International Journal of Management, Knowledge and Learning, 7(2), 117-140 q Intercultural Education for Creative Entrepreneurship Anca Draghici Politehnica University of Timisoara, Romania Matei Tamasila Politehnica University of Timisoara, Romania Larisa Ivascu Politehnica University of Timisoara, Romania Claudiu Albulescu Politehnica University of Timisoara, Romania Intercultural education is specific to the multicultural environment in Europe. The European focus on intercultural education is reflected in the documents, reports and measures taken through various financially supported projects. This article presents a research on the characterization of entrepreneurial potential in the case of an intercultural group of Romanian and Serbian trainees who became the target of a cross-border project between Romania and Serbia. The project, of which the designed Creative Entrepreneurship Training Program is part of, is entitled 'InclusiveArt - Access to Culture for Disadvantaged Children and Youth.' It implies a dynamic partnership formed by two NGOs (the Intercultural Institute Timisoara and 'Nevo Parudimos,' from Re-sita), one local public authority (the city of Zrenjanin) and one public cultural institution (the Centre for Fine and Applied Arts Terra, Kikinda). The proposed Creative Entrepreneurship Training Program (created in English) plans to help young potential entrepreneurs from the Banat Area in order to develop disad-vantaged communities, by establishing commercially viable (self-sustaining) projects/businesses, based on a creative idea, as well as through the provision of a six-day training course for a group of 40 people aged 18 to 35. The training is delivered by a team of academics and training professionals from the Politehnica University Timisoara and the Intercultural Institute Timisoara, both from Romania. The proposed intercultural education program associated with the project implementation aims to the development of entrepreneurship competencies of young people that will be active in creative industries. The potential entrepreneurship characterization considered entrepreneurial traits, such as concerns, motivations, aptitudes and attitudes, as a result of data processing from a self-assessment test. The research results and conclusions support the definition of the structure, content and the didactic strategy adopted for the intercultural education program implementation. Keywords: entrepreneurship potential, intercultural education, creative industries, creative entrepreneurship, self-assessment test www.issbs.si/press/ISSN/2232-5697/7_117-140.pdf 118 Anca Draghici, Matei Tamasila, Larisa Iva§cu, and Claudiu Albulescu Introduction The term 'culture industry' appeared in the post-war period as a radical critique of mass entertainment sustained by Theodor Adorno and Max Horkheimer (2002). At that time, 'culture industry' was a concept intended to shock: culture and industry were argued to be opposites and the term was used in polemics against the limitations of modern cultural life. It continued to be used as an expression of contempt for the popular newspapers, movies, magazines and music that distracted the masses (Carey, 1992). In the last years, the term has been used in association with 'creative industries,' considered as a set of knowledge-based activities focused on the generation of meaning, contents and aesthetic attributes by means of creativity, skill and talent, and with the potential to create wealth from trade and intellectual property rights (Department for Digital, Culture, Media & Sport, 2009; UNCTAD, 2010). Defining 'creative industries' or 'cultural industries' (sometime used as interchangeable terms) have been the subject of considerable inconsistency and disagreement in the literature and in policymaking documents, especially if the parallel concept of 'cultural industries' is considered. The debates on its definition have finally succeeded to define the concept of 'cultural products,' articulated upon the notion of 'culture,' either in its anthropological or its functional sense. It might be argued, for example, that cultural goods and services, such as artwork, musical performances, literature, film and television programmes, and video games (see Table 1), share the following characteristics (Peltoniemi, 2015; Leslie & Rantisi, 2017; Haans & van Witteloostuijn, 2018): • Their production requires some input of human creativity; • They are vehicles of symbolic messages to those who consume them (e.g., they are more than simply utilitarian insofar as they additionally serve some larger, communicative purpose); • They contain, at least potentially, some intellectual property that is attributable to the individual or group producing the good or service. Overall, there has been a big debate and different interpretations of culture as an industry. For some, the notion of 'cultural industries' evokes dichotomies, such as elite versus mass culture, high versus popular culture, and fine arts versus commercial entertainment. More generally, however, the proposition that cultural industries are simply those that produce cultural goods and services, typically defined along the lines outlined above, has gained greater acceptance (UNCTAD, 2010). According to the UNESCO, cultural industries are regarded as those industries that 'combine the creation, production and commercialization of International Journal of