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Sponsored post: Creative ingenuity, the building block for entrepreneurial success

Salford Business School: Celebrating the creative ingenuity of our SMEs.

History shows us that the Schumpeterian winds of creative destruction lay waste to the old and present opportunities for the new. It is creativity that sees opportunity, enterprise that exploits opportunity, and business ingenuity that delivers innovation to customers. Creativity is therefore an essential but often overlooked key ingredient in the recipe of improving economic advantage.

In the UK, the tough economic conditions have illustrated an increasing propensity for us, as a nation, to be more enterprising. Business formations are up, with currently 4.9 million private sector businesses, an increase of around 1.5 million since 2000. 4.7 million of these businesses are micro; started by both innovation-focussed entrepreneurs – developing new products and services, and necessity entrepreneurs – those which attempt to create wealth through unfavourable personal economic conditions. Also, an encouraging trend is the growing number of enterprises ran by female entrepreneurs, with around 40% of SMEs led or jointly led by women. Systemically, we are not quite as enterprising as our US counterparts, but it illustrates an increasing capacity for entrepreneurship through economic adversity, certainly beyond many European countries. In fact, in the UK’s North West we have seen an increasing appetite for business formation, as the only region to have double-digit growth in the number of businesses formed between 2012-13.

Supporting and sustaining a more enterprising culture is essential to our long-term economic prosperity, and universities have a key role in this arena. Mirroring a growing enterprise culture in the UK, over the last two years Salford Business School has seen around a 45% growth in enquiries, support, and knowledge exchange projects that focus on SMEs, including charities and social enterprises – numbering some 3,500 p.a. This is coupled with graduates increasingly seeing start-ups or local SMEs as attractive employers – offering a diverse range of projects and responsibilities. More than 40% of our students go on to work for SMEs, which also illustrates a growing receptiveness for SMEs to shape the skills and attributes of graduates, when historically this used to be the preserve of larger businesses. This requires universities to adapt their educational content to deliver the right technical, and often specialist knowledge, but also develop distinctive competencies in students that are valued by employers – enabling graduates to make a more immediate contribution to an SME’s success.

At Salford Business School we have taken several steps to support this. One, which is proving particularly attractive to businesses, are our student projects, in which a student (or group of students) work on a pressing issue where a company wants a fresh perspective, with the aim of yielding interesting insights. With the support of an academic in an appropriate field, the student explores creative solutions – something they are naturally good at. Students are also strong in basic research, having the time and techniques to mine data, with the aim of seeking patterns or making connections beyond what may be immediately obvious. However, the bootstrapped nature of SMEs requires some ingenuity – finding a solution that can be implemented with very limited funding or investment. The Business School has many examples of projects which have brought a wholly different solution to a company’s issues. Examples include a media campaign for Morson Group Ltd, which achieved over 100,000 views on their YouTube channel for 22 video clips produced. ENER-G PLC, ran an internal awareness campaign, culminating in a training video featuring a Johnny Depp lookalike.

Salford Business School works with companies both in the UK and overseas for student projects. If you are an SME, or indeed a large company, and would like a fresh perspective to your businesses challenges, then please see www.salford.ac.uk/business-school/business-services

Dr Kurt Allman,  Associate Dean Enterprise & Engagement

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Ariana and the Arianators: "We really are like a family"

The pop star provides her fans with a chance to express themselves joyfully - their targeting was grimly predictable.

Ariana Grande’s concert at Manchester Arena on 22 May began like any other. Children and teenagers streamed through the doors wearing pink T-shirts, rubber wristbands and animal ears (one of Grande’s signature looks). They screamed when she came on stage and they sang along with every song. It was only once the music had ended, and the 20,000-strong audience began to leave the venue, that the horror began – with a bomb detonated at the main entrance.

The show was just one date on Grande’s Dangerous Woman tour, which began in Phoenix, Arizona in February, moved across the United States and Europe, and had stops scheduled for South America, Japan, Australia and Hong Kong. (Since the Manchester attack, Grande has suspended the tour indefinitely.)

