www.estadistica.unam.mx/series_inst/index.php; http://www.transparencia.uam.mx; http://patronato.uabc.edu.mx/documents/10652/59534/PresupUABC2018.pdf; http://transparencia.uanl.mx/secciones/informacion_presupuestal/presupuesto_2018/.pdf; http://transparencia.udg.mx/sites/default/files/presupuesto_2018.pdf: http://colaboracion.uv.mx/informacionpublica/presupuestos/.pdf In general, and increasingly, according to Regil Vargas (2009) the activities of cultural diffusion in public universities find themselves blocked by the uncertainty between fading away and their reactivation. 4 UNAM has the Schools of Arts and Design, Music, Cinematic Arts and a Theater Center within its teaching spaces (representing 1.61% of its total budget). UNAM research includes its Bibliographic, Librarianship and Information, Aesthetics and Philological Research Institutes (representing 1.7% of its total budget). http://revistes.ub.edu/index.php/JESB Volume 5, Number 1, 265-283, January-June 2020 doi.org/10.1344/JESB2020.1.j074 Online ISSN: 2385-7137 COPE Committee on Publication Ethics http://revistes.ub.edu/index.php/JESB Creative Commons License 4.0 272 Creative industries in Mexico There is a correlation – a two-way interaction – between culture and creativity: creative expression is a universal human phenomenon that has its foundations in culture and which at the same time has a profound impact on culture (Rudovicz 2003). Over the last two decades, Mexico’s cultural and creative industries (CCIs) have made a notable contribution to national growth, calculated at somewhere between three and six percent of gross domestic product (GDP). The contribution originates from two main sources, one linked to modernity and highly creative technology, the other to the country’s culture and heritage (Valdivia 2018). Mexico’s CCIs are constituted by 91,000 firms, which employ somewhere in the region of 725 thousand people, equivalent to 2.5percent of the country’s active population and 1.7percent of the country’s total firms 5 (Table 3). Table 3. Number of firms and employees per creative sector. Creative Industries Firms Employees Mean nº of employees per firm Music & Visual and Performing Arts 27 791 180 686 7 Advertising and Marketing 15 042 150 802 10 Publishing 19 216 80 750 4 Architecture 6 945 75 145 11 Film, TV & Radio 3 324 70 588 21 Software 3 947 67 753 17 Libraries and Museums 6 114 42 983 7 Handicrafts 6 254 41 501 7 Design 2 755 14 779 5 Total/Average 91 388 724 987 8 Source: (Mapa Transmedia 2019). The creative industries have been adapted from Bakhshi et al. 2013. https://www.nesta.org.uk. The first three sectors in Table 3, i.e. Music & Visual and Performing Arts, Advertising and Marketing, and Publishing, provide jobs for half the people working in the creative industries 5 The 2.5% is a proportion of total employment and 1.7% of firms according to DENUE statistics (INEGI 2015; 2018) http://revistes.ub.edu/index.php/JESB Volume 5, Number 1, 265-283, January-June 2020 doi.org/10.1344/JESB2020.1.j074 Online ISSN: 2385-7137 COPE Committee on Publication Ethics http://revistes.ub.edu/index.php/JESB Creative Commons License 4.0 273 (53%). The largest firms operate in the Film, TV & Radio industry (mean number of employees is 21) followed by Software (17 employees per firm). To determine the picture at the regional level, we selected the top 14 Mexican States (from a total of 32) presenting the highest growth rates between 2015 and 2018 as determined by the creative industries index. These 14 states moreover also have the highest number of firms operating in the CCIs (Table 4). Three of the states, namely Querétaro, Mexico City and Nuevo Leon, are the most diversified, presenting five more cultural and creative industries