Management, Knowledge and Learning Intercultural Education for Creative Entrepreneurship 119 Table 1 UNCTAD List of Creative Services EBOPS codes Sub activities Photography 83811 Portrait photography services 83812 Advertising and related photography services 83813 Event photography and event videography services 83814 Specialty photography services 83815 Restoration and retouching services of photography 83819 Other photography services 83820 Photographic processing services Painting and 96320 Services of authors, composers, sculptors and other artists, sculptures except performing artists Performing arts 96210 Performing arts event promotion and organization services 96220 Performing arts event production and presentation services 96230 Performing arts facility operation services 96290 Other performing arts and live entertainment services 96310 Services of performing artists Music 96111 Sound recording services 96112 Live recording services 89123 Reprod. services of recorded media, on a fee or contract basis 88904 Musical instrument manufacturing services Publishing 89110 Publishing, on a fee or contract basis services 89121 Printing services 89122 Services related to printing 84410 News agency services to newspapers and periodicals Radio and 84631 Broadcasting services television 96122 Radio programme production services 96131 Audio-visual editing services 96132 Transfers and duplication of masters services 96133 Colour correction and digital restoration services 96134 Visual effects services 96135 Animation services 96136 Captioning, titling and subtitling services 96137 Sound editing and design services 96139 Other post-production services 84632 Home programme distribution services, basic prog. package 84633 Home programme distribution services, discretionary programming package 84634 Home programme distribution services, pay-per-view Continued on the next page contents which are intangible and cultural in nature. These contents are typically protected by copyright and they can take the form of goods or services.' Furthermore, an important aspect of cultural industries is that they are 'central in promoting and maintaining cultural diversity and in ensuring democratic access to culture' (UNESCO, 2000). This two-fold nature (combining the cultural and the economic perspectives) gives cultural industries a distinctive profile. Volume 7, Issue 2, 2018 120 Anca Draghici, Matei Tamasila, Larisa Iva§cu, and Claudiu Albulescu Table 1 Continued from the previous page EBOPS codes Sub activities Film 96121 Motion picture, videotape and television programme production services 96140 Motion picture, videotape and television programme distribution services 96150 Motion picture projection services Interior 83911 Interior design services 88901 Furniture manufacturing services Jewellery 88902 Jewellery manufacturing services 88903 Imitation jewellery manufacturing services Toy 88906 Game and toy manufacturing services Digital online 84311 Online books content 84312 Online newspapers and periodicals 84321 Musical audio downloads 84322 Streamed audio content 84331 Films and other video downloads 84332 Streamed video content 84391 Online games 84392 Online software Advertising 83611 Full service advertising services 83612 Direct marketing and direct mail services 83619 Other advertising services 83620 Purchase or sale of advertising space or time, on commission 83631 Sale of advertising space in print media (except on commission) 83632 Sale of TV/radio advertising time (except on commission) 83633 Sale of Internet advertising space (except on commission) 83639 Sale of other advertising space or time (except on commission) Continued on the next page In many European countries, creative economy is now recognized as a leading sector generating economic growth, employment and trade. In Europe, creative economy created a turnover of €654 billion in 2003, increasing 12% more than the overall economy. At present, it is estimated that cultural and creative industries contribute around 2.6% to the total GDP of the European Union, providing quality jobs to around 5 million people across the 27 EU member States. The creative economy became a priority and a strategic sector in the European 2020 Agenda. The United Nations Conference on Trade and Development (UNCTAD) 2008 Report on Creative Economy underlined that creative industries are among the most dynamic sectors of the world economy, having a positive impact on employability and social inclusion. The Report was published early in 2008, the year of the financial crisis that caused a drop in global demand, resulting in the contraction of international trade and, ultimately leading many of the world's economies into recession. Furthermore, the international Journal of Management, Knowledge and Learning Intercultural Education for Creative Entrepreneurship 121 Table 1 Continued from the previous page EBOPS codes Sub activities Architectural 83211 Architectural advisory services 83212 Architectural services services for residential building projects 83213 Architectural services for non-residential building projects 83214 Historical restoration architectural services Cultural and 84510 Library services recreational 84520 Archive services services 96411 Museum services except for historical sites and buildings 96412 Preservation services of historical sites and buildings 96421 Botanical and zoological garden services 96910 