Dublin2020 - First Round Bid Book

Dublin2020 – A Cultural Challenge to Europe's Divided Cities Bid Book – First Round October 2015 Summary Edition

Index

Introduction- General Considerations

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Europe stands at a turning point –

Do we take the road to permanent division or to integration and unity? Why?

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Social engagement of 1.5 million people –

Mountains, suburbs, sea and centre working together: Surrounding Area

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Creativity is needed to tackle impacts of the economic crisis: Cultural profile

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Building European Cultural Citizenship: Concept of the programme

Dublin2020 has decided to make available a Summary Edition of the Bid book that it submitted to the E.U. Commission, The Department of Arts, Heritage and the Gaeltacht & Jury panel of the 2020 European Capital of Culture competition first round. We have removed some of the longer lists and specific detail for brevity’s sake.

Dublin was not shortlisted into the second round of the completion.

However, we believe in the strength of the work of this bid book, including the proposed artistic programme, the audience development strategy and the new cultural strategy. Further, we feel proud of the cross secortal and citizen engagement with the process and the enthusiasm, support and involvement in each part of this bid book and bidding process that came from the artistic and creative community, social and business community and the citizens of Dublin.

Contribution to the long-term strategy

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Guts to work on Equality: Cultural strategy in place

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Confront division by uniting people: Impact

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This is the moment

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Building trust through transparency: Evaluation

European dimension

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Diversity is not understood and communities are isolated: European relationships

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Interdependence between Europeans, Artists and Citizens: Networks & Platforms

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Are the sharp edges of poverty unavoidable in Europe?: Common aspects

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You can change the story :A broad European Audience

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Mind the gap - Calling Croatia

This competition is a rigorous and transformational

Cultural and Artistic Content

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Story making to oppose the divide: Artistic Vision

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City of Villages, Invisible City, European Pilgrim, City of Courage:

process and we gained far more than we expected.

Our strategy was to build legacy at every stage of the process and Dublin City Council will make further announcements about this soon.

4 Programme lines

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Healing City - An inclusive approach to ECoC programming

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Old meets new - celebrating creative tensions

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Zooming in and out of what a city can be - and do it

Capacity to deliver

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YES WE DO

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It’s the people: Cultural Infrastructure

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No buildings are connected to this Bid

Outreach

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Brewing up with Tea and Fury; programme 60% through consultation

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Usability is about interaction, no matter what!

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Relevance Removes Barriers: Audience development

Management & Control

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Enough Money, Courage and Output orientation: Contingency Planning

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Dublin United Marketing and Communication

We would like to pass on our sincere good wishes to the Three Sisters, Galway and Limerick for the second round.

Many thanks Ray Yeates – City Arts Officer & Director Dublin2020 Iseult Byrne – Deputy Director Dublin2020 and from all of the Dublin2020 Team November 2015

Dublin2020 – A Cultural Challenge to Europe's Divided Cities Bid Book – First Round October 2015 Summary Edition

Introduction – General considerations Why does your city wish to take part in the competition for the title of European Capital of Culture?

Europe stands at a turning point.

Do we take the road to permanent division or to integration and unity?

European capital cities face an inequality crisis. As a divided Europe struggles to recover from its economic problems, the social divisions within EU capital cities are clearer than ever. In fact, things are getting worse, and poorer communities in our capitals are now more not less - marginalised. Globalisation and the rise of the digital economy have created cities that are more connected to the world, but these forces are creating an increasing disconnection within our capitals that is deepening existing social divisions. Few cities in Europe give us a clearer example of this process than Dublin.

Europe’s capitals have become ‘two-speed cities’, where rich and poor are rapidly diverging in terms of space, access and dignity.

In cities that are hooked up to a globalised digital economy, those with the right education and skills thrive, while those not connected to this network, because of lack of education and opportunity, are pushed to the margins. Traditional European values of equality, tolerance, moderation and inclusion are being overpowered by the demands of a fast-moving global economy with its values of individualism, competition and consumerism. Nowhere is this clearer than in Dublin’s cultural expression. A Divided city has emerged where communities on either end of the social scale have less and less interaction. There is a real sense of frustration, shame and powerlessness among the excluded, leading to crime, addiction, mental health problems and poor educational attainment.

