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With seven faculties Utrecht ľ¹Ï¸£ÀûÓ°ÊÓ offers several examples of entrepreneurial minds in all fields of study and research. From teachers and students to alumni and researchers, from Humanities to Bio-Inspired Innovation and often interdisciplinary. The Centre for Entrepreneurship inspires by showcasing the entrepreneurial minds within Utrecht ľ¹Ï¸£ÀûÓ°ÊÓ.

During the course Schrijverschap als Ondernemerschap, Laurens Ham encourages master's students Neerlandistiek to think about their own professional position in the cultural sector. In addition to his work as a teacher of Modern Dutch Literature, he conducts research into Dutch literature (subsidy) policy with a Veni grant and publishes essays and reviews in various literary journals and De Groene Amsterdammer. This month, his first book for the general public will be published, on the history of Dutch protest songs since 1966.

You are a teacher, researcher, essayist and poet. Are you also an entrepreneur?

Well, no, I wouldn't say that. Although it depends on the meaning you assign to it. In the positive sense, to me entrepreneurship means taking initiative, initiating something. Don't dwell on the world as it is.

That sounds quite entrepreneurial.

Yes, that is true. The definition of entrepreneurship is still too economically coloured at the moment, I would like to see it somewhat broader. And maybe then, I do have characteristics of an entrepreneur, or at least someone who is entrepreneurial. I'm good at creating something new, and I enjoy doing that. I don't get stuck in the planning phase. If I think 'Wouldn't it be cool if there is a course about this, or if there was a book about that...?', my second thought will be: 'Alright, how do I make that happen?'

I do not see myself succeeding as a freelancer in earning enough with what I think is important to do. But I can be entrepreneurial in setting up research projects, writing books and findings ways for the valorisation of my research. I find it especially important that ideas circulate. Whenever possible, I make things available free of charge. Where it's necessary or useful, I also think it's okay if I earn money with it.

To me, entrepreneurship means taking initiative, initiating something. Don't dwell on the world as it is.

Is making money a taboo in the Humanities?

You don't do it for the reward, you do it for the value you add or create. I'm not driven by the desire to become successful, I want to make something beautiful. But I have a job at university, so I'm in a luxury position. If you're dependent on the income from your writing, the question of how it can become profitable is of course important.

Recently, some colleagues and I produced a  on the history of earning money from literature through the ages. How was 'making money' thought about? Do we see any striking developments in that? The most important shared insight was: earning money has always been such a sensitive topic. Among writers, but also among researchers. The taboo is slowly wearing off, but even now you still feel a kind of tension among many writers of literature when it comes to earnings.

It's difficult to be a Humanities scholar and to earn serious money from your insights. It is possible, but then you have to be gifted with other qualities as well.

Will this be adressed during the course Schrijverschap als Ondernemerschap?

Absolutely. The title of the course is, in a way, meant to be challenging. Almost like a question: should we consider authorship as entrepreneurship? In a sense, this is a limitation of our view of authors, but at the same time all writers are self-employed. To call a spade a spade is still painful for many people in the literary world, I notice.

Entrepreneurship is also about professionalism. During the master's course, students are introduced to different cultural institutions and are encouraged to think about their own professional position in the cultural sector.

Should we consider authorship as entrepreneurship? In a sense, this is a limitation of our view of authors, but at the same time all writers are self-employed.

This November your book Op de vuist will be published, as a result of a study of Dutch protest songs in all pop genres: from 'Dutch pop' and cabaret to punk and hiphop. What can readers expect?

The book tells the story of activism and politics in the Netherlands over the past fifty years, and the mayor role music has played and continues to play in this. From Boudewijn de Groot, singing Welterusten meneer de president during the Provo festival Nacht van de Protestsong in 1966, to anti-racism protests and the music of Fresku, Typhoon and Akwasi. I want it to remain close to people's perceptions; for that purpose I have conducted interviews and used plenty of newspaper articles.

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Societally speaking, the scope of the book is very broad, from the protests against cruise missiles and 'Purple' (government, red.) in the 1990's to feminism and Black Lives Matter. The funny thing is that people often have a left-wing image of protests, but I came across many examples that are actually quite conservative and in which music played a role. Take the farmer protests of 2019 and the 'hijacking' of the Top 2000 by voting De boer dat is de keerl by the band Normaal into the top 10.

This book is an attempt to put something scientific on the map for a non-scientific audience. There are not many scientific studies on Dutch pop music. There are books by musicologists, but they are more often about perception or music consumption. Much has been written about English pop music. Actually, I felt the need for the kind of book I have now written myself. I suspect I'm not the only one.