The Internationalisation Process of the Smaller Firm: an examination of the craft microenterprise

This work involves an examination of the internationalisation process of the smaller firm, focusing on the craft enterprise in the United Kingdom and the Republic of Ireland. Craft sector analysis was carried out in order to determine historical precedents as well as to assist in the identification of industry and firm level factors impinging upon domestic and export market behaviour. A range of internationalisation theories are discussed, with the conclusion that the majority of these frameworks fail to readily explain smaller firm exporting behaviour. More recent developments such as the born global firm, the instant international and networking for internationalisation are deemed more appropriate fits for smaller firm internationalisation research. Quantitative results identify the majority of craft firms as microenterprises with almost one half operating as a single person business. Qualitative analysis enabled profiling of craft firm types to be carried out. Four orientations are uncovered: the entrepreneur, the idealist, the lifestyler and the latecomer. A composite framework of the factors uncovered in the analysis is constructed in order to better explain the process of smaller firm internationalisation

The Tension Between Artistic and Market Orientation in Visual Art

For centuries, artists have existed in a world which has been shaped in part by their own attitudes towards art but which also co-exists within the confines of a market structure. Many artists have thrived under the conventional notion of a market with its origins in economics and supply and demand, while others have created a market for their work through their own entrepreneurial endeavours. This chapter will explore the options open to the visual artist and examine how existing marketing theory often fails to explain how and why the artist develops an individualistic form of marketing where the self and the artwork are just as important as the audience and the customer

An examination of the internationalisation process of the smaller craft firm in the United Kingdom and the Republic of Ireland

This thesis involves an examination of the internationalisation process of the smaller craft firm in the United Kingdom and the Republic of Ireland. Sectoral analysis was carried out in order to determine historical precedents as well as the identification of industry and firm level factors impinging upon domestic and export market behaviour. Key findings at this stage included the fact that the majority of craft firms could be classified as small and that they impact economically at both domestic and international level. The majority of existing craft sector research is practitioner specific, with little evidence of theoretical rigour. Following this, a range of internationalisation theories were discussed, from their historical provenance in economic trade theory to the more recent developments concerning the impact of technology and networking. It was concluded that the majority of these frameworks fail to readily explain smaller firm internationalisation behaviour. The research methodology followed was pluralistic in nature, given that the majority of existing internationalisation studies follow the quantitative method and are generally replicative. It was believed that by adopting both quantitative and qualitative methods, a richer amount of data would be obtained in order to generate an improved understanding of smaller firm internationalisation. Research propositions centred on the belief that investigation of the sector would uncover a number of internal and external impinging factors which were specific to the craft firm. Future modelling of the internationalisation process would need to account for situation specific factors, instead of attempting to offer a generic interpretation of the process. Quantitative results identified the majority of firms as microenterprises with trade fairs and networking shown to be the most effective forms of export marketing research and methods of entry into international markets. The main export markets were identified as other European Union countries and North America. The only significant differences among export groups from the five countries surveyed related to the Far East as an export market destination. Qualitative results generally supported the quantitative findings and, in addition, enabled profiling of craft firm types to be carried out. Four orientations were uncovered: the entrepreneur, the idealist, the lifestyler and the latecomer. Exporting behaviour was also found to be affected by the cultural background of the owner/manager. Comparison of the results with existing literature facilitated the construction of frameworks relating to smaller craft firm internationalisation behaviour, performance and success. Interpretation of these factors was found to vary depending on owner/manager orientation. A number of theoretical implications were presented, including the promotion of the belief that the emerging marketing and entrepreneurship paradigm provides additional understanding to smaller craft firm internationalisation. A composite framework of the various factors uncovered in the analysis was constructed. Practical implications include the belief that, instead of support organisations offering generic exporting advice, sector specific information and support is more beneficial to encouraging future exporting success. It was recognised that future comparative research examining internationalisation behaviour of craft firms of various sizes, as well as assessing consumption issues relating to the craft product, would prove valuable in additional knowledge contribution