In a European context, Dublin is a perfect example of a ‘two-speed’ city. Since its foundation, Dublin’s citizens have been divided, racially and economically. Native Irish, Vikings, Normans, English and newer migrants have battled for their voice to be heard; while the city’s affluent south side and the working class north side are eternal rivals. Today the crisis in the city’s poorer communities is at tipping point. A small number of citizens are benefiting from the new digital prosperity, driven by multinational companies like Facebook and Google who are based in the city. But the situation for the city’s poorer communities is

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worsening. Years of recession and austerity have magnified Dublin’s social problems and if we don’t tackle these issues quickly, it will take decades to address them. A recovery is underway for a minority, but the city’s political and economic systems have never been able to address the social divide at the heart of Dublin city. It seems like nothing ever changes for people who have to live with the impact of this division. Homelessness, addiction, poor educational attainment and intergenerational poverty have never been tackled effectively. That’s where culture comes in.

There’s a growing belief in the cultural community that creativity and engagement with culture provides an alternative viewpoint that might point to radical alternatives for tackling the city’s problems.

This is a unique situation: unity of purpose and belief are rare events in Dublin. The commonly felt necessity to reconnect this divided city is now more urgent than ever.

We believe that Dublin2020 is the catalyst that will push us towards finding brave new solutions that have applications across Europe.

The Dublin2020 process is driven by values that work against division and inequality such as tolerance, solidarity, respect and creative curiosity.

Dublin2020 will kick-start a learning process that engages and empowers our citizens and promotes active citizenship. It’s a vital opportunity to experiment with sustainable alternative visions for the city. Dublin2020 wants to stimulate the popular imagination through artistic interventions and a grassroots movement that activates unused social capital with new leadership. We hope Dublin will rediscover that truly European value of solidarity, and recognise that when we allow fellow citizens to fall behind, everyone suffers. Dublin2020 is an opportunity to learn from civic initiatives in similar European cities, to develop a toolkit that can be shared wherever action is needed in Europe's larger urbanised areas. It’s a chance for Europeans to learn how cooperation within cultural projects between people from all backgrounds offers a creative alternative to the failed experiments of the past.

The process will amplify the power of local culture, energise and invest in neighbourhood economies, and help communities to develop sustainable partnerships. As we engage in this learning process we are following the advice of Dublin’s own Samuel Beckett: ‘Try Again. Fail again.

Fail better’.

GOALS OF DUBLIN2020

Cultural – Dublin2020 increases citizens’ socio-economic mobility within the city, and a reorientation towards Europe. This creates awareness that experimentation, experiential learning and imagination are central to self-empowerment and social cohesion.

Social – Dublin2020 will create opportunities for people to participate, share and learn - promoting the vision of the European citizen as open, culturally competent, and responsibility-driven.

Economic – Dublin2020 will promote a European model of sustainable growth by making explicitly visible the dynamic connection between economic development, cultural expression, tourism and community.

STRATEGY

In Dublin, poor communities still suffer the worst effects of economic crisis and austerity. A situation made worse because poverty in Dublin is transferred from generation to generation. We want to escape this cycle. Change needs a place.

The way we’re working on development and empowerment is simple. We are going to select between five and ten areas in the city that are in transition, either downward or upward - areas that will become new cultural attractions for their inspiring and innovative cultural approach. It is also vital that the cultural institutions are winners also in this process and that they work dynamically with Dublin2020 to recover their rightful place in the community of the city. This approach develops low-threshold and inclusive projects - projects that aim to heal colonial, cultural and economic harms. In those neighbourhood areas we will work with local leaders to improve the area with a ‘greenhouse approach’. We will plant seeds, feed them and when they grow strong, spread them on to the fertile ground of the city and of our European partners.

Does your city plan to involve its surrounding area?

Explain this choice.

Mountains, suburbs, sea and centre working together. This bid is about Europe and the city region of Dublin.

Social engagement of 1.5 million people The Greater Dublin region includes the city’s four municipal areas: Dublin City Council, Fingal, South Dublin and Dún Laoghaire-Rathdown. It also includes the ‘commuter belt’ areas in the surrounding counties: East and NorthEast Meath, East Kildare and North Wicklow. The total population of the region is approximately 1.49 million with 1.27 million living in the four Dublin municipalities and the rest in the ‘commuter belt’. The region has one third of the population of Ireland. Our bid recognises that many people born and working in Dublin now live outside the city boundaries. We believe that anybody who lives, works, visits and plays in the city must be an integral part of Team Dublin.