than the national average. Within this ranking, Querétaro appears in first place, thanks, in large part, to the fact that growth in the Software, Architecture and Design sectors is double that of the other states. Mexico City takes second place in the ranking, with a rate of growth in the Software sector that is the triple of that of its competitors. It is also the state with the highest average number of employees per firm at 14. In third place is Nuevo Leon, where growth in Software is 2.6 higher than that of its competitors, while it is the state has the second highest average number of employees per firm at 10.7. Overall, Design has grown at a rate above the average in eight states, as have Software and Architecture in six states. The City of Mexico concentrates most of the country’s CCIs, with 1,512 creative firms and employing 22,301 workers per million inhabitants. It is followed by the states of Aguascalientes (872 firms), Jalisco (862), Quintana Roo (846) and Campeche (831), each of which has around 7,000 employees, both figures per million inhabitants (Table 3). Interestingly, three of these last four states are among Mexico’s smallest having enjoyed high growth rates in the following sectors: Aguascalientes – with an increase in Design of 2.02, in Software of 1.73, in Architecture of 1.43 and in Advertising and Marketing of 1.25; and Quintana Roo and Campeche, most notably in Film, TV & Radio, with respective increases of 1.6 and 1.62, respectively (Table 4). http://revistes.ub.edu/index.php/JESB Volume 5, Number 1, 265-283, January-June 2020 doi.org/10.1344/JESB2020.1.j074 Online ISSN: 2385-7137 COPE Committee on Publication Ethics http://revistes.ub.edu/index.php/JESB Creative Commons License 4.0 274 Table 4. Mexico States with high-growth creative industries, 2015-2018; and highest number of firms 2018. 9 Creative Industries Nation al Avera ge growth index Queré- taro Mexico City Jalisco Aguas- calient es Veracruz Quinta- na Roo Camp- eche Tabasco Coahuila Nuevo León Guanajuat o Estado de México Chiapas Oaxaca Nº of States Music & Visual and Performing Arts 1.03 1.3 1.22 2 Advertising and Marketing 0.98 1.6 2.42 1.25 1.54 1.73 5 Publishing 0.93 1.26 1 Architecture 1.05 2.14 1.87 1.43 1.73 1.27 1.84 6 Film, TV & Radio 1.1 1.5 1.6 1.62 1.8 1.38 5 Software 0.93 2.69 3.14 1.27 1.73 1.14 2.64 6 Library and Museums 1.1 1.33 1.62 2 Handicrafts 0.9 1.17 1.32 2 Design 0.99 2.26 1.9 1.39 2.02 1.42 1.22 1.57 1.55 8 Number of creative industries above National average 5 5 3 4 0 3 2 2 3 5 1 1 1 2 14 Number of firms 2102 13485 6764 1145 4313 1270 748 1222 2061 4281 3902 9130 2925 2968 Number of Employees 17508 198894 52483 9051 25933 11457 6388 11464 17536 45825 24797 54564 15106 14421 Average employees per firm 8 8.3 14.7 7.8 7.9 6 9 8.5 9.4 8.5 10.7 6.4 6 5.2 4.9 Population 119.5 5.1 8.9 7.8 1.3 8.1 1.5 0.9 2.4 3 5.1 5.9 16.2 5.2 4 75.4 Millions inhabitants Firms per million inhabitants 765 411 1512 862 872 532 846 831 510 697 836 667 564 561 748 Employees per million inhabitants 6065 3420 22301 6690 6896 3197 7630 7098 4787 5935 8951 4236 3371 2895 3634 Source: Table based on data from Mapa Transmedia (2019). http://revistes.ub.edu/index.php/JESB Volume 5, Number 1, 265-283, January-June 2020 doi.org/10.1344/JESB2020.1.j074 Online ISSN: 2385-7137 COPE Committee on Publication Ethics http://revistes.ub.edu/index.php/JESB Creative Commons License 4.0 275 Specific cases of cultural entrepreneurship Based on an exploratory study of ten cases of cultural entrepreneurship, we identify strategies that can be employed to enhance the entrepreneurial potential of a university’s cultural activities. The majority of these cases form part of the UNAM’s incubator, the “Laboratory of Cultural Initiatives”, which