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The European Capital of Culture Lessons from the past, indicators for the future

Greg Richards Tourism Research and Marketing, Barcelona

Common aims of the ECOC host cities • Raising the international profile of the city/region • Running a programme of cultural activities and arts events • Long-term cultural development of the city/region • Attracting visitors from own country and other countries • Enhancing feelings of pride and self-confidence • Growing and expanding the local audience for culture • Creating a festive atmosphere

How has the ECOC changed over time?

Summer Festival (Athens 1985, Florence 1986) All – year festival (Amsterdam 1987, Dublin 1991) Art city (Berlin 1988, Antwerp 1993) Urban regeneration (Glasgow 1990, Rotterdam 2001, Lille 2004, Genoa 2004, Liverpool 2008) Tourism development (Graz 2003, Sibiu 2007) Regional cultural development (Luxemburg 2007; Stavanger 2008)

Population of the host/candidate cities 16000000 14000000 12000000 10000000 8000000 6000000 4000000 2000000 0 1985-1994 1995-2004 2005-2012 2013-2019

Lu C xem op b Th e nh u rg es a g s e St alo n o c ni kh ki W olm ei H ma el r s Pr ink i Br ag u u e R sse ey l kja s Av vi ig k C no ra n Bo cow lo Be ng a R rg ot e te n rd am Po Br rt o ug es C Pa ork t ra Lu S s xe ib m iu Li bu v r St erp g av oo an l ge r

Number of projects

Number of projects

1400 1200 1000 800 600 400 200 0

Average spend per head (Euros)

Expenditure per head of population

250 200 150 100 50 0 1985-1994

1995-2004

2005-2011

1996 1998 2000 2001 2002 2004 2005 2007

Stavanger

Liverpool

Sibiu

Luxemburg

Patras

Cork

Genoa

Lille

Graz

Salamanca

Bruges

Porto

Rotterdam

Brussels

Helsinki

Weimar

Stockholm

Thessaloniki

Copenhagen

Million euro 160 140 120 100 80 60 40 20 0

2008

Distribution of expenditure

promotion and marketing 14% wages and overheads 15%

other 8%

programme 63%

Funding sources other 10%

EU 1%

private 16%

National 48%

Region 10% City 15%

What are the impacts?

Cultural Increased cultural production and participation, New cultural venues, Better networking in the cultural sector Economic More cultural funding, more tourism, High level of leverage, particularly for capital expenditure, Some cities successful in attracting sponsorship Image Increased awareness of host city/region, increased local pride

Visitor Impacts ECOC Luxembourg 1995 Copenhagen 1996 Thessalonica 1997 Stockholm 1998 Weimar 1999 Helsinki 2000 Prague 2000 Reykjavik 2000 Bologna 2000 Brussels 2000 Bergen 2000 Rotterdam 2001 Salamanca 2001 Bruges 2002 Graz 2003 Lille 2004 Cork 2005 Luxemburg 2007 Sibiu 2007

Change in overnight visitors to Cultural Capitals 1995 to 2007 % change in visitor stays in ECOC year -4.9 11.3 15.3 9.4 56.3 7.5 -6.7 15.3 10.1 5.3 1.0 10.6 21.6 9.0 22.9 9.0 13.8 6.0 8.0

% change in visitor stays ECOC +1 -4.3 -1.6 -5.9 -0.2 -21.9 -1.8 5.6 -2.6 5.3 -1.7 1.2 -9.6 -7.9 -9.6 -14.0 -7.0

-25.0

20

20

20

20

19

19

19

19

19

19

19

19

19

19

19

03

02

01

00

99

98

97

96

95

94

93

92

91

90

89

Bednights Copenhagen

5000000

4000000

3000000

2000000

1000000

0

Glasgow - index of bednights 180

170

160

150

140

Glasgow Other cities

130

120

110

100

90

80

1986

1987

1988

1989

1990

1991

1992

1993

1994

1995

Glasgow 1990 – indice de pernoctaciones

Economic impact Visits (million)

Attributable to ECOC

Total visitor spend

(â‚Ź million)

(â‚Ź million)

Luxemburg 1995

1.1

14

Rotterdam 2001

2.3

73

17

Porto 2001

1.2

69

23

Salamanca 2002

1.9

180

37,5

Bruges 2002

1.6

41

10

Sibiu 2007

1.1

160

20

Luxemburg 2007

3.3

56

Sibiu 2007 – Resident Perceptions of Impacts Improved the image of Sibiu Brought more money to Sibiu 2008

Improved cultural facilities

2007

Improved the quality of life Created more social cohesion 50

100 %

0

150

The Palmer/Rae (2004) study of the ECOC also identified a number of key success factors Essentially, these factors can be grouped into a number of areas •culture (content) •place (context) •planning (long-term vision, clear objectives) •power (strong leadership, political will) •relationships (partnerships, artistic autonomy) •resources (funding)

•Context: the city must develop a programme that is right for the city at the time. Each city is at a different phase of its historical, cultural, social and economic development, and this context must be taken into consideration.

•Key questions •What are the key strengths of the city and the region?

•How do they complement each other?

•What will the ECOC deliver for the city and the region?

