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This paper aims to challenge the assumption that brands of everyday products have only used lifestyle marketing in the past 30 years by conducting the first case study of the marketing practices of the Swedish toothpaste brand Stomatol (1910–1940). Through visual social semiotic analysis, it explores how the brand was a pioneer in lifestyle marketing, using discourses of modernity, beauty and the Swedish “way of life” to sell its toothpaste.

Two hundred Stomatol advertisements were collected from the Swedish Historical Newspaper Archive and analysed using visual social semiotics. The analysis considers how the idea of a cultural Swedishness centred around modernity and beauty developed between 1910 and 1940, and how both linguistic and semiotic resources were used to make these claims seem credible.

At a time when its main adversaries were capitalising upon science in their advertisements to construct authority and credibility, Stomatol instead targeted lifestyle. Modernity, beauty and the Swedish “way of life” were central themes of their marketing campaigns, yet the way these themes were articulated varied between 1910 and 1940 in accordance with changing popular discourse. This made Stomatol more competitive than other toothpaste brands because it was able to sell an experience rather than a product, turning it into Sweden’s most popular toothpaste.

This paper demonstrates the importance of case studies to challenge the assumption that toothpaste brands have only used lifestyle marketing in the past 30 years (a claim based on Anglocentrism). It also showcases the need to further investigate non-Anglo countries when conducting research into lifestyle marketing to build a more nuanced perspective on its origins and the supposed novelty of (largely) US practices. Thus, Stomatol makes an important case for Sweden as a trailblazer in lifestyle marketing.

Despite the potential for co-operatives to improve smallholder farmers' livelihoods, membership in the co-operatives is low. This study examines factors that influence smallholder farmers' decisions to join agricultural co-operatives.

This study involved a survey of 1,274 smallholder chicken farmers. The data were analysed through a two-sample t-test of association, Pearson's Chi-square test and binary probit regression model.

The results suggest that farming as the main source of income, owning a chicken house, education attainment, attending training or accessing information, vaccination of goats and keeping a larger herd of goats are the key factors which significantly influence co-operative membership. However, gender, age, household size, distance to the nearest agrovet, vaccinating chicken and the number of chickens kept do not influence co-operative membership.

The survey did not capture data on some variables which have been shown to influence co-operative membership. Nevertheless, the results show key explanatory variables which influence membership in co-operatives.

These findings have implications for development agencies that seek to use co-operatives for agricultural development and improvement of smallholder farmers' livelihoods. The agencies can use the results to initiate interventions relevant for different types of smallholder farmers through co-operatives.

This study highlights the influence of smallholder farmers' financial investments in farming and the extent of commercialisation on co-operative membership. Due to low membership in co-operatives, recognising the heterogeneity of smallholder farmers is the key in agricultural development interventions through co-operative membership.

The peer review history for this article is available at: https://publons.com/publon/10.1108/IJSE-03-2022-0165.

The purpose of this paper is to explore the concept of co-creativity in relation to artistic practice with people with a dementia. The aim of the discussion is to outline how co-creativity offers fresh approaches for engaging artists and people with dementia, can contribute to less restrictive understandings of “creativity” and above all, expand the understanding of people with a dementia as creative, relational and agential.

In order to examine current conceptions of co-creativity and to inform the artistic practice, relevant literature was explored and eight expert interviews were conducted. The interviews were thematically analysed and are included here.

This paper consequently demonstrates that improvisation, structure, leadership and equality are central elements of co-creative processes and outlines how co-creativity can offer fresh insights into the way in which the arts can engage people with a dementia, the relationship between creativity and dementia and the transformative potential of the co-creative arts for those living with a dementia.

The paper discusses some of the difficulties that are inherent a co-creative approach, including power relations and the limitations of inclusivity. Due to ethical restrictions, the paper is limited by not including the perspectives of people living with a dementia.

This paper paves the way for future research into co-creative processes in a variety of different contexts.

A more nuanced understanding of co-creativity with people with dementia could challenge the dominant biomedical and social paradigms that associate “dementia” with irretrievable loss and decline by creating opportunities for creative agency.

This exploration of co-creativity with people with dementia is the first of its kind and contributes to the wider understanding of co-creativity and co-creative practice.