is a program of Cultural Diffusion Coordination. The incubator supports artistic entrepreneurs in their efforts to investigate, experiment and learn in collaborative teams. These teams receive an annual scholarship and are provided with a mentor, workshop space and a range of services for undertaking their artistic work 6 . We then compare and contrast the characteristics of these start-ups with those of six mature firms, with an average age of 12 years compared to just 3.4 in the case of the ten cultural entrepreneurships. On average, the Indico index recorded for the cultural entrepreneurship is 4.0 which, as we would have expected, is lower than that of the mature firms (5.6). The latter record a Result index score that is nearly twice (1.8) that of the start-ups, whereas both sets of firms have similar score in terms of Capacity (Table 5b). Most of the cases of cultural entrepreneurship are characterized by collaboration in the generation of innovations: some of these are institutional, others are based on artist networks 7 . On average, nearly half the innovation comes from external links, whereas in the case of the mature firms the influence of these links is smaller at 43%. Clearly, external collaboration is critical, however, for the success of both types of cultural entrepreneurship. 6 The incubator is located in the emblematic “1968 Cultural UNAM” building and is known as “Piso 16” or Floor 16. There have, as of 2019, been only two calls for artistic projects. In 2019, ten projects were selected from a total of 135 presented, while in 2018, just five from a total of 102 won support. 7 Artistic innovation typically moves through four stages – proximal innovation, fuzzy innovation, established innovation and maintained innovation – sustained by a relational network characterized by strong or weak ties, depending on the artist’s inclusion and differentiation (Montanari et al. 2016). http://revistes.ub.edu/index.php/JESB Volume 5, Number 1, 265-283, January-June 2020 doi.org/10.1344/JESB2020.1.j074 Online ISSN: 2385-7137 COPE Committee on Publication Ethics http://revistes.ub.edu/index.php/JESB Creative Commons License 4.0 276 Investment in creative effort (R&D) of the cultural entrepreneurships stands at 41%, and while important for mature cultural companies, it represents less than half (19%), Fig 5a. Table 5a. University cultural entrepreneurships vs. mature firms Entrepreneur -ship/Firms Cultural- Artistic industry Age in Yea rs Innovations (average) Linkage: University Participation in innovation % R&D activiti es P p M Tot Kind of support Firm Unive rsities Othe rs % 10 Ɛ 8 Arts (3 Theater, 3 Visual, 2 Dance) 2 Publishing 3.4 1.3 0.1 0.3 1.7 Workshops, Space, Mentoring 45.5 24 30.5 38 of effort 6 Creative Firms 4 Art 1 Advertisin g 1 Publishing 12.2 1.8 0.3 0.5 2.7 Students mentor, Academic collaboration 61 5 34.5 30 of sales Table 5b. University cultural entrepreneurships vs. mature firms (cont.) Entrepr eneursh ip Ɛ /Firms Intellect- ual Property Main Client Sales $ Million Mx pesos/ year Personnel Indico Index Legitimation Sup port Cre ativ e R C Indico Index Awa rd (%) Exhi bit- ion (%) Medi a repor t-age (%) Review er (%) 10 Ɛ Authors’ copyright Diverse 0.15 2.7 5.9 3.52 4.50 4.0 100 40 0 0 6 Creativ e Firms Copyright s and trademark s Diverse 102.53 4.4 10.6 6.34 4.79 5.6 50 100 83 67 Source: Based on responses to the INDICO questionnaire from ten cultural entrepreneurships and six mature creative firms. (See Annexes 1 and 2). Conclusions An important new function is being fulfilled by universities, namely, that of knowledge transfer. Scientific, technological, social and cultural entrepreneurships all form part of this transfer and have come to play major roles in relation