•What will the city and the region deliver for the ECOC?

Culture Strong content: the programme should be unique and visible with a balance of different types of projects Dare to be different Make choices – not just ‘something for everyone’ Programme culture that strengthens the sense of place of the city and the region

Planning •Long-term planning: both advance planning and postECOC planning are essential.

Not just the pre-ECOC run-up, but also a clear vision of where the city/region goes afterwards (Lille 3000) and what legacy there will be.

Usually requires a 25 year timeframe.

•Clear objectives: clearly defined aims and objectives must be developed.

The objectives must also relate to the cultural context of the city/region and its needs

•Monitoring and evaluation: Systems need to be in place to guide the development of the programme and monitor the achievement of objectives

Power

•Strong leadership and committed team: an independent director with an international vision and leadership skills to head a team of committed staff should be recruited.

Artistic direction vs coordination? •Political will: the project needs political support especially if it wants to have a sustainable impact.

Not just strong local support, but regional government is increasingly important.

Relationships

•Partnerships: the development of partnerships with many different stakeholders is of primary importance: cultural institutions, local independent arts groups, business and tourism sectors and social services/community organizations. •Political independence and artistic autonomy: the cultural programme should not be influenced by political interests and the operational structure should have artistic autonomy. •Good communication and marketing: a clearly defined communication strategy is indispensable.

Resources Sufficient funds: a confirmed budget should be in place as early as possible in the preparation phase.

Human resources: Volunteers as an essential part of the ECOC, but need to be recruited and managed Who contributes what?

Who gets what?

Lille 2004

Lille 2004

Laurent Dréano, general coordinator of Lille 2004: ‘the secret to a successful year is a good start — and then to keep up the momentum.’ 600,000 people turned up to the launch party.

But Lille also had big ambitions: We dreamt of Lille as a spaceship changing the fabric of time, a place where everyone can live at their own pace, cross through exotic parallel worlds, stroll through the new frontiers opened up and already dissolved….a process of metamorphosis with the ability and energy to perpetually remodel the world Backed up by substantial funding: €74 million programme spend and €70 million capital spend

Funding Source City of Lille

Million €

%

8.0

10.9

Lille Métropole Communauté Urbaine (LMCU)

13.7

Le Conseil Régional du Nord – Pas de Calais

10.7

18.6 14.5 6.7

9.1

Le Conseil Général du Pas-de-Calais

3.35

4.5

National government (including ERDF funds)

13.7

Le Conseil Général du Nord

18.6

European funding

4.5

6.1

Sponsorship

13

17.7

73,65

100

Total

Lille 2004 programme by event type Performing arts Events at the maisons Folies Exhibitions and installations Events organized for the Mondes Parallèles programme Festivals Colloquia and debates

40% 28% 14% 13% 3% 1%

Major attractions Event Rubens exhibition

Venue Palais des Beaux-arts de Lille

Visitors 301 000

Tri postal de Lille

251 000

Mexique-Europe Musée d’Art Moderne Villeneuve d’Ascq Picasso Piscine de Roubaix exhibition The Boulogne-sur-Mer Egyptologist Auguste Mariette

de

214 000 128 000 110 000

Results

•9 million visits •27% increase in bednights •60% of French population thought image of Lille improved •50% of residents now think of Lille as a ‘European Metropole’ •17,800 ‘ambassadeurs’ •12 Maison Folies in Lille, other parts of the region and across the border in Belgium •

Legacy The 12 Maisons Folies still continue to offer cultural programmes Lille 3000, a ongoing programme of events and activities. Attracted sponsorship levels of up to 50% - even higher than 2004 ‘Bombayers of Lille’ attracted nearly 1 million visits in 2006 and was supported by 33,000 ‘ambassadeurs’ and 40% of funding came from sponsors Regional Cultural Capital Programme - Valenciennes, musée des Beaux-Arts, more than 178,000 visits for major exhibition in 2007 300000

Visits to Piscine de Roubaix

250000

Visits

200000 150000 100000 50000 0 2002

2003

2004

2005

2006

2007

Lille critical success factors: •Strong support from regional government •Imaginative use of public space •Community involvement •Development of ‘orgware’ •Marketing •Combination of events and community arts

Essen 2010 Now re-named Ruhr 2010 – in spite of EU opposition: ‘Experience shows that the European aspect of the title itself is often not given sufficient attention by the cities.

Some do not employ the right title, using "Capital of Culture" instead of "European" Capital of Culture or putting forward the region while only a city is supposed to bear the title.’ (EC Discussion Document, May 2009) 53 cities, over 5 million inhabitants

53 Cities, 53 Cultural Contact Officers

A Flying City Hall?

DAS FLIEGENDE RATHAUS: Un체bersehbares Zeichen der Kulturmetropole Ruhr wird das Fliegende Rathaus, das im Kulturhauptstadt-Jahr als mobile Architektur durch die Region wandert.In einem Architekturwettbewerb 2007 werden die besten Vorschl채ge f체r das luftige Symbol gesucht.

Lessons for sustainability •Plan for the long term •Think holistically •Generate sufficient funding •Put culture first •Invest in creative spaces •Develop creative networks •Create effective organisational structures