Housing is a major issue facing the city over the last 20 years. In the 1990’s and 2000’s, economic development led to increasing house prices in the city. This forced many Dubliners to move to new towns and housing developments in the surrounding counties. Meanwhile, many people who emigrated during the 1980’s and early 1990’s returned to take advantage of an improving economy and also needed housing. Both these issues caused the expansion of the traditional city population out into the wider region. A third aspect was the immigration of people born in other countries. Dublin in the 1980s had a relatively homogeneous population. Today it’s a multicultural city whose influence expands across the region. After English and Irish, Polish, French and Lithuanian are the most spoken languages, in that order.

Dublin wants to become European Capital of Culture in order to start a process of cultural development that unites the city by empowering citizens and their communities with confidence and competence.

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Greater Dublin is vital for the success of Dublin2020. The decision to include the entire region underlines the goals of the bid. The theme of a divided city has resonance for citizens throughout Greater Dublin. Urban sprawl means they are less connected with each other and many feel isolated. Those who bought homes in the ‘commuter belt’ cannot return to the city as their houses are worth much less than the original price. Meanwhile, rising rents in the city are forcing a new wave of families out of their neighbourhoods to the periphery. Social problems that once only existed in Dublin city have migrated to towns and communities in the wider region.

The four municipalities agreed to let Dublin City Council lead stage 1 of the Dublin2020 bid, and that all four councils will be actively involved in stage 2 and beyond.

In September 2015, as Dublin2020’s bid book came close to formal completion and after years of informal meetings at working level, the CEO of Dublin City Council made a formal presentation to the senior management of the other municipalities. They then confirmed their commitment to making a joint bid.

The municipalities - especially public-facing departments like culture, community, economic development and housing - have realised they play an important role in the bid process. They have a wide network within the community and are maximising their resources - some not mentioned in this bid - to energise this process. This bid also reaches beyond that network to include all people living and working in the region. This ranges from activists to architects, from artists to cultural mavericks, from working parents to the alternative scene: personalities moving and shaking the social fabric of Dublin. That’s why Dublin2020’s cultural programme and outreach activities are engaging the widest possible number of cultural organisations, community groups, businesses and citizens across the entire region We make no distinctions about where in the region someone lives or works because we want to include the entire community.

As Dublin2020’s cultural programme is rolled out we will tap into all of Greater Dublin’s networks to develop, run and promote activities not just in the city but throughout the region. Cultural programme projects that will take place in the Greater Dublin region include: 24 Bridges, The Green Spine, Festival of Rain and Digital River.

We will make use new technologies to broadcast events; to the region, to the whole country and throughout Europe. New technologies will enable new forms of audience participation that will transform the concept of cultural inclusion and engagement.

Explain briefly the overall cultural profile of your city.

A European City where everyone seems to be a stranger. A place that is finally about to become a home where the contrasting parts are interacting with each other and the world. Dublin is creating for itself a distinct identity among other European cities.

Creativity is needed to tackle impacts of the economic crisis Dublin does not have a unifying shared culture. Dubliners’ identity lies elsewhere: for new immigrants it’s in their home country, for ‘old Dubliners’ it lies abroad or in the past. This fragmentation stems from the city’s history and the waves of culture that have settled here.

The city’s population has grown by 30% since 1990. It has transformed into a diverse city with a 15% migrant population. It is home to 185 nationalities and 182 languages. Dublin has a large Irish-speaking population but the dream of being a bilingual city has disappeared. Dubliners are mainly Anglophone and monolingual. With all its nationalities and languages, Dublin is tolerant and somewhat multicultural, but doesn’t yet celebrate inter-culturality. Its future will be built on a recognition of its multicultural composition.

Economically and socially Dublin is an integral part of Europe, but culturally we look to the UK and the US. However, there’s a new identity and culture fighting to emerge.

The alternative ‘guerrilla’ scene is not well developed. There are many hard-working artists but their profile is small and their potential never fully realised.