to the universities’ fourth function, that of the productive use of knowledge. Within an entrepreneurship university, interrelationships are created internally between culture, research and teaching, while at the same time external http://revistes.ub.edu/index.php/JESB Volume 5, Number 1, 265-283, January-June 2020 doi.org/10.1344/JESB2020.1.j074 Online ISSN: 2385-7137 COPE Committee on Publication Ethics http://revistes.ub.edu/index.php/JESB Creative Commons License 4.0 277 links are developed to solve productive and social problems, within an overall framework of external and internal criticism (Fig. 1). Three of Mexico’s States – Querétaro, Mexico City and Nuevo Leon – present a higher degree of diversification in their creative industries than their counterparts. Querétaro is ranked first, enjoying more than twice the growth presented by its regional competitors in the Software, Architecture and Design sectors. Mexico City, ranked second, records three times the growth of the other states in Software, and has the largest average firm size with 14 employees. Third place is taken by Nuevo Leon with 2.6 times the growth in the Software sector and the second largest average firm size with 10.7 employees. It is evident that cultural entrepreneurship could be substantially boosted were it to be supported by the universities’ cultural activities, as illustrated by the UNAM’s cultural incubator “Piso 16”. However, such initiatives need to be escalated and multiplied (with just ten out of a 135 projects presented being selected by UNAM) in order to respond to the potential of cultural entrepreneurship that requires supporting. The average age of the ten cultural ventures is 3.4 years, considerably less than that of the mature firms with an average of 12 years. Measuring the innovativeness of the cultural entrepreneurships, using the Indico Index, provides an opportunity also to compare the heterogeneity within their apparent artistic diversity. It also allows a comparison to be made with other creative industries. On average, they present an innovativeness of 4.0 which is lower than the 5.6 presented by the mature creative firms. The latter also score almost twice as high in terms of Output as the entrepreneurships, while are similar in terms of their Capacity. The creative effort (R&D) of the artistic entrepreneurship projects is 38%, and while important for mature cultural companies stands at 30%. http://revistes.ub.edu/index.php/JESB Volume 5, Number 1, 265-283, January-June 2020 doi.org/10.1344/JESB2020.1.j074 Online ISSN: 2385-7137 COPE Committee on Publication Ethics http://revistes.ub.edu/index.php/JESB Creative Commons License 4.0 278 The goal must be to strengthen the links between the functions of the universities as this would serve to enhance the possibility of the students’ integral education in different areas of knowledge – including technology, the arts and humanities. Likewise, it would boost the diversity of intra- and inter-entrepreneurship. References Bakhshi, Hasan, Alan Freeman, and Peter Higgs. 2013. A dynamic Maping of the UK`s Creative Industries. London: NESTA. Buford, Kathryn. 2017. Expert in Cultural Impact and Cultural Entrepreneurship . https://www.quora.com Access: 2019. Chrisman, James J. 1995. "Faculty entrepreneurship and economic development: The case of the University of Calgary." Journal of Busines Venturing 10 (4): 267-281. Clark, Burton. 1998. Creating Entrepreneurial Universities. Organizational Pathways of Transformation. Pergamon Press. . Corona Treviño, Leonel. 2015. "Índice Indico: Innovación en las empresas." Cuaderno de trabajo 4, Cepcyt Facultad de Economía UNAM. Cunningham, Stuart D. 2002. "From cultural to creative industries: theory, industry,and policy implications." Media International Australia incorporating Culture and Policy 102 (1): 54–65. de Pablo, Isidro, Fernando Alfaro, Miriam Rodriguez, and Esperanza Valdés. 