Selimane Koubaich
Morocco
Director and Cultural Engineer
Cultural Management
Selimane Koubaich
Morocco
Director and Cultural Engineer
Cultural Management
Student
Master Of Cultural Policy and Cultural Management
2020
THESIS TITLE: The Entrepreneurial Model in the Cultural sector: The Case of Urban Music in Casablanca
Abstract:
This study paper aims to look into how urban musicians use their entrepreneurial skills to adopt and develop a business model for their music business. What are the essential factors for developing an entrepreneurial model for an artist, the legal entrepreneurial models that can be used in the urban music sector, and the challenges and obstacles that artists and musicians encounter when deciding on an entrepreneurship model for their music projects?
This paper aims to contribute to this area of research by providing more insight into the issues confronting musician's business models and looking at the sector from a variety of perspectives, with a focus on placing urban music in the socio-cultural cycle of entrepreneurship. The theoretical section of this study examines cultural and social entrepreneurship in Moroccan and international academic literature as well as the creative sector, highlighting several case studies in the field on the one hand, and Moroccan elements of cultural entrepreneurship and various components and efforts of all players working or having responsibility in the music industry on the other.
A questionnaire was done with urban artists and diverse actors representing the different contributors in the music industry in Morocco for the aims of the empirical research, and the data was evaluated using exploratory quantitative data analysis. The findings show that Moroccan music entrepreneurs make a significant contribution to the country's economic progress and integration into the global market. Along with the numerous benefits that incorporating business concepts into the music industry delivers, this sector also has its own set of complications and challenges. Furthermore, they suggest that, while national policies encourage the younger generation to become entrepreneurs through a variety of programs and policies, further rules for the Moroccan music sector should be enacted.
This study paper aims to look into how urban musicians use their entrepreneurial skills to adopt and develop a business model for their music business. What are the essential factors for developing an entrepreneurial model for an artist, the legal entrepreneurial models that can be used in the urban music sector, and the challenges and obstacles that artists and musicians encounter when deciding on an entrepreneurship model for their music projects?
This paper aims to contribute to this area of research by providing more insight into the issues confronting musician's business models and looking at the sector from a variety of perspectives, with a focus on placing urban music in the socio-cultural cycle of entrepreneurship. The theoretical section of this study examines cultural and social entrepreneurship in Moroccan and international academic literature as well as the creative sector, highlighting several case studies in the field on the one hand, and Moroccan elements of cultural entrepreneurship and various components and efforts of all players working or having responsibility in the music industry on the other.
A questionnaire was done with urban artists and diverse actors representing the different contributors in the music industry in Morocco for the aims of the empirical research, and the data was evaluated using exploratory quantitative data analysis. The findings show that Moroccan music entrepreneurs make a significant contribution to the country's economic progress and integration into the global market. Along with the numerous benefits that incorporating business concepts into the music industry delivers, this sector also has its own set of complications and challenges. Furthermore, they suggest that, while national policies encourage the younger generation to become entrepreneurs through a variety of programs and policies, further rules for the Moroccan music sector should be enacted.
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