Background: Changes in reimbursement have been compelling for Dutch primary care practices to apply a disease management approach for patients with chronic obstructive pulmonary disease (COPD). This approach includes individual patient consultations with a practice nurse, who coaches patients in COPD management. The aim of this study was to gauge the feasibility of adding a web-based patient self-management support application, by assessing patients’ self-management, patients’ health status, the impact on the organization of care, and the level of application use and appreciation. Methods: The study employed a mixed methods design. Six practice nurses recruited COPD patients during a consultation. The e-Health application included a questionnaire that captured information on demographics, self-management related behaviors (smoking cessation, physical activity and medication adherence) and their determinants, and nurse recommendations. The application provided tailored feedback messages to patients and provided the nurse with reports. Data were collected through questionnaires and medical record abstractions at baseline and one year later. Semi-structured interviews with patients and nurses were conducted. Descriptive statistics were calculated for quantitative data and content analysis was used to analyze the qualitative data. Results: Eleven patients, recruited by three nurses, used the application 1 to 7 times (median 4). Most patients thought that the application supported self-management, but their interest diminished after multiple uses. Impact on patients’ health could not be determined due to the small sample size. Nurses reported benefits for the organization of care and made suggestions to optimize the use of the reports. Conclusion: Results suggest that it is possible to integrate a web-based COPD self-management application into the current primary care disease management process. The pilot study also revealed opportunities to improve the application and reports, in order to increase technology use and appreciation.
Internationalizing curricula. Needs and wishes of alumni and employers with regard to international competencies. Internationalization has become of great importance for universities acrossthe globe. The labour market is becoming international, with internationalopportunities and international competition. Emerging markets such as India, China and Russia are gaining economic power. Global challenges demand world-wide solutions. Production and marketing networks span the globe and various forms of migration have resulted in a large cultural diversity within nations. As a result, societies and labour markets are changing as well. In order to deal with these societal changes adequately and to succeed in today’s labour market, graduates need to be equipped with international competencies. In a survey among 500 chief executives, ICM Research (on behalf of Think Global and The British Council, 2011) showed that employers strongly value staff members who are able to work in an international and multicultural environment. Similar results were found in Diamond et al. (2011), in which ‘multicultural teamwork’ was considered most important. The Hague University of Applied Sciences seeks to prepare its students adequately for the world of tomorrow. The University’s development plans (e.g. HogeschoolOntwikkelingsPlan, HOP 7, 2009-2013 and HOP 8, 2014-2017) indicate that its vision is to train students to be globally-minded professionals with an international and multicultural perspective, who are world-citizens, interested in global issues and able to deal with diversity in a constructive manner. They are to be professionals, who possess the competencies to function well in an international and intercultural environment. Internationalization is therefore high on the agenda of The Hague University of Applied Sciences (THUAS) which is illustrated by the fact that, as of 2014, new students in all academies have to fill 12.5% (30 ECTS) of their four-year Bachelor program with international activities. These activities can range from an internship or semester abroad (student mobility) to participating in full programs of study or minors in which English is the medium of instruction, or an internationally themed minor (Internationalization at Home, IaH). And this is only the beginning. Internationalization is a means, not an end. All THUAS courses are looking into ways in which they can internationalize their curriculum. And in doing so, they need to be innovative (Leask, 2009) and keep in mind the specific needs and wishes of alumni and their employers with regard to international competences. The THUAS research group International Cooperation supports these internationalization policy objectives by investigating various aspects, such as: • The acquisition and development of international competencies among students. • The extent to which lecturers possess international competencies and what their needs and wishes are for further development. • The international competencies THUAS graduates have acquired as part of their degree and how THUAS has stimulated this development. • The international competencies that employers and alumni consider important. Although international competencies and employability have received growing attention in internationalization research, existing studies have mainly focused on: • The effects of study abroad on the development of international competence (cf. Hoven & Walenkamp, 2013). • The effects of an experience abroad (study, internship, voluntary work) on employability. • A more general analysis of the skills employers look for in prospective employees.
