In traditional societies, the artists, musicians, the craft-makers, bards and other members of the creative class were supported. They were fed, clothed, given shelter and honoured for their work. Today, in our monetised society, we give the creative class lip service, but the pay is poor. They wait tables, drive taxis or do whatever they can to pay the bills so they can pursue their art. While some European nations provide economic support for their creative class, this depends on a high-tax policy.
The MarketTown came up with another approach. It borrows the original principle that the arts require support, but it embedded it in a way that it is paid for at the onset so the artists can focus on their art.
As part of the overhead, each village gets an artist guild hall, for say, 25 artists. The capital cost of the building, and small residential units for the artists is paid for out of the same overhead as the roads and water systems. Each hall has a number of overnight rental accommodations to generate funds to pay for ongoing costs, such as lights and heat. The artists do not pay rent, but are expected to do their art - to make the same sort of creative contribution that their ancestors did when they lived in tribal cultures. This makes the MarketTown more culturally enriched, more diverse as a society and it enhances its role as a visitor attraction.