Despite this, the signs of a new cultural energy are everywhere - local festivals, ethnic events, small galleries, studio theatres and community projects. Dublin has a vibrant amateur arts movement. Dubliners used to keep their artistic activities private, but now they’ve started talking openly about their creativity. All of this is creating a growing awareness of the full potential of Dublin’s cultural resources.

Yes, Dublin is a divided city, a city of villages.

But Dubliners have a remarkable ability to mobilise when the right moment comes along. The city is regaining its self-belief, rejecting the pessimism of austerity. Inspired by the passionate activism that won Ireland’s recent marriage equality referendum,

Explain the concept of the programme which would be launched if the city is designated as European Capital of Culture.

Dynamic programmes that mediate in dialogues will secure a value-based recovery.

Building European Cultural Citizenship Getting Dubliners engaged and involved is central to our programme. When people in Europe are culturally invisible, excluded and looked down upon, they withdraw from public life, or at best create forms of underground culture.

Recognition of who these people are and what they have to offer culturally, is crucial to the involvement of all citizens in Dublin2020.

Our programme is about recognising how globalisation can create division. Increasingly, European governments are reducing the scope of their social responsibilities while promoting more active citizenship. That can work well for citizens who are well-educated, have a decent income and have a relevant network. But it’s a problem for the poorer sections of society: people who are often poorly educated, with low-skill jobs, little income, no network.

How will they ever join the city's cultural life?

The cultural sector is hungry to reinvent itself.

To create an entirely new story. With a European city of its size this is no small task, but Dublin is ready to get things done. It’s ready to tap into a growing cultural energy to achieve change and reach new mass audiences.

Are we afraid of too much inclusion, too much accessibility?

Key to Dublin2020’s programme concept is the idea that everyone has a place in the cultural palette of the city. It’s a first step towards participation. Cultural understanding of the city from this perspective leads us to places far away from its official cultural institutions. Division and opposition can provide considerable energy if harnessed correctly. Dublin2020 fires the imagination of communities’ local cultures by fertilising them with artistic inspiration. We want to stimulate cross-cultural enrichment and make Europe’s cultural diversity productive. We can achieve this through collaboration and co-production with diverse artists and cultures in Dublin and other European cities.

Dublin2020 is about culture built on people’s creativity - the way they experience and shape their lives

Most Dubliners, however, still think of culture as galleries, museums, theatres and exhibitions - as ‘high art’. There is a romantic 19th century idea of the distant ‘starving artist’.

These ideas are promoted through policy and funding strategies. There is no political appetite for cultural interventions dealing with social issues. Creative practice isn’t seen as a part of our education. Instead there is an official culture of ‘practicality’. Creativity is the servant of the high tech sector and entrepreneurial business.

Dublin’s cultural infrastructure is strong, with theatres, museums and international festivals, but individual artists struggle to reach their potential in a city dominated by these institutions.

The cultural scene is tired of fighting the system and its administration of culture.

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Our choice of theme is the result of an extensive consultation process in the city over the past years. There is a real sense of frustration, shame and powerlessness - and not only among the excluded. Dublin’s problems affect every citizen. Dublin2020 is harnessing these emotions and redirecting them towards positive and radical change.

The Dublin2020 programme challenges the division between citizens that is becoming more and more apparent in Europe's capitals. From London to Tallinn, from Helsinki to Barcelona, Europe’s capitals have become ‘two-speed cities’. The geographical division of people in cities emphasises the divide between rich and poor, and between ethnic and cultural groups. It leave marginalised groups isolated on the edges of Europe’s cities. The European promise of cultural enrichment that comes with diversity will not be fulfilled if different social groups are living apart.

If the ‘other’ is no longer your neighbour it will be more difficult to accept him or her.

Segregation and division lead to people feeling unsafe and to more oppressive policing practices. Division feeds apathy and anger and may end up, like in many countries outside Europe, with gated communities dividing rich and poor even further. Safety and peace are crucial for social development as a base for a flourishing city.

Traditionally, our inner cities are a meeting place for everybody, symbols of European democracy. Slowly the city centres are becoming places for the privileged few. Luckily, in most capitals we have not yet reached this extreme, but few cities in Europe show a clearer example of this process dividing its citizens than Dublin.

