In addition to contributing to the arts management research literature, I’m also committed to developing the emerging arts entrepreneurship research field. Address: Columbus, Ohio, United States
Artivate: A Journal of Entrepreneurship in the Arts, Oct 18, 2019
Arguably, success and failure in arts entrepreneurship does not depend upon one’s ability to empl... more Arguably, success and failure in arts entrepreneurship does not depend upon one’s ability to employ themselves or create a business. Given that the academic field of arts entrepreneurship is still emerging, it is not surprising that arts entrepreneurship theory is underdeveloped. As a result, arts entrepreneurship researchers have had to import other theories from outside of the arts literature to provide a rationale for their conceptual frameworks, models, hypotheses, and research conclusions. While a theory of arts entrepreneurship could help answer the recurring question (i.e., What is arts entrepreneurship?), without a theory or theories based on repeated observations that are verifiable, what arts entrepreneurship “is” may be based on individual subjectivity, discipline-based bias, and untested assumptions. To address this gap in the arts entrepreneurship literature, I propose a theory of arts entrepreneurship evidenced by repeated observations that are verifiable via case study experiences.
Every year in higher education institutions across the United States many college students from u... more Every year in higher education institutions across the United States many college students from underrepresented minority groups experience prejudice, discrimination, and verbal harassment based on their race and/or ethnicity. Although underutilized as a preventative intervention strategy in higher education, studies show that the arts have enormous potential to reduce risk factors by facilitating anti-bias education in a nonthreatening way. As a proof of concept, this study discusses the social problem, provides a summary of an arts-based intervention design and development process, and reports the results of a pilot test.
The Journal of Arts Management, Law, and Society, 2018
Throughout most of the entrepreneurship research literature, the entrepreneur is generally identi... more Throughout most of the entrepreneurship research literature, the entrepreneur is generally identified as a native-born White male who undertakes either self-employment or firm creation in Western developed countries. In addition, most of the literature frames these entrepreneurial actions as for-profit activities. Perhaps due in part to such prevailing frames, we know little about minority entrepreneurship, let alone as it occurs within the non-profit arts sector. To aid the field in new understandings, I review the minority entrepreneurship literature, identify minority entrepreneurship strategies, make connections to the non-profit arts sector, and propose new directions for theory development in the field.
Artivate: A journal of entrepreneurship in the arts, 2017
The purpose of this study is to lay a foundation for comparative analysis of arts entrepreneurs' ... more The purpose of this study is to lay a foundation for comparative analysis of arts entrepreneurs' demographics and shared characteristics in a given U.S. arts sector. Guided by a conceptual framework for the U.S. arts sector, I utilized a cross sectional survey design to generate data for analysis. In this article, I reflect on the research process, interpret findings, and utilize new understandings as a catalyst for guiding and informing directions for the emerging arts entrepreneurship research field.
While there are many educational and experiential benefits to attending professional higher arts ... more While there are many educational and experiential benefits to attending professional higher arts education programs, students who incur excessive student loan debt during their studies may experience unanticipated or poor professional outcomes either over the course of their artistic careers, shortly after the expiration of a loan grace period, or after they can no longer defer payments. To date, little to no research exists on the effects of an excessive student loan debt burden on professional arts careers. To address this gap in the higher arts education literature, and in an effort to facilitate scholarly discussion on the topic, this article identifies concerns, consequences, and potential interventions.
The Society for Arts Entrepreneurship Education provides a national inventory of Arts Entrepreneu... more The Society for Arts Entrepreneurship Education provides a national inventory of Arts Entrepreneurship programs and currently identifies at least ninety-six institutions offering courses and programs dedicated to the study of entrepreneurship in the context of the arts. Research suggests such courses are commonly associated with new venture creation across the arts and creative sector, as well as the teaching and learning of skills, competencies and behaviors necessary for self-employment in the arts and creative industries. However, despite the existence of such courses and programs, there currently exists no proposed theory or theories of arts entrepreneurship in nascent literature for guiding contextual entrepreneurship pedagogy and practice. In an effort to advance the concept of arts entrepreneurship, this paper identifies challenges to theory building, explores a theory of arts entrepreneurship, and proposes how a theory of arts entrepreneurship can inform program theory development.
Artivate: A journal of entrepreneurship in the arts, 2013
While many professional arts training programs prepare students to excel at the practice and perf... more While many professional arts training programs prepare students to excel at the practice and performance of the arts, evidence suggests that many professional arts training programs may be failing to prepare students to be professional artists. A total of 11.1% of all recent college graduates with undergraduate arts degrees are unemployed (Carnevale, Cheah, & Strohl, 2012, p. 7). Fifty-two percent of arts undergraduate alumni reported being dissatisfied with their institution’s ability to advise them about further career or education opportunities (SNAAP, 2012, p. 14). Eighty-one percent of all arts undergraduate alumni reported having a primary job outside of the arts for reasons of job security (SNAAP, 2012, p. 19). Many arts higher education administrators address the situation by advising arts students to attend business and entrepreneurship courses. However, these courses are often taught or presented outside of an arts training context. Arts entrepreneurship education can serve as contextual business/career/technology education for arts students; however, barriers make it difficult for administrators to create adequate curricular room for arts entrepreneurship education. Furthermore, the teaching and learning of contextual business/career/technology education in professional arts training programs may often be thought of as helpful but not essential, as evidenced by the National Office of Arts Accreditation (NOAA) classification of these types of courses as general education units. This essay supports the need for arts entrepreneurship education, and discusses key barriers to recognizing arts entrepreneurship education as essential to professional arts training.