2011. Promoting entrepreneurial university. Industry & higher education 25 (5): 375-382. Etzkowitz, Henry. 2003. "Research groups as ‘quasi-firms’: the invention of the entrepreneurial university." Research Policy 32(1): 109-121. Gehman, Joel , and Jean-François Soublière. 2017. Cultural entrepreneurship: from making culture to cultural making. Innovation 19 (1): 61-73. INEGI, 2015; 2018. Directorio Estadístico Nacional de Unidades Económicas (DENUE). https://www.inegi.org.mx/app/mapa/denue/ Lazzeretti , Luciana, Francesco Capone, and Niccolò Innocenti. 2018." The rise of cultural and creative industries in creative economy research: a bibliometric analysis." In Creative Industries an Entrepreneurship: Paradigms in Transition from a Global Perspective,13-34. Eward Elgar pub. http://revistes.ub.edu/index.php/JESB Volume 5, Number 1, 265-283, January-June 2020 doi.org/10.1344/JESB2020.1.j074 Online ISSN: 2385-7137 COPE Committee on Publication Ethics http://revistes.ub.edu/index.php/JESB Creative Commons License 4.0 279 Mapa Transmedia. 2019. México creativo: Mapeando las industrias creativas en México. https://centroculturadigital.mx/mapa-transmedia/mexico-creativo/ access September 23, 2019. Molina Ahtziri, and Thomás Ejea. 2019. Entre la comunidad y el mercado. Los ámbitos y usos de la tercera función sustantiva universitaria en México. Xalapa: Universidad Veracruzana. Montanari, Fabrizio, Annachiara Scapolan, and Martina Gianecchini. 2016. "‘Absolutely free’? The role of relational work in sustaining artistic innovation." Organization Studies, Sage 37 (6): 797-821. Ortega y Gasset, J. 1976. "Mision de la universidad." In Mision de la universidad y otros ensayos afines. Madrid: Revista de Occidente. Regil Vargas, L. 2009. Difusión cultural universitaria: entre el ocaso y el porvenir. Reencuentro 56 (December): 60-65. Rudovicz, Elizabeth. 2003. "Creativity and Culture: A two way interaction." Scandinavian Journal of Educational Research 47(3): 273-290. Valdivia, Marcos. 2018. "Cultural and creative industries in Mexico: the role of export-oriented manufacturing metro areas." In Creative Industries an Entrepreneurship: Paradigms in Transition from a Global Perspective, edited by Luciana Lazzeretti and Marilena Vecco, 262- 282. Edward Elgar. http://revistes.ub.edu/index.php/JESB Volume 5, Number 1, 265-283, January-June 2020 doi.org/10.1344/JESB2020.1.j074 Online ISSN: 2385-7137 COPE Committee on Publication Ethics http://revistes.ub.edu/index.php/JESB Creative Commons License 4.0 280 Annex 1. Cases of creative and cultural entrepreneurship. Mexico 2019. Group 1: UNAM’s Floor 16 th : entrepreneurships. Entrepreneurship Cultural-Artistic industry Founda tion Innovatio ns Linkage: University Participation for innovation % R&D activi ties P p M Kind of support Fir m Univers ities Oth ers % of effort Editorial Sin Fe Collaborative editorial (Editorial) 2009 1 1 1 UdG: entrepreneur’ s students 40 0 60 25 Lolita Pank Visual Arts 2013 1 0 0 1. Space 2. Workshops 3. Training program. 50 15 35 50 Mercado Negro Editorial Editorial 2019 2 0 0 Support for entrepreneursh ip 45 25 30 10 MOC Performing Arts. Dance 2013 1 0 0 1 Space 2Scholarship 3 Workshops 50 10 40 30 País ARID Performing Arts. Party`s Scenario. 2019 1 0 0 1 Training 2Workshops 60 30 10 50 Buitre Amargo, Desde la escena Performing Arts. Theater 2016 3 0 0 1 Mentoring 2 Space 3) Workshops 50 20 30 80 Colectivo giroscopio Performing Arts. Philosophy Dance 2015 1 0 1 1. Mentoring 2. Other Ɛ`s mentoring 3. Space with services. 60 40 0 40 Proyecto OVNI Visual Arts’ Management 2017 1 0 0 1.