Exploring the Role of Social Media in the Success of Arts Entrepreneurs

Objective
Entrepreneurship in all fields, especially in artistic fields, is very helpful as a symbol of effort and success in business and economic affairs, and it is always in line with the times and moves along with our times; Scince entrepreneurs are among the pioneers of success in the commercial affairs of society. Also, arts entrepreneurship is a kind of management process that, through cultural workers, seeks to support their creativity and independence, to promote an adaptive capacity and create artistic, economic and social value for their works. The status of arts entrepreneurship, as a relatively new field, is in keeping with the times and concerning ongoing library efforts, efforts are being made to grow together. Arts entrepreneurship is in line with the value chain, which includes the distribution and exploitation of artistic products. Therefore, arts entrepreneurship can demonstrate the relational and visual processes through a rational economy by which entrepreneurs experience and interact with their living environment, including existing or imagined customers. The concept of entrepreneurship does not always mean doing great things through ideas, innovations and absolute luck. When it comes to arts entrepreneurs, the way they use technologies and integrate them into their businesses makes their entrepreneurial approach more different, even compared to other types of entrepreneurs. Thus, this research aims to explore the role of social media in the success of arts entrepreneurs.
Research Methodology
The current research is applied in terms of purpose and qualitative in terms of methods. The participants considered by the researcher include: experts and activists in the field of media entrepreneurship and arts entrepreneurs, In-depth interviews were conducted with sixteen interviewees in this field, which reached theoretical saturation in the fourteenth interview, and the next two interviews were conducted to ensure the sufficiency of the interviews and for data analysis, extracting information from the transcribed texts of the interviews and analyzing the information was done. Finally, a model was proposed through several stages of coding and the results of selective coding were selected based on the codes that had the most repetitions. The analysis of the Atlas T8 software showed that it finally led to the identification of 9 components and 37 selected codes.
Findings
The findings revealed that marketing, organizational, media, communication, environmental, managerial, legal, economic and entrepreneurial components are effective. In the marketing component, businesses can establish a strong relationship with their target customers and create value for them to receive value from the customer in return. Also, the media component (networks and social media) are technologies that facilitate the creation or sharing of information, ideas, and virtual networks in the form of platforms such as the web and mobile phones, as well as environmental communication to examine and study and implement the way people interact and cultures pay. The results showed that consequences such as creative, innovative and creative ideas, sufficient knowledge in the field of entrepreneurship, creation of platforms for media entrepreneurship, having new ideas, independence and risk-taking were of paramount importance. Arts entrepreneurship can be seen as a gradual process in the field of entrepreneurship. Entrepreneurs work to create adaptive capacity as well as artistic, economic and social value for their fields of interest. It should be acknowledged that the use of social media by arts entrepreneurs is a two-way activity in the space of social networks because social media use people's free time and make them share and produce content among their audiences, gain popularity, a special position and host millions of audiences.
 
Discussion & Conclusion
The study revealed that if the strategies proposed in the model are used by the owners and custodians of art businesses, artists, and art supporters, it can bring cultural, economic, and social capital to the benefit of artists, community members, and the country. Based on the concluding remarks, the authors have made the following suggestions: (i) To design a clear model and vision for building a personal brand for arts entrepreneurs in all artistic fields; (ii) To have a practical view toward designing and launching a personal business model, in cultural and artistic firms by arts entrepreneurs that can lead to improved entrepreneurial activities; (iii) To revisit branding activities according to the existing and different supports in the growth path of each business, such as teaching, sales and other available items that will cause the growth of that business.