Innovative work behavior has been one of the essential attribute of high performing firms, and the roles of entrepreneurial orientation and self-leadership have been important for promoting innovative work behavior. This study advances research on innovative work behavior by examining the mediating role of self-leadership in the relationship between perceived entrepreneurial orientation and innovative work behavior. Structural equation modelling is employed to analyze data from a survey of 404 employees in banking sector. The results of reliability measures and confirmatory factor analysis strongly support the scale of the study. The results from an empirical survey study in the deposit banks reveal that participants’ perceptions about high levels of entrepreneurial orientation have a positive impact on innovative work behavior. The results also provide support for the full mediating role of self-leadership in the relationship between participants’ perceptions of entrepreneurial orientation and innovative work behavior. Additionally, this study provides some implications for practitioners in the banking sector to facilitate innovative work behavior through entrepreneurial orientation and self- leadership.
The precarity in the cultural sector became exposed during the COVID-19 pandemic. With the lockdowns, the sources of income for cultural venues and cultural workers vanished overnight, intensifying an already challenging labour market. Particularly freelance cultural workers were hit hard. While the immediate shock of the pandemic on the cultural sector has been well documented, the effects on the sector in the aftermath of the pandemic are still to be revealed and repaired. This project tackles these issues by zooming in on the case of the performing arts scene in Groningen. This scene constitutes the part of the cultural sector that was affected the most by the lockdowns. Currently, venues and event organizers in Groningen lack qualified freelance staff as many left the industry during the pandemic. At the same time, self-employed cultural workers find it difficult to generate sufficient incomes and develop sustainable careers in the city. The municipality is eager to support the industry, including freelancers, but is unsure about how best to do so. With a consortium composed of the university, the municipality, a knowledge organisation specialised in cultural entrepreneurship, and a network for creative freelancers in the North of the Netherlands the project is well-equipped to reach its two-fold aims of investigating this current situation and coming up with suggestions for solutions. The core component of the project is an interview study with three groups of self-employed cultural freelancers: experienced production staff, experienced performers, and nascent freelancers (both production staff and performers). Based on data from this study, the project provides a multifaceted picture of the cultural ecosystem in Groningen, highlighting how this system is experienced. This establishes a solid foundation for staging discussions on working conditions in the sector, enabling the project to eventually conclude with recommendations on how to improve the situation.
A growing part of contemporary arts practices in the Netherlands has reoriented itself from studio and institutional art towards self-organization in self-run initiatives. In this type of contemporary art, self-organization is not only a way of gaining economic independence. Just as importantly, it is a form of expression where the organizational structure becomes the art project: self-organization-as-contemporary-art. Often using informal and underground settings, these initiatives reach audiences who have little or no access to the established system of cultural institutions. Aiming to bring art closer to everyday life, they often are no longer easily recognizable as art projects at all. Instead of individual studio practice with the artist as the central figure, these projects and initiatives are based on participation and non-hierarchical collaboration and rarely produce art objects for the traditional gallery art market. Examples include restaurants run as art projects, experimental schools, radio stations run as art performances, and do-it-yourself publishers. Rotterdam is an ideal case study for this development, since the city has played a role in self-organized artists’ initiatives and activist practices like no other city in the Netherlands. The trend towards self-employed work and flexibilization in the creative sector after 2008 accelerated this development. Self-organization-as-contemporary-art has developed throughout the years into an active, extensive and complex network of more than 80 self-organized initiatives; a fabric of autonomously operating initiatives that covers the entire city which we have mapped in previous research. This leads to the questions: How can the creative industries and cultural institutions adapt to these new forms of artistic practice which are no longer based on (a) individual work and (b) classical artists’ portfolios? How can art school curricula be adapted so that they educate innovative network artists who actively contribute to the fabric of self-organization-as-contemporary-art?