a cultural tourism research agenda

The issues associated with accurately defining ‘art and cultural outputs’ as a ‘product’ is one that is familiar to both cultural tourism organisations and academics alike (Fillis, 2006). Those in cultural tourism organisations often reject the materialistic associations of ‘product’ when applied to their sector, as well as the notion of ‘consumer demand’, which does not accurately represent the primary driving force behind art/culture-based production nor does it the ‘relationship’ that exists between art/culture suppliers and art/culture consumers (Lehman & Wickham, 2014). Similarly, traditional marketing literature does not present a clear conceptualisation of how ‘art/cultural outputs’ comply with the traditional ‘product’ concept, and it rarely addresses the circumstances where product creation is not directly linked to customer needs/wants/demands (Kubacki & Croft, 2011). Despite this, effective art/cultural supply chain management (i.e. the production, marketing and consumption of art/cultural outputs) is increasingly recognised as an important driver of economic development, and essential to the development of sustainable art and cultural sectors (Evans, 2009 and Lehman and Wickham, 2014). Given these issues, this paper presents a research agenda for the reconceptualisation of the ‘product’ concept for the cultural tourism context. It will do so through the lens of Levitt’s (1980) Customer Value Hierarchy (see Fig. 1) - a framework that identifies a range of ‘product levels’ that serve to deliver ‘core benefits’ sought by different consumer segments across the art/cultural supply chain

An Evaluation of Artistic Influences on Marketing Theory and Practice

Purpose: This paper evaluates the connections between art and marketing in order to develop enhanced insight into how art and the art world can inform marketing theory and practice. Design/Methodology/Approach: An in-depth analysis of a wide range of relevant literatures is carried out in order to heighten our understanding of art as a way of knowing within the marketing discipline. A range of meanings of art and marketing are considered and an analyses of their intersections is carried out. Findings: A number of potentially useful concepts are developed, including that of the marketing manager as an artist. Viewing marketing through art is seen as an avant garde response to addressing the continuing theory/practice gap. Research limitations/implications: Following an art-based way of knowing in marketing has the potential to challenge more mainstream paths of thinking by opening up the ways in which we visualise marketing theory and practice. Practical implications: Artistic creativity is seen as a key factor in stimulating marketing decisions. Viewing the marketer as artist also mirrors the actual behaviour of the marketing manager by providing insight into intuitive thought processes and visualisation techniques. Originality/value: Arts marketing research in general is making progress in terms of its theoretical and practical contributions to the wider marketing discipline. It is believed that papers such as this will contribute to the ongoing research agenda by stimulating much needed critical debate

A Methodology for Researching International Entrepreneurship in SMEs: a challenge to the status quo

Purpose of this paper: To evaluate an alternative methodological approach to researching international entrepreneurship which mirrors the creativity of successful entrepreneurial organisations. Design/methodology/approach: The biographical approach discussed overcomes the pervasive linear thinking found in the wider management discipline. Successful entrepreneurial practice is anything but linear. This notion is embraced in the consideration of a methodology which mirrors its non-linear path. Findings: A biographical approach constructs richer and deeper data which would otherwise remain undiscovered. It allows for a more flexible approach to research. Triangulation with the more usual methods of survey work and in-depth interview ensures that quality and rigour are maintained throughout. Research limitations/implications: Research which adopts a more considered, critical perspective is limited in international entrepreneurship. There is evidence that critical entrepreneurship researchers are embracing alternative methodologies such as narrative, discursive and literary approaches which complement and challenge existing dominant thinking. Practical implications: Up to now, many practitioners have felt that researchers do not listen sufficiently to their stories of success and failure and that there is a lack of meaningful engagement with them. The approach discussed here helps to improve the relationship between researcher and researched. What is original/value of the paper? Following more creative approaches such as those espoused in this paper can help to facilitate more meaningful interaction between the researcher and the biographical subject

