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.
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.
Why is it that we know and still act as if we do not know? SMEs are considered engines of job creation and therefore growth and generation of income but is it really true that the solo self-employed and micro entrepreneurs will become small or medium entrepreneurs, e.g. graduate? We knew in the 80’s that this assumption needed to be looked at critically. Research revealed that graduation hardly existed. Practitioners in MSME support and development programmes entertain few illusions about their programmes actually leading to graduation, while NGO and Government policy officers, from behind their desks, often presume that graduation occurs frequently. Actual graduation rates and the extent to which they can be attributed to interventions remain an unresolved and important issue. After more than three decades it is justified to the question whether it is still true that graduation hardly exists? If that is the case one needs to take a critical look into prevailing policies and programs in support of the SME sector.
Promoting entrepreneurship is an enabler of smart, sustainable and inclusive growth and it is one objective EU regions have pursued since the EC included it into 2020 Strategy. Entrepreneurship development has economic and social benefits, since it is not only a driving force for job creation, competitiveness and growth; it also contributes to personal fulfillment and to achieve social objectives. That is why the EU encourages entrepreneurial initiatives and to unlock the growth potential of businesses and citizens. However, only a 37% of Europeans (Eurobarometer 2012) would like to be self-employed. The Entrepreneurship Action Plan adopted by the EC in 2013 to reignite Europe’s entrepreneurial spirit includes initiatives for educating young people on entrepreneurship. To ensure that EU economy remains globally competitive, young generations of Europeans need to be inspired to develop their entrepreneurial mindset. EU 2020 Action Plan argues that young people benefitting of a specialised entrepreneurial education are more likely to start-up a business and to better tackle challenges in their professional career and life in general. Hence, there is good reason to ensure better quality of entrepreneurial education. Most approaches in recent years have focused on improving the skills or competences youngsters should obtain only within the education system. However, an integrated approach is needed, where the school, their friends, family and the social environment, shall play each one a relevant role, contributing to generate a more adequate atmosphere to boost their entrepreneurial mindsets, intrapreneurial attitudes and innovation capacities. This project will identify and exchange – through a quadruple helix approach- good practices for creating friendlier entrepreneurial ecosystems and actions to boost entrepreneurship in young people mindsets. The good practices and lessons learnt will be transferred into Action Plans to be included in regional policies.
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?