Amusement park and similar attraction services 96930 Coin-operated amusement machine services Royalties and 73220 Leasing or rental services concerning video tapes and disks license fees 73311 Licensing services for the right to use computer software 73312 Licensing services for the right to use databases 73320 Licensing services for the right to use entertainment, literary or artistic originals 73330 Licensing services for the right to use R&D products 73390 Licensing services for the right to use other intellectual property products UNCTAD 2010 Report showed that creative economy had a significantly more positive growth trajectory since 2008. World exports of creative goods and services reached $650 billion in 2010, nearly two and half times their 2002 level (according to the statistical information included in the United Nation Report). Many recent studies have shown that cultural and creative industries represent highly innovative companies with a great economic potential, and are one of Europe's most dynamic sectors, contributing around 2.6 % to the EU GDP with a high potential for growth and provision of quality jobs to around 5 million people across EU-27. In this context, the present article presents research on the characterization of entrepreneurial potential in the case of an intercultural group of Romanian and Serbian trainees who became the target of a cross-border project between Romania and Serbia. The project, of which the designed Creative Entrepreneurship Training Program is part of, is entitled 'Inclu-siveArt - Access to Culture for Disadvantaged Children and Youth.' It implies a dynamic partnership formed by two NGOs (the Intercultural Institute Timisoara and 'Nevo Parudimos' from Resita), one local public authority (the city of Zrenjanin) and one public cultural institution (the Centre for Fine and Applied Arts Terra, Kikinda). The proposed Creative Entrepreneurship Training Program (created and implemented in English) plans to help young potential entrepreneurs from the Banat Area meet their needs in order to develop disadvantaged communities, by means of commercially viable (self- Volume 7, Issue 2, 2018 122 Anca Draghici, Matei Tamasila, Larisa Iva§cu, and Claudiu Albulescu sustaining) projects/businesses based on a creative idea. For so doing, a six-day training course for a group of 40 people aged 18 to 35 was organized. The training was delivered by a team of academics and training professionals from the Politehnica University Timisoara and the Intercultural Institute Timisoara, both from Romania (the trainees had to interact with Romanian trainers in English). Furthermore, the proposed intercultural education program associated with the project implementation aims to support the development of en-trepreneurship competencies of young people active in creative industries. The article structure consists of: (1) description of the creative en-trepreneurship specifics (as entrepreneurs operating in the creative industries field); (2) design process of the Creative Entrepreneurship Training Program; (3) research approach for the potential entrepreneurship characterization of the trainees by considering entrepreneurial traits, such as concerns, motivations, aptitudes and attitudes, together with the research results from a self-assessment test; (4) conclusions of the study. Creative Entrepreneurship Policy makers and artists of all categories have recognized that cultural and creative industries fuel the innovation and economic development of regions and countries (Bilton, 2015; Porfirio, Carrilho, & Monico, 2016). These industries are gaining more attention from mainstream scholars because of their increasing contribution to the development of Europe, and especially to the Mediterranean countries, that often lag behind the core European countries (Interreg, 2014). Considering the European context, creative entrepreneurship is also, known as cultural entrepreneurship. Kuh-lke, Schramme, and Kooyman (2015) note, 'In Europe, courses began to emerge in the late 1980s and early 1990s [...] primarily providing an established business school education with an industry-specific focus on the new and emerging creative economy.' Essig (2017) has analyzed the phenomena in parallel with art entrepreneurship in the United States and has argued on the importance of the education development in this field. UNCTAD reports from 2008 and 2010 have emphasised that policies promoting the creative economy have to include, by priority, investment in education and human capital, with particular reference to the intersection between creative capacities and relevant technical skills. Furthermore, a large debate between educators, artists, intermediaries in creative industries and a new cohort of actors from the technologic field has highlighted the need for educating in creative entrepreneurship, mainly in the field of management and marketing. Bilton (2015) points to the importance of considering education for creative entrepreneurship in all high education programs related to arts, music or even multimedia and information international Journal of Management, Knowledge and Learning Intercultural Education for Creative Entrepreneurship 123 technologies, as a consequence of the potential impact of future young entrepreneurs in the local and regional development. The creation of new firms occurs as a context-dependent, economic, and social process. The