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From Leave it to Us to Integration

From Leave it to Us to Integration. Siân Prime Course Director MA Creative & Cultural Entrepreneurship Goldsmiths And Independent. Surveying the Landscape: What happens to boldness?. Glasgow - Goldsmiths. Glasgow’s Cultural Enterprise Office Co-funded – Enterprise/Arts/EU

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From Leave it to Us to Integration

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  1. From Leave it to Us to Integration Siân Prime Course Director MA Creative & Cultural Entrepreneurship Goldsmiths And Independent

  2. Surveying the Landscape: What happens to boldness?

  3. Glasgow - Goldsmiths • Glasgow’s Cultural Enterprise Office • Co-funded – Enterprise/Arts/EU • Glasgow School of Art • Long Term Unemployment • Huge creativity+Low Confidence

  4. NESTA: Creative Pioneer Programme • A 3 year programme to: • Find the most interesting creative graduates in the UK • support the development of new types of business models • develop new types of business development tools • Create materials that could be integrated in to curriculum or offered post-graduation • Support new types of facilitators of business start-up • Fast-track creative entrepreneurs and develop businesses with growth potential

  5. What were we looking for? • We selected on: • Creative talent • Ability to see a commercial application for their work • Their personality...including ability to work in group • Potential to contribute to the Knowledge, Creative and Social economy

  6. Who were they? • An interactive Designer with an idea for a new form of memorial • A glassmaker who was looking for a new business model for crafts people • An architect who wanted to create a new type of practice • A communication designer who wanted to re-design the NHS • A Fine Art Photographer

  7. What did we want from them? • For them to consider Risk • To engage with a new network • Loyalty • Honesty • Criticism • Professionalism • Focus • Time – but not much

  8. What did we do really? • We looked at creative businesses and reviewed their techniques for • Making the intangible tangible • Depicting the Business Model and where value rested • Visualising the operational plan for the business • We created a process that was designerly, non-linear • We worked with them when it was relevant and timely • We used credible case-studies • We created rules they couldn’t disagree with

  9. Principles • Develop the person and the business • Focus on ambition • The creative is at the heart of the business with the customer/client/audience • Be clear that sometimes the only way to measure the success of a business is through its financials • Accept “it is difficult because it is difficult” • Creating a business is an act of design, non-linear and constantly problem solving

  10. Modelling Techniques • Priority Modelling • Evidence Modelling • Making the intangible tangible • Focussing on benefits not features • Accepting you have to fulfil a need and create a gap • Relationship Modelling • Blueprint Modelling • Consequence Modelling

  11. What did we achieve? • 90 businesses started, 85 are still trading • 2 have received significant investment • A strong network of peers + advisors • The programme ran in 8 of the nations and regions of the UK • It is still running in some regions • Starter for Six funded Scottish Executive • Over 1000 businesses established, most micro businesses some SMEs • A methodology that is available to anyone

  12. What did we used to say? • Leave Higher Education to develop creative skills, we’ll do the work afterwards • It isn’t worth engaging creative people in enterprise and business development until they are ready to start • Teach them how to use excel.

  13. What do I say now? • That isn’t good enough • Be more explicit about the process • Many people do want to leave Higher Education with a plan • It is my/our duty to encourage people to be aware of the impact they could make, and how to make it • Teach them how to use excel

  14. What’s the goal?

  15. To integrate Entrepreneurial Modelling in to an MA in Creative and Cultural Entrepreneurship • Design – Media & Communication • Drama - Music • Creative Computing - Fashion • To offer every student in Goldsmiths an opportunity to engage with these techniques and leave understanding relationship between creativity and entrepreneurship

  16. What are the references? • Howard Gardner • Karen Stephenson • Charlie Leadbeater • Henry Chesborough • Dan Pink And.. • Business Model Generation • Kaos Pilots • Social Innovation Disrupters

  17. What is our definition of entrepreneurship? • Entrepreneurship is the creation of value: • Social • Aesthetic • Economic • Ideas are often big.. Big costs.

  18. What do I do? • use the NESTA modelling techniques • explore the difference between an entrepreneur and a business owner • interrogate the form and purpose of a business plan • encourage self-questioning • move their academic and creative research skills in to market research skills

  19. Sometimes it feels like I’m filling a gap

  20. Sometimes more like I’m driving in to a hole

  21. Who are they? • Live Artists • Communication Designers • Architects • Opera Singers • Film Makers • Fashion Designers • Producers

  22. Who will... • Give up if there isn’t a new way • Make an impact on “their community” • Create lifestyle businesses • Have portfolio careers • Have a high-growth business

  23. What are the demands? • That the students are flexible learners • That I move between being educator, facilitator, coach and tutor • That we all move from personal ambitions to academic, industry and economic contexts and back again frequently • That I can move from questioner to signposter to adviser swiftly and at the right times

  24. Yet more demands (I do go on) • A really strong network of creative and social entrepreneurs • No VT budget • Access to current business models • A flexible teaching space • Professionalism from the students • A Warden/VC that “gets it” • Courage

  25. What have I noticed? • That students seem to need a more mapped our and more linear process • That once they engage with the materials they forget that • That many of them are immediately focussed on “doing well” rather than developing skills for a future enterprise • That we have to agree that both are possible • That the business planning process mirrors their creative process • That it makes even more sense after graduation...

  26. What is different • The level of trust • The level of professionalism • The focus (grades) • The reliance on 1 person to understand 37 different businesses, at least 5 different sectors • Knowing when to give advice and when to allow discovery

  27. Perhaps because • This is a very different way of learning • They came to the programme for a business plan and an MA • It is a 12 month programme • They are paying for it?

  28. So now I... • Start with what a business plan is..why and who for • Then move on to modelling • The reverse of the NESTA process

  29. What are 3 important things? • It always needs to be: • Credible • Timely • Relevant

  30. Leave them knowing that the need to answer: • Why should I trust you? • Why should I believe you? • Why should I care?

  31. http://www.gold.ac.uk/pg/ma-creative-cultural-entrepreneurship/http://www.gold.ac.uk/pg/ma-creative-cultural-entrepreneurship/ • http://www.iccegold.com/ • http://twitter.com/#search?q=%23ICCEgold • S.prime@gold.ac.uk • Twitter.com/SianeP

  32. The story makes sense in stages • 18 months – 5 Years • CEO still running

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