Cultural entrepreneurship: from making culture to cultural making

Figures & data

Table 1. Varieties of Cultural Entrepreneurship.

Perspective	CE 1.0	CE 2.0	CE 3.0
Slogan	Making culture	Deploying culture	Cultural making
Definition	“The carrying out of a novel combination that results in something new and appreciated in the cultural sphere” (Swedberg, 2006, p. 260)	“The process of storytelling that mediates between extant stocks of entrepreneurial resources and subsequent capital acquisition and wealth creation” (Lounsbury & Glynn, 2001, p. 545)	“A process of continual framing and reframing of future aspirations and past events, even as an entrepreneurial journey unfolds over time” (Garud et al., 2014b, p. 1489)
Concept of culture	The outcome of the “process by which urban elites forged an institutional system embodying their ideas about the high arts” (DiMaggio, 1982, p. 33)	“A flexible set of tools that can be actively and strategically created and deployed as actors struggle to make sense of the world” (Lounsbury & Glynn, 2001, p. 549)	Culture is a “code of many colors” traceable in multiple registers such as values, stories, frames, toolkits and categories (Giorgi et al., 2015)
Concept of entrepreneurship	Creating organizational forms; and producing and distributing cultural products	Attracting resources and support through cultural and symbolic realms of meaning	The imagination of possible future trajectories
Key actors	Cultural capitalists (e.g., elite industrialists; monarchs)	Founders and their new ventures	Stories and their “styles” (e.g., in-progress, growth)
	Cultural workers (e.g., artists, freelancers)	Audiences (investors, competitors, consumers)	Categories and their distinguishing practices
Key mechanisms	Classification: erecting strong boundaries between art and entertainment	Storytelling: creating an appealing and coherent story about a nascent enterprise	Collective storytelling: distributed process whereby stories legitimate market categories, while coordinating and delimiting members
	Framing: developing a new etiquette of appropriation between the audience and art	Claiming an identity: making culturally resonant claims about an organization’s central, distinctive, and enduring attributes	Revised storytelling: ongoing relational, temporal and performative process of giving meaning and gaining support
Sources	Acheson et al., 1996; DiMaggio, 1982; Johnson, 2007; Jones et al., 2016; Oakley, 2014; Peterson & Berger, 1971; Scott, 2012; Swedberg, 2006;	Aldrich & Fiol, 1994; Lounsbury & Glynn, 2001; Martens et al., 2007; Navis & Glynn, 2010; O’Connor, 2002; Rao, 1994; Swidler, 1986; Zhao et al., 2013;	Dalpiaz et al., 2016; Delmestri & Greenwood, 2016; Garud et al., 2014b; Giorgi et al., 2015; Jones et al., 2011; Manning & Bejarano, 2016; Massa et al., 2016; Wry et al., 2011

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