dynamics of this creation are very dependent on the entrepreneurs' attitudes towards critical factors (Chaston & Sadler-Smith, 2012), as well as on the conditions required to grow and prosper. Knowledge about the context where industries and entrepreneurial ventures develop is crucial to understand what is behind the phenomenon of development of creative industries (Porffrio et al., 2016). According to Hausmann and Heinze (2016), there is no consensual understanding of entrepreneurship in the cultural and creative sector, yet. As mentioned in the research, an exception was found in four identified articles (Wilson & Stokes, 2004, 2006; Rae, 2005; Enhuber, 2014) referring to other authors' research, where the provided definitions differ considerably from each other (see Table 2). From a more practical perspective, creative entrepreneurship refers to creative people, such as are artists, musicians, writers, designers, and who also act as entrepreneurs in creative industries (they start their own business and sell their creative work). According to the development of Kolb (2015), business plans are the key development that could support creative entrepreneurship. This tool can be used even if creative entrepreneurs decide to take a position in an existing organization, in their own for-profit organization or in a non-profit one. In this regard, they have to learn that those type of organizations exist in a highly competitive environment where they have to valorize their skills and develop new ones. As business developers, creative entrepreneurs have to organize, manage and assume risks of a business, they need to play a leadership role and be aware of the financial-accounting and legal aspects. All these aspects should be clearly presented in their business plan. In addition, Kolb (2015) states that there are three basic entrepreneurial concepts that have to be understood before the business plan development and implementation: 1. The aspects related to creativity and culture as a business by taking into consideration the present society's view of what is art and the dynamics of its monetary value. In addition, these aspects impact the way production, distribution and purchase of cultural products are developed; 2. Definition of each artist's own mission, vision and values, and mainly, those of potential creative business. An introspection into the artist own world could be the starting point underlining the internal resources of the creative entrepreneur, including financial and personal Volume 7, Issue 2, 2018 124 Anca Draghici, Matei Tamasila, Larisa Iva§cu, and Claudiu Albulescu Table 2 Relevant Definitions of Entrepreneurship in the Cultural and Creative Sector Author Definition Enhuber (2014) '[C]ultural entrepreneurship can refer to cultural change agents and resourceful visionaries who organize cultural, financial, social and human capital, to generate revenue from a cultural activity.' (p. 4) Kolsteeg (2013) 'Cultural entrepreneurs by definition work in a social, political, economic and artistic discourse.' (p. 5) Smit (2011) 'The current discourse about the creative economy draws on different notions of cultural and creative entrepreneurs. These definitions differ [...]. However, they all concentrate on economic activities dedicated to producing goods and services with mainly aesthetic and symbolic value.' (p. 170) Wilson and '[W]e follow Ellmeier's definition of "cultural entrepreneurialism" - Stokes (2006) encompassing all-round artistic and commercial/business qualifications, long working-hours and fierce competition from bigger companies. [...] This focuses attention squarely on the particular ability of the cultural entrepreneur to coordinate and leverage artistic and managerial resources.' (p. 369) Rae (2005) '[C]reative entrepreneurship, which can be defined as the creation or identification of an opportunity to provide a cultural product, service or experience, and of bringing together the resources to exploit this as an enterprise.' (p. 186) Wilson and '[W]e follow Ellmeier's definition of "cultural entrepreneurialism" - Stokes (2004) encompassing all-round artistic and commercial/business qualifications, long working-hours and fierce competition from bigger companies. [...] the particular ability of the cultural entrepreneur to coordinate artistic and managerial resources [...], can be seen as a defining characteristic of the use of the term "entrepreneur."' (p. 221) Ellmeier (2003) 'Cultural entrepreneurialism means all-round artistic and commercial/business qualifications, long working hours and fierce competition from bigger companies.' (p. 11) Notes Adapted from from Hausmann and Heinze (2016, p. 12-13). qualities. After this, the external environment in which the business will be developed and implemented needs to be examined, including: market and the targeted customers (their behaviour, needs, preferences etc.), competitors, socio-cultural changes, technological development and economic conditions. As a conclusion of this introspection and analysis, a strengths, weakness, opportunities and threats (SWOT) analysis could deliver a synopsis of the business strategy; 3. Market analysis that assumes the characterization and deep understanding of the targeted customers (their behaviour, needs, preferences etc.) and the market where the future creative business will act. Finally, marketing objectives and tactics must be