It’s now clear, even with economic recovery underway for some of our citizens, that the city’s political and economic systems still lack the imagination to address the urgencies of inter-generational poverty, lack of participation and cultural segregation. That’s where our programme comes in, driven by values of tolerance, solidarity, respect and creative curiosity. The programme will stimulate the popular imagination through artistic interventions, support for grassroots movements that activate unused social capital and new ideas of leadership. We believe that Dublin2020’s approach develops the tools that will push us towards finding brave new solutions that can resonate and find applications across Europe. An ECoC in Dublin will allow the city to become a European symbol of inclusive culture.

We are working on four programme lines that demonstrate different approaches towards this challenge:

City of Villages explores the rich variety of neighbourhoods that often bear traces of their cultural origin - either the culture of rural Ireland, or of countries that our new citizens originally came from. It’s said that most Parisians bear the countryside in their hearts and Dubliners are no different. However the same is true for our citizens with roots in Poland, Africa and across the globe, who now call Dublin home. Migrants bring new influences that define the cultural makeup of Europe’s capitals more and more in the 21st century. Recognition of that cultural variety by supporting their cultural contribution is the first step toward active participation of all citizens.

Our working method in this programme line is to focus on local culture as a starting point for engagement.

When people and their culture are denied, looked down upon or even prohibited, they will not disappear.

At best their culture will flourish underground. Underground culture can eventually become a source of cultural development. The Catholic Church repressed Irish dance traditions, which created a form of dancing that eventually went around the world as Riverdance. Storytelling, the art of the poor, created a foundation from which great writers and poets could emerge. Music traditions from society's margins brought forward great popular traditions all over Europe and the world. Current critical artists, urban artists, ethical hackers, bloggers, and marginal performing artists meet on the web and in real time in informal spaces in the city.

Dublin2020’s approach is to work with these underground aspects of urban culture to enhance engagement and bring out the city’s vitality.

Dublin2020’s working method is to identify and include these artists in the programme by giving them the stage, supporting connections with alternative scenes in Europe through residencies, and creating a catalyst for analysis and reflection in public meetings with European thinkers.

Once upon a time, far back in history, it was Irish monks who brought Christianity to great parts of Europe. Then, Latin was the common language and national borders were absent. That’s all history now. The Irish have to actively reconnect to Europe, rediscover what Europe offers them apart from economic advantage, and find out what they can give back to Europe. European Pilgrim recognises that, for many Irish people, seeing themselves as European is an effort. Most countries, for historical reasons, have cultural orientations that do not match perfectly with Europe. The Baltic republics carefully observe their Russian neighbours. The Greeks have an issue with Turkey, the Polish with Germany and Russia, and so on. Ireland is no exception. Due to centuries of colonisation and emigration there is a strong orientation towards English-speaking countries.

For Dublin, it is worth exploring the experience of the capitals of smaller countries that are at the margins, and were hard hit by the crisis and austerity. Challenging the growing social, economic and cultural divisions is their shared issue. Irish artists will contact those places and find colleagues that share our analyses and direction.

Our working method involves building European relations with similar cities like Athens, Barcelona, Brussels, Copenhagen, Prague, Sophia and Tallin.

Our programme will raise awareness of the issues we have identified with European citizens and politicians.

To increase awareness and explore strategies to challenge social divisions, a Eurogroup of Inclusive Cities, AudaCity will be initiated as part of Dublin2020.

City and state funding of arts and culture in many European countries is based on a concept of elite disciplines and institutes of ‘high art’. Museums show collections that represent the rich, famous and powerful, and rarely tell the story of ordinary people. This is a classical system inherited from the past. It is valuable, but not sufficient to fulfil the needs of the city as a whole. That’s why Dublin's response to a divided city requires a different funding approach.

The working method is to experiment with alternative ways of funding with the aim of setting up a new and more inclusive system that supports participation and intercultural collaboration.

The City of Courage was set up to start the work on the legacy from day one of the preparation. It works with the principle of testing new business models and decentralising cultural decision-making to the level of the people who are currently excluded, and where need is demonstrated and expressed.

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1. Contribution to the long-term strategy Describe the cultural strategy that is in place in your city at the time of the application, as well as the city’s plans to strengthen the capacity of the cultural and creative sectors, including through the development of long term links between these sectors and the economic and social sectors in your city. What are the plans for sustaining the cultural activities beyond the year of the title?