Since releasing her debut album in 2013, Grande has successfully transitioned from teen idol to fully fledged pop star (all three of her studio albums have sold over a million each) with a combination of baby-faced beauty and Mariah Carey-style, breathy vocals. Her most popular records are bubblegum pop with a Nineties R’n’B influence, a combination also expressed in her fashion choices: Nineties grunge meets pastel pinks.

She entered the limelight at 16 on the children’s TV programme Victorious, which ran on the Nickelodeon channel, pursuing her musical ambitions by performing the show’s soundtracks. Many of the young people who grew up watching her as the red-haired arts student Cat Valentine on Victorious would become fans of her pop career – or, as they call themselves, the Arianators.

As she outgrew her child-star status, Grande’s lyrics became more sexually suggestive. Recent songs such as “Side to Side” and “Everyday” are more explicit than any of her previous hits. She has repeatedly insisted that young women should be able to speak openly about sex and feel empowered, not objectified.

“Expressing sexuality in art is not an invitation for disrespect,” she tweeted in December. “We are not objects or prizes. We are QUEENS.”

Grande also has a reputation as something of a gay icon. She has advertised her records on the gay dating app Grindr, headlined shows at Pride Week in New York, and released a single and a lipstick to raise money for LGBTQ charities.

Cassy, a 19-year-old film student and fan, told me the fanbase is “made mostly of young women from 14-23, but I run into guys and non-binary fans all the time.”

“It’s pretty well known that Ariana has got a LGBTQ+ fan base. She’s so outspoken about it and that’s what draws us to her. Because she’s accepting of everyone, no matter who you are.”

Like many child actresses-turned-pop star, Grande has a fan base skewed towards the young and female: teenage and pre-teen girls are by far the majority of her most dedicated supporters. A writer on the Phoenix New Times described the typical Ariana Grande crowd as “pre-tween, tweens, teens, young gay (and fabulous) men, moms with cat ears, and multiple candidates for father of the year”. The Arianators form tight-knit groups on social media. I spoke to several over Twitter after the attack.

Arena concerts, which often have more relaxed age restrictions than nightlife venues, have long been a safe space for children, young people and teenage girls. They provide a secure place for concert-goers to dress up, experiment, play with burgeoning sexualities, dance, scream and cry: to flirt with an adult life still slightly out of reach. Glitter-streaked tears stream down the unapologetic faces of fans touched by an emotion bigger than themselves. It is appalling, if grimly predictable, to see children, teenage girls and young gay men targeted by agents of regressive ideologies for expressing themselves so joyfully. On 23 May, Isis claimed the attack.

Andréa, a 17-year-old fan from France, told me about her first experience of a Grande concert. “It was incredible,” she said. “Everyone was so kind, excited and happy. We really are like a family.”

The fans are devastated by Monday’s bombing. Thousands of messages appeared on social media to commemorate those who lost their lives. “As an Arianator,” Alexandre, aged 16, told me, “I’m really sad and I’m scared.”

“We’re all taking it really hard,” Cassy said. “We’re a family and we lost 22 members of that family last night.”

Ariana began her gig in Manchester with the song that has opened every night of her current tour: “Be Alright”. In it, she repeatedly reassures the crowd, “We’re gonna be all right.” It’s a phrase that her fans are clinging to after the attack. So, too, are the lyrics of “Better Days”, by Grande and her support act Victoria Monét, which was also performed the night of the explosion. “There’s a war right outside our window,” the words go. “I can hear the sirens . . ./I can hear the children crying . . ./I’m hoping for better days . . .”

“It’s hit us all very hard because we’ve lost some of our own,” said one Arianator who runs a popular Twitter account about the tour. “People we interacted with on a daily basis. People that just wanted to have a night of fun. These are dark times, but we are looking forward to better days.”

Anna Leszkiewicz is a pop culture writer at the New Statesman.

This article first appeared in the 25 May 2017 issue of the New Statesman, Why Islamic State targets Britain

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