Rea (2004): Entrepreneurial
Learning – a Practical Model from the
Creative Industries.
Rae, D. (2004). Entrepreneurial Learning: a Practical = Model from the Creative Industries. Education and Training, 46(8-9), 492-5= 00.
Abstract (abridged)
The paper explores how entrepreneurial capability and identity are learned in the creative/media industries. This sector is of growing importance, and most of its activity takes place within small businesses. However, entrepreneurship and the development of entrepreneurial skills in creative businesses is not well understood. “Mainstream” approach= es may not be effective so the development of a learning model is potentially valuable.
The paper proposes a conceptual framework based on a s= ocial learning perspective. This highlights the processes of entrepreneurial lear= ning and identity formation, and features a triadic model with three major theme= s, and related sub-themes. It also provides a set of reflective questions to assist practical application of the model. Finally, it outlines potential applicati= ons of the model in education and entrepreneurship development.
Methodology. <= o:p>
a) Social constructionist, narrative and interpretive = - it aims to explore the entrepreneurial learning process in the ‘life-world’ of= the entrepreneur.”
b) Follows the personal and business development over a two-year period of three emerging entrepreneurs (with innovative growth intentions) and gathered a range of information, centring on a series of in-depth life story interviews.
· a new Asian cultural business supplying entertainment and media products by mail order
· a ten-year-old corporate design, identity and marketing agency
· a ten-year-old independent radio station gro= up.
c) Participants were asked to tell their life story fr= om their early life onwards, and then each stage was explored, to elicit recollection of significant episodes in their development. In later intervi= ews, intervening significant experiences, changes and learning (personally & business) were explored.
d) Transcripts were analysed against 29 categories, re= lated supplementary material was collected and all was edited into case studies w= hich were sent to the participants for their comments.
e) Cross-case analysis resulted in the conceptual mode= l of entrepreneurial learning.
Results
a) A triadic model of 3 main themes and 11 sub-themes.=
· Per= sonal and social emergence of entrepreneurial identity. Their identity expres= ses their sense of self and future aspirations, and how they want to be recogni= sed by others. They re-negotiate their personal/social identities, influenced by early life and by current experiences.
· Opp= ortunity recognition arising from contextual learning. Share/compare their exper= iences with others and intuitively learn to recognise opportunities, to find out w= ho they can become, who they can work with, and what they can/cannot achieve. =
·
The
negotiated enterprise. Ideas and aspirations are not achieved alone, bu=
t by
negotiated interpersonal relationships and exchange with others inside and
outside the business.
![](3D"file7324_files/image002.png")
The triadic mo= del of entrepreneurial learning. Rae (2004)
Implications/Discussion (from the paper)
a) There is a growing demand for entrepreneurship lear= ning in education, but this is not matched by any effective practice-based theor= y to help people learn not about, but to become, entrepreneurs. The model is applicable to the creative sector, where the research was based, but also probably more widely as it s= eems to be generic.
b) The paper includes ‘reflective questions’, relating= to each sub-theme, for teachers and students and also may be applicable to emerging entrepreneurs, perhaps in dialogue with their mentors.
PhD Implications (my own thoughts)
a) I discovered this paper early in my PhD and found it extremely useful. Much of the content chimed well with my experience as a practitioner. The triadic model was the first I had found to provide a comprehensive conceptual framework applicable to the creative sector.
b) I have been surprised to find nothing else like it, though some papers explore other aspects of creative businesses, and have b= een disappointed to see that it has not been cited as much as it appears to deserve. Is this a reflection on the model or on the lack of researchers in= the area?
c) My participants comprise seven creative entrepreneu= rs in the process of emerging – and I am following their journey in real time. Ma= ny aspects of the model seem applicable. I will be exploring how well it appli= es to them, and what new factors need to be added. This will test and probably= broaden the model as their journeys may include business failure, and/or shift to employment.
d) Already it is clear that personal factors play a la= rge part in their business outcomes as they go through the daunting/exciting transition from student to being a ‘grown up’ with a business, a career and even a family in some cases. These factors need to be more explicit in any = model covering young creative NAGRENTS.
e) I hope to write a paper for E+I building on David R= ea’s paper.
Summary by Ric= hard Hanage Nov 2011