Exploring Metaphor as an Alternative Marketing Language

Purpose - The main aim of this paper is to stimulate more relevant and critical ideas about marketing and the wider management field by exploring the actual and potential contribution of metaphor to marketing theory and practice. The subsequent connections made can help contribute towards understanding and coping with the theory/practice gap. Methodology/Approach – To date, the majority of metaphor application has tended to be literal and surface-level rather than theoretically grounded. This paper interrogates the literature surrounding metaphor in marketing and management fields, while also examining the contribution of other areas such as art. The paper constructs and debates the conceptual notion of the marketer as an artist. Research Limitations/Implications – Incorporation of theoretically grounded metaphors into marketing theory can help develop a form of marketing which is capable of dealing with ambiguity, chaotic market conditions, creative thinking and practice. Originality/Value of paper – Adoption of a metaphorical approach to marketing research helps to instil a critical and creative ethos in the research process. Marketers are concerned with identification and exploitation of opportunities. Metaphor assists in the process by enhancing visualisation of these future directions. We live out our lives to a large degree through the making of metaphorical connections. We should therefore embrace more qualitative, creative associations in marketing theory, as well as practice

An exploratory investigation into the role of a research and development programme on future craft practice

Purpose - The purpose of this paper is to assess the effectiveness of a research and development programme on improving craft practice through the provision of mentoring by academic practitioners, studio space and advice on marketing techniques. Design/methodology/approach - Following an initial focus group investigation of issues which impinge on contemporary craft practice, recipients of a bursary associated with the research and development programme were assessed with respect to how their craft and marketing competencies have developed. Findings - Practitioners can now reflect on their skills, experiment with techniques and consider the effectiveness of their approach and attitude towards marketing. Research limitations/implications - The programme only extends to practitioners working with one art and design institution but has implications for those concerned with creative practice elsewhere. Practical implications - There is wider potential to reinvigorate artistic and marketing practice across the creative and cultural industries, and the small and medium enterprise community in general. Originality/value - This is a novel programme which challenges experienced practitioners to extend their creative abilities in craft and approaches to marketing

Measuring the cultural value of the Royal Scottish Academy New Contemporaries Exhibition as a platform for emerging artists

In our analysis of the cultural value of the Royal Scottish Academy New Contemporaries Exhibition, we assessed the institution’s role in shaping emerging artists’ careers, as well as wider cultural value. Supported by our conceptual framework of value creation, issues assessed included the expected versus experienced value of the exhibition and the individual artworks, price setting, the market mechanism surrounding the exhibition, and its enhancement. The created cultural value is facilitated by high-visibility media exposure and through development of career-enhancing networks. We have generated new insight into cultural value more generally by moving beyond dominant instrumental valuation approaches. We have addressed many of the gaps in understanding the mechanisms behind engagement with contemporary art. We have progressed theory with the assistance of our conceptual framework and supporting qualitative data. Cultural value is expressed in contemporary art through artistic production systems and its cultural messages. Artists’ cultural value is often constructed via the intrinsic worth of their work, rather than from market influences. Cultural value is often personal to the viewer, shared with others and remembered over time. It is also co-created among the other stakeholders involved

Nudging art lovers to donate.

Many nonprofit organizations face revenue uncertainty due to funding cuts. It is crucial for them to supplement existing revenue streams by private donations, and apply thoughtful market segmentation in their pursuit of donors. We introduce the behavioral concept of ‘nudge’ based on the possibility of loss aversion affecting willingness-to-donate, and investigate its implications for fundraising strategies. Potential donors are nudged to donate by the hypothetical scenario of ‘losing’ an existing exhibition, and also by that of ‘gaining’ an additional exhibition. We observe significant loss aversion effects as frequent gallery-goers donate more in order to avoid losing an exhibition. While both prospective gain and loss scenarios are effective in nudging non-frequent gallery-goers, the prospect of enjoying ‘one more’ event is observed to be stronger. We argue that there may be scope to increase support for nonprofit organizations, particularly in the cultural sector, by exploiting the psychological characteristics of prospective donors