defined. Considering the specifics of the education for creative entrepreneurs, international Journal of Management, Knowledge and Learning Intercultural Education for Creative Entrepreneurship 125 more and more educators are inclined to use methods and tools of intercultural education. This is because, finally, creative industries products have to be included and merged into the socio-cultural environment and, thus, they have to be understood and accepted by an intercultural community (Banks, 2015). As a result, intercultural education is defined as a process that leads to a complete and thorough understanding of the concepts of democracy and pluralism, as well as to a deeper understanding of different customs, traditions, faiths and values. The analysis of the literature revealed many models of intercultural competences development, such as the so-called multicultural education (whose goals are knowledge and peaceful coexistence) and some others related to transcultural approaches (focusing on the promotion of human rights and universal values), while few are intercultural models, which emphasize the opportunities derived from encounter, dialogue and interaction (Guilherme & Dietz, 2015; Portera & Grant, 2017). Furthermore, 'intercultural competences were defined as a set of knowledge, attitudes and skills that allows one to appropriately and effectively manage relations with persons of different linguistic and cultural backgrounds' (Portera & Grant, 2017). Overall, the main advantages of considering intercultural education for creative entrepreneurship are (Portera & Grant, 2017): (1) it does not define identity and culture rigidly, but views them as being dynamic and in constant evolution; and (2) it regards diversity, otherness, emigration and life in a complex and multicultural society not only as risk factors, but also as opportunities for enrichment and growth. Taking these advantages and their practical exploitation impacts the education process associated to a specific program. However, literature is poor in describing didactical and pedagogical methods and tools for creative entrepreneurship development. Considering the entrepreneurial education, Table 3 summarizes the most relevant teaching methods and strategies that can be exploited efficiently. More recently, Thom (2017) confirmed the assumed poor state of arts in entrepreneurship education at higher educational institutions by showing evidence that entrepreneurial education of fine art students was definitely not been implemented, neither in the United Kingdom nor in Germany. Similarly, the study of Nabi, Linán, Fayolle, Krueger, and Walmsley (2017) reconfirmed past reviews and meta-analyses: they found that research on the impact of entrepreneurship education still predominantly focuses on short-term and subjective outcome measures and tends to severely under describe the actual pedagogies being tested (the study is based on the analysis of the articles published in the period 2004-2016). In conclusion, there is a lack of even minimal specific pedagogical details on entrepreneurship education in general and, more especially, for creative industries. Volume 7, Issue 2, 2018 126 Anca Draghici, Matei Tamasila, Larisa Iva§cu, and Claudiu Albulescu Table 3 An Inventory of Teaching Methods and Strategies Trainers activities Trainees activities Experiential learning Inquiry, individual work Experiment Problem-solving exercises Critical thinking Working with information Developing critical thinking Innovation and risk taking Brainstorming Problem thinking Integrated learning/teaching, Complex understanding transfer and interdisciplinary Group work linking Working in and for multidisciplinary teams Project method Create project frameworks (work plan, suitable materials and schedule/time management/task distribution, project work, project evaluation) Establishing fictitious companies Planning and project management in order to achieve goals Collaboration, cooperate within the team Making own ideas relevant to the team Team leadership Finding innovative solutions for specific issues Being resilient Learning from mistakes and failures Learn to make good Combine and compare knowledge and information to use decisions opportunities and how to take risks Strengthen the ability of trainees to convert ideas into practice Learn from each other and learn together as a team Experience exchange Cooperative problem solving Flexibility Use of opportunities Understand the complexity of the work Have contact with real organizations Notes Adapted from JUvová, Cech, and Duda (2017, pp. 68-70). The Intercultural Education Context The main phases and their brief description of the 'InclusiveArt' project are the following: 1. Selecting the participants and define the target group; 2. Developing the curriculum for the creative entrepreneurship development, entitled 'Creative Entrepreneurship Training Program;' 3. Training needs analysis, which have to characterize the trainees actual knowledge (as their own declarations) and their expectations from the training program implementation; 4. Refining the curriculum of the Creative Entrepreneurship Training Program; international Journal of Management, Knowledge and Learning Intercultural Education for Creative Entrepreneurship 127 5. Developing the Virtual Learning Platform for training and evaluation. This is the main tool used not only for teaching, learning