Through a collaboration of citizens, independent artists, cultural institutions, tourism operators, government and educators we can activate culture to unify the mutual city.

Have the guts to work on Equality of Practice, Inclusiveness and Participation The new draft Cultural Strategy (2015 - 2021) of Dublin City Council states that:

A RADICAL CONTINUITY

Dublin has now adopted the Unesco (2001) definition of culture, reflecting the city’s new understanding of the scope and potential of cultural action. Dublin is focused on the development of partnerships with Europe and European cities.

Many of Dublin City Council’s departments are engaged with culture - including Planning and Development, City Libraries, Arts Office, Community Development and Social Inclusion, International and Economic Development, Heritage, Archaeology, Sport, Recreation and Parks.

All of these departments have multi-annual strategies and plans. The Cultural Strategy coordinates these action plans based on a new common understanding of culture.

The cultural strategy is a radical step for the council, but not an uninformed one.

The importance of culture in the wider sense of the word, to the development of the city and the wellbeing of its citizens has grown in recent years. Culture features in development plans, traffic management plans, creative industry discussion documents, digital strategies, and plans for the arts published by different council departments. Bringing these elements together around the ECoC bid and the drafting of the new cultural strategy has been the radical step.

THE CITY DEVELOPMENT PLAN 2016 -2022

Prosperity, Sustainable Neighbourhoods and Resilience are the goals of the city plan - aims that agree strongly with the themes of Dublin2020. It acknowledges that to maintain and build the city’s international status, it must meet key environmental, social and cultural benchmarks and build partnerships with the other regions of the Greater Dublin Area to develop a strong brand identity to promote Dublin as a world-class city.

The City Development Plan is committed to the promoting and enabling of arts, cultural and tourism activities to enhance the city’s international image, improve the vitality and attractiveness of the city’s environment, and to address social inclusion and regeneration. It supports and encourages investment in a quality cultural infrastructure in the city. This will allow the development of a leading cultural capital where the cultural needs of all citizens are met.

ASSUMPTIONS

Cultural Practice – the ‘makers’ of culture are the foundation of a city’s cultural life and reputation: the artists, sportspeople, entrepreneurs, academics, community groups and the organisations that support them. Reinforcing this human infrastructure is essential.

Cultural Participation – a strong culture requires strong levels of participation - whether as a member of the audience, a producer, a ‘prosumer’, a student or as a member of a local cultural project. Supporting participation through access, opportunity and education is central to sustainable development.

PRIORITIES

Culture is central to human development. Dublin City Council will prioritise cultural expression as central to Dublin’s quality of life and its relationship with Ireland, Europe and the rest of the world.

Culture builds community, develops the economy, and empowers change through imagination and creativity.

Dublin is a city in which to create, experience and share culture.

Leading, developing and working in partnership, Dublin City Council will create and support opportunities for all citizens, to equally engage in inclusive and diverse cultural experiences.

Dublin2020’s bid process underlines a growing understanding in the municipality that culture must be a top priority for a modern European city like Dublin.

It’s also clear that the city needs a new focused, innovative, inclusive cultural policy to ensure culture stays at the heart of Dublin life. We hope Dublin2020 will remind citizens of the urgent need to address the divide that exists in Dublin and other European ‘two-speed cities’.

It supports the idea of new cultural areas. It sees the potential for concentrating cultural activities in city districts which can become new cultural destinations.

The city’s plans for developing a new Cultural Quarter in Parnell Square is one example of this.

Central to the development of the city is the vision of a coherent and connected city, that will allow for the expansion of the city centre towards the Docklands, Heuston and the new Dublin Institute of Technology/ Health Service Executive campus at Grangegorman; the development of sustainable urban villages such as Rathmines and Crumlin; and investment in new regeneration areas (such as the North Fringe and Docklands).

1. Ensure that creativity, culture and the creative industries are central to Dublin’s global competitiveness and reputation as a modern, European city.

2. (a) Increase cultural participation and practice through partnerships in both formal and informal education. (b) Plan and deliver improved cultural infrastructure in the city and its neighbourhoods.

3. Promote social, economic and tourism development, by increasing resources for cultural