Artivate: A Journal of Entrepreneurship in the Arts, Oct 18, 2019
Arguably, success and failure in arts entrepreneurship does not depend upon one’s ability to empl... more Arguably, success and failure in arts entrepreneurship does not depend upon one’s ability to employ themselves or create a business. Given that the academic field of arts entrepreneurship is still emerging, it is not surprising that arts entrepreneurship theory is underdeveloped. As a result, arts entrepreneurship researchers have had to import other theories from outside of the arts literature to provide a rationale for their conceptual frameworks, models, hypotheses, and research conclusions. While a theory of arts entrepreneurship could help answer the recurring question (i.e., What is arts entrepreneurship?), without a theory or theories based on repeated observations that are verifiable, what arts entrepreneurship “is” may be based on individual subjectivity, discipline-based bias, and untested assumptions. To address this gap in the arts entrepreneurship literature, I propose a theory of arts entrepreneurship evidenced by repeated observations that are verifiable via case study experiences.
Every year in higher education institutions across the United States many college students from u... more Every year in higher education institutions across the United States many college students from underrepresented minority groups experience prejudice, discrimination, and verbal harassment based on their race and/or ethnicity. Although underutilized as a preventative intervention strategy in higher education, studies show that the arts have enormous potential to reduce risk factors by facilitating anti-bias education in a nonthreatening way. As a proof of concept, this study discusses the social problem, provides a summary of an arts-based intervention design and development process, and reports the results of a pilot test.
The Journal of Arts Management, Law, and Society, 2018
Throughout most of the entrepreneurship research literature, the entrepreneur is generally identi... more Throughout most of the entrepreneurship research literature, the entrepreneur is generally identified as a native-born White male who undertakes either self-employment or firm creation in Western developed countries. In addition, most of the literature frames these entrepreneurial actions as for-profit activities. Perhaps due in part to such prevailing frames, we know little about minority entrepreneurship, let alone as it occurs within the non-profit arts sector. To aid the field in new understandings, I review the minority entrepreneurship literature, identify minority entrepreneurship strategies, make connections to the non-profit arts sector, and propose new directions for theory development in the field.
Artivate: A journal of entrepreneurship in the arts, 2017
The purpose of this study is to lay a foundation for comparative analysis of arts entrepreneurs' ... more The purpose of this study is to lay a foundation for comparative analysis of arts entrepreneurs' demographics and shared characteristics in a given U.S. arts sector. Guided by a conceptual framework for the U.S. arts sector, I utilized a cross sectional survey design to generate data for analysis. In this article, I reflect on the research process, interpret findings, and utilize new understandings as a catalyst for guiding and informing directions for the emerging arts entrepreneurship research field.
While there are many educational and experiential benefits to attending professional higher arts ... more While there are many educational and experiential benefits to attending professional higher arts education programs, students who incur excessive student loan debt during their studies may experience unanticipated or poor professional outcomes either over the course of their artistic careers, shortly after the expiration of a loan grace period, or after they can no longer defer payments. To date, little to no research exists on the effects of an excessive student loan debt burden on professional arts careers. To address this gap in the higher arts education literature, and in an effort to facilitate scholarly discussion on the topic, this article identifies concerns, consequences, and potential interventions.
The Society for Arts Entrepreneurship Education provides a national inventory of Arts Entrepreneu... more The Society for Arts Entrepreneurship Education provides a national inventory of Arts Entrepreneurship programs and currently identifies at least ninety-six institutions offering courses and programs dedicated to the study of entrepreneurship in the context of the arts. Research suggests such courses are commonly associated with new venture creation across the arts and creative sector, as well as the teaching and learning of skills, competencies and behaviors necessary for self-employment in the arts and creative industries. However, despite the existence of such courses and programs, there currently exists no proposed theory or theories of arts entrepreneurship in nascent literature for guiding contextual entrepreneurship pedagogy and practice. In an effort to advance the concept of arts entrepreneurship, this paper identifies challenges to theory building, explores a theory of arts entrepreneurship, and proposes how a theory of arts entrepreneurship can inform program theory development.
Artivate: A journal of entrepreneurship in the arts, 2013
While many professional arts training programs prepare students to excel at the practice and perf... more While many professional arts training programs prepare students to excel at the practice and performance of the arts, evidence suggests that many professional arts training programs may be failing to prepare students to be professional artists. A total of 11.1% of all recent college graduates with undergraduate arts degrees are unemployed (Carnevale, Cheah, & Strohl, 2012, p. 7). Fifty-two percent of arts undergraduate alumni reported being dissatisfied with their institution’s ability to advise them about further career or education opportunities (SNAAP, 2012, p. 14). Eighty-one percent of all arts undergraduate alumni reported having a primary job outside of the arts for reasons of job security (SNAAP, 2012, p. 19). Many arts higher education administrators address the situation by advising arts students to attend business and entrepreneurship courses. However, these courses are often taught or presented outside of an arts training context. Arts entrepreneurship education can serve as contextual business/career/technology education for arts students; however, barriers make it difficult for administrators to create adequate curricular room for arts entrepreneurship education. Furthermore, the teaching and learning of contextual business/career/technology education in professional arts training programs may often be thought of as helpful but not essential, as evidenced by the National Office of Arts Accreditation (NOAA) classification of these types of courses as general education units. This essay supports the need for arts entrepreneurship education, and discusses key barriers to recognizing arts entrepreneurship education as essential to professional arts training.
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Papers by Jason C . White