Living Hand to Mouth: Why the Bohemian Lifestyle Does Not Lead to Wealth Creation in Peripheral Regions?

‘In the night kitchen’: Gender, identity and artisanal work

“…Other typologies have described a hobbyist (not registered as a business), an artisan (strong deterrents to growth based on an unwillingness to employ or expand production) or an entrepreneur (with limited artisan identifiers and a dominant business focus) (Bouette and Magee, 2015). Such categorisations are frequently used as a means to explore the links between particular types of artisanal production and certain geographic locations or regional economic productivity (Bennett et al, 2015); situate studies in one particular sector in order to attempt to explain its boom in activity – either by a focus on production processes, business model, or both, for example, micro-brewing (Danson et al, 2015; Drakopoulou Dodd et al, 2018; Lamertz et al, 2016; Thody, 2014; Thurnell-Read, 2014); or study sub-groups of artisans working on the production of a particular material cultural artefact, for example, surfboards in Hawaii, California and Australia (Gibson and Warren, 2014).…”

Cultural and creative work in rural and remote areas: an emerging international conversation

“…In terms of research, while a 2003 study from the U.K., 'This place gives me space' (Drake 2003), provided first-hand accounts from rural creators, this was quickly superseded by statistically defined quantitative approaches to identify the 'rural creative class' Wojan 2007a, 2007b;Wojan, Lambert, and McGranahan 2007), with a particular focus on who moves from urban areas, how they differ from their urban counterparts, where they locate, and how a place could attract them. Largely based in the United States (but not entirely), research found that artists and creative entrepreneurs located in rural areas tend to be older and have established businesses and markets (Hracs 2005;McGranahan and Wojan 2007b;Wojan, Lambert, and McGranahan 2007;Andersen 2010;Bennett, McGuire, and Rahman 2015).…”

“…As with many creative and cultural entrepreneurs (HKU 2010), these individuals are more likely to be focused on providing a livelihood for themselves than on business growth (Bell and Jayne 2010;Herslund 2012). They also tend to be more 'socially embedded' than creative workers in an urban creative sector (Gibson, Luckman, and Willoughby-Smith 2010;Bertacchini and Borione 2013;Bennett, McGuire, and Rahman 2015), and motivated by non-economic reasons with value placed also on social returns such as enhancing local cultural life, facilitating social cohesion, and fortifying community spirit. Beyond economic returns, 'other advantages' and contributions of the rural creative worker/practitioner include the provision of 'organisational energy' and using their skills 'for the betterment of the area' (Herslund 2012, 253, 251).…”

“…For example, 'Great expectations or small country living?' regarding the enabling of small rural creative businesses with ICT (Anderson, Wallace, and Townsend 2015), and 'Living hand to mouth: Why the bohemian lifestyle does not lead to wealth creation in peripheral regions' (Bennett, McGuire, and Rahman 2015). This is closely accompanied by examinations of the practices that enable these businesses; for example, Munro's (2016) exploration of practices of market-building amongst creative entrepreneurs in rural and remote Scotland in 'Developing the rural creative economy "from below.…”

“…Within the diverse literature that has been produced internationally, researchers are calling for policy approaches and support for peripherally based creative and cultural entrepreneurs that are tailored to the unique features of their situations (e.g. Bell and Jayne 2010;Luckman 2012;Bennett, McGuire, and Rahman 2015). In general, the policy recommendations being put forward in research literature provide macro recommendations, noting the need to acknowledge differences among rural locations and circumstances, to enhance distinctiveness, and to identify local cultural resources, both tangible and intangible.…”