-Workshops 2.-Mentoring 3.-Scholarship 0 50 50 25 Colmena Consulting on public space Urban Scenarios 2016 1 0 0 1.Workshops 2.-Visibility 3.Scholarship 70 30 0 40 OTO PRINTS Graphic (Music & Visual) Performing Arts) 2019 1 0 1 1.Mentoring, 2. workshops 30 20 50 30 http://revistes.ub.edu/index.php/JESB Volume 5, Number 1, 265-283, January-June 2020 doi.org/10.1344/JESB2020.1.j074 Online ISSN: 2385-7137 COPE Committee on Publication Ethics http://revistes.ub.edu/index.php/JESB Creative Commons License 4.0 281 Group 1: UNAM’s Floor 16th: entrepreneurships. (Continuation) Entrepreneu rship Intellect ual Propert y Main Client Sales $ Milli on Mx pesos / year Personnel Indico Index legitimation Supp ort Creati ve R C Indico Index Awa rd Exh ibiti on Media report age Rev iew er Editorial Sin Fe Creativ e Commo ns Library "Sol Luna" 0,10 8 40 6,0 4,4 5,2 1 0 0 0 Lolita Pank ---- Punk women ---- 2 1 1,7 5,2 3,4 1 0 0 0 Mercado Negro Editorial ---- Collecto rs 0.5 0 1 2,8 2,8 2,8 1 0 0 0 MOC Author copyrigh t Public Instituti ons 0.1 3 2 3,1 4,0 3,6 1 0 0 0 País ARID 3,7 4,9 4,3 1 1 0 0 Buitre Amargo, Desde la escena Author copyrigh t Young people 0.1 4 4 3,8 3,8 3,8 1 0 0 0 Colectivo giroscopio ---- Dancers 0.2 2 2 4,3 5,3 4,8 1 1 0 0 Proyecto OVNI Author copyrigh t Art Student s 0.0 3 2 2,7 3,3 3,0 1 0 0 0 Colmena Consulting on public space ----- General public 0,30 2 4 2,9 5,7 4,3 1 1 0 0 OTO PRINTS Author licence s Hotels 0,05 2 1 4,0 5,5 4,8 1 1 0 0 Source: Application of INDICO` questionnaire to entrepreneurships. http://revistes.ub.edu/index.php/JESB Volume 5, Number 1, 265-283, January-June 2020 doi.org/10.1344/JESB2020.1.j074 Online ISSN: 2385-7137 COPE Committee on Publication Ethics http://revistes.ub.edu/index.php/JESB Creative Commons License 4.0 282 Annex 2. Cases of creative and cultural Firms. Mexico 2019 Group 2 Firm Creative industry Foun datio n Innovation s Linkage Participation for innovation % R& D P p M Institu te Kind Firm Univers ities Oth ers % of sale s Miravete LMS 2 Advertising 2017 2 0 1 RC- CETC* Technology Development 70 10 20 5 Taller 8A 1 Graphic and Sculpture 2012 3 1 Esmer alda Training and space for art students 50 0 50 15 Estudio Miguel Rodríguez Sepúlveda 1 Painting (Music & Visual and Performing Arts) 2007 1 0 1 UNAM Student, mentor 100 0 0 30 Shakespeare & CÍA 1 Graphic and Sculpture (Music & Visual and Performing Arts) 2000 0 1 0 UNAM Student, mentor 30 0 70 50 Sebastian 1 Monumental sculpture 1990 2 0 1 UNAM Academic staff 68 0 32 30 R Cen ter Fondo Editorial Universitario UAQ 3 Quality Editorial and Book sales (Editorial) 2015 2 0 1 UAQ UAQ’s entrepreneurs hip 45 20 35 50 http://revistes.ub.edu/index.php/JESB Volume 5, Number 1, 265-283, January-June 2020 doi.org/10.1344/JESB2020.1.j074 Online ISSN: 2385-7137 COPE Committee on Publication Ethics http://revistes.ub.edu/index.php/JESB Creative Commons License 4.0 283 Group 2: Contrast cases: Creative and Artistic` Firms (Continue) Group 2 IP Main Client Sales $ Million Mx pesos, year Personnel Indico Index legitimation Firms Supp ort Creat ive R C Indic o Index Aw ard exhi bitio n Media report age Revie wer, Curat or Miravete LMS Patent LMS Visual Moving 2,00 2 3 6.39 3.9 5.15 0 1 0 0 Taller 8A Artist's copyrigh ts Artists 0,30 2 8 5.06 4.57 4.81 0 1 1 1 Estudio: Miguel Rodríguez Sepúlveda Logos& Design copyrigh ts Public Modern Art 0,35 1 1 7,1 4,5 5,8 1 1 1 1 Shakespeare & CÍA Tradem arks Performing Arts Public 10,00 12 35 3,5 3,9 3,7 0 1 1 1 Sebastian Author copyrigh t* UNAM 500 NA NA 5.27 4.79 5.03 1 1 1 1 Fondo Editorial Universitario UAQ Author copyrigh t Readers NA 5 6 5,5 5,5 5,5 1 1 1 0 Source: Application of INDICO` questionnaire to firms. 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