and evaluation of the trainees, but also for communicating and tutoring their work, 6. Delivery of training modules. In this case, peer-review processes among trainers have contributed to the elimination of knowledge duplications, as well as to the simplification of several explanations by using visual tools (graphs, figures, movies, examples of good practices, etc.); 7. Counselling and mentoring activities were mainly dedicated to the development of the trainees' final projects and their delivery (uploading into the Virtual Learning Platform); 8. Evaluation of the final projects and provision of grants to each trainee. In the context of the present article, we shall present mainly the content of the first, second and fourth phases, as well as the results of the research for the potential assessment on entrepreneurship developed during the sixth phase. Trainees Group Definition In order to adequately target potential participants for the project, the UNC-TAD (2010) list of activities has been included in the creative industries definition, as it remains the most comprehensive one and was designed for cross-country comparison. UNCTAD's classification has the advantage of being less restrictive due to the fact that it encompasses both the cultural and technological dimensions of creative industries, whereas other taxonomies (as Department for Digital, Culture, Media & Sport, World Intellectual Property Organization or KEA European Affairs are) are biased towards one or the other (in Table 4). UNCTAD's (2010) classification includes both manufacturing and service industries, specific activities of communication and information technology sectors related to creative industries (most of them are services, especially knowledge-intensive services) (Table 4). The 'InclusiveArt' project's partners from Romania and Serbia were responsible for sending invitations to particular organizations that were in contact with young artists. Different advertising events, press announcements, interviews and project presentations organized in towns near the bordering area in Serbia (Kikinda, Zrenjanin) and in Romania (Timisoara, Resita) have touched large audiences engaged in creative industries. Finally, a number of 54 people interested in participating at the Creative Entrepreneurship Training Program were considered during the selection process. Finally, a number of 41 young artists (26 from Romania and 15 from Serbia) interested in participating at the Creative Entrepreneurship Training Program were selected Volume 7, Issue 2, 2018 128 Anca Draghici, Matei Tamasila, Larisa Iva§cu, and Claudiu Albulescu Table 4 Comparison of Different Classifications of Creative Industries Creative industries (1) (2) (3) (4) (5) Printing • • Publishing ..... Advertising & related services ..... Architecture and engineering ..... Arts and antique markets/trade • • • Crafts ..... Design/specialized design services ..... Designer fashion • • • Film/motion picture & video industries ..... Music/Sound recording industries ..... Performing arts (theatre, dance, opera, circus, festivals, live ..... entertainment)/ independent artists, writers, & performers Photography ..... Radio and television (broadcasting) ..... Software, computer games and electronic publishing ..... Heritage/cultural sites (libraries and archives, museums, historic • • • and heritage sites, other heritage institutions) Interactive media • • • Other visual arts (painting, sculpture) • • • Copyright collecting societies • • Cultural tourism/recreational services • • Creative R&D • Notes Column headings are as follows: (1) Department for Digital, Culture, Media & Sport (2009), (2) World Intellectual Property Organization (2003), (3) Eurostat (2000), (4) KEA European Affairs (2006), UNCTAD (2010). Adapted from Boix, Hervas-Oliver, and Miguel-Molina (2015, p. 7). (17 potential participants from Serbia and 24 from Romania). The average age of the participant is 27.75 years. In the first stage of the project implementation, it was necessary to select the participants based on their activities and experience within creative industries. The assessment process considered the participants' uploaded portfolios (pictures, movies, short biography, projects portfolios etc.), available at the Virtual Learning Platform of the Politehnica University of Timisoara, Romania (www.cv.upt.ro, developed under the Moodle platform). The participants' portfolios demonstrated their main areas of interest in the creative industry, as depicted in Figure 1 (interest areas were clustered). In addition, Table 5 summarizes the demography of the trainees and trainers groups in order to demonstrate the created intercultural environment for the development of the Creative Entrepreneurship Training Program. international Journal of Management, Knowledge and Learning Intercultural Education for Creative Entrepreneurship 129 Advertising and marketing Architecture and landscape Crafts Design Film, TV, and video IT and digital economy Museums, galleries, and libraries Music, performing, and visual arts Publishing and media 17 Figure 1 Defined Target Groups: Results of the Selection and Recruiting Process of Young Artists 6 5 Table 5 Characteristics of the Whole Creative Entrepreneurship Training Program Group: Demonstration of Intercultural Created Environments for Training and Assessment Interdisciplinary Transdisciplinary Interculturality Gender Age teams knowledge alliance Various 5 academics + 2 countries: Women: 9 Trainees' age: disciplinary 5 consultants Romania and trainers + 14 18 to 35 backgrounds and trainers of Serbia (but also trainees Trainers' age: concerning the Intercultural different Men: 8 trainers 36 to 54 education, work Institute + 7 nationalities) + 27 trainees experience, regional actors research and (entrepreneurs current in creative employment industries) 17 trainers 41 trainees Brief Description of the Creative Entrepreneurship Training Program Starting from the aspects in the second section, the perspective of Kolb (2015) has been considered adequate for the 'InclusiveArt' project context and, in particular, for the Creative Entrepreneurship Training Program design and implementation. In addition, the program benefited from the intercultural education environment resulting from the trainees' diversity (cultural diversity, education background, age and gender diversity, etc.), trainers' diversity (degree of competencies and experiences with creative industry, but also their education background) and even their education environment, didactic and pedagogy methods and used tools (combing face-to-face education and learning with blending learning, on-line exercises and assessment, etc.). This was created as a result of the literature knowledge gap in the field of teaching and learning of creative entrepreneurship (mentioned in the second section), but also as an opportunity to exploit the existing infrastructure of the Virtual Campus of the Politehnica University of Timisoara Volume 7, Issue 2, 2018 130 Anca Draghici, Matei Tamasila, Larisa Iva§cu, and Claudiu Albulescu Table 6 Short Description of the Behaviour Dimensions Considered by the Applied Self-Assessment Test Behavioural characteristics Descriptions The profile of the Canadian entrepreneur (the basis for the comparison) Motivation Motivations are factors that determine behaviour. They are the underlying reasons that induce someone to act. Minimum score: 19 Average score: 62 Maximum score: 76 Aptitudes Aptitudes are natural inclinations, competencies, and abilities. Certain aptitudes predispose someone to be an entrepreneur. Minimum score: 20 Average score: 67 Maximum score: 80 Attitudes Attitudes are made up of perceptions, our feelings about something. They are judgements we make, ways we look at things. Minimum score: 11 Average score: 37 Maximum score: 44 (www.cv.upt.ro). After several sections of constructive discussions among trainers, the structure and the content of the Creative Entrepreneurship Training Program was defined. Figure 2 shows the associated skills card, as a result of refining the sessions after the assessment phase of training needs. The structure and the content were perfectly aligned to the initial description of the training course, included in the 'InclusiveArt' project proposal. The Entrepreneurship Potential Assessment The Research Methodology The adopted methodology for the entrepreneurship potential characterization consists of a survey using an on-line self-assessment test delivered by the Business Development Bank of Canada (see https://www.bdc.ca). The test was applied to all participants in the Creative Entrepreneurship Training Program, after the presentation of the first and second module of training, and during the introduction of the third module. The applied questionnaire (test) includes 50 statements, and it takes about 10 minutes to fill-up. There are no right or wrong answers and the respondents have to express honest opinions in order to get a good diagnosis on their entrepreneurial potential. For each statement, respondents have to choose the number that best describes their opinion, in correspondence with a Likert scale of 4 points (1 - totally disagree, 2 - somewhat disagree, 3 - somewhat agree, 4 - totally agree). Respondents were aware that they need to use the entire scale as much as possible, as always answering '2' or '3' will not allow them to fully benefit from the on-line tool. Once the respondents completed the test, their answers were compiled, and self-assessment results regarding their entrepreneurial traits, such as concerns motivations, aptitudes and attitudes, were visible (Table 6). international Journal of Management, Knowledge and Learning s to o H 00 Creative industries , Jecza Gallery and Triade Foundation , Timisoara European Capital of Culture 2021 Social Entrepreneurship - NESST Ambasada Cultural Center Timisoara Competencies in digital marketing (using social media, privacy and security issues; copyright and intellectual property rights) Basic marketing tools , Immersion in local creative industry Marketing of arts , Presentation of the InclusiveArt project 1 Creative entrepreneur-ship Assessment of portfolio design and presentation , Creative entrepreneur-ship training programme skill card 5 Communication Project cycle management in creative industries 3 Starting a business 4 Business management , Project planning , Project management , Case studies, group working, debates , Entrepreneurship self-assessment , Building the business plan , Tools for business plan , Aspects of financial management Effective teamwork and understanding personality types ^ / Communication skills in professional settings / Figure 2 The Skills Card of the Creative Entrepreneurship Training Program Aspects of labour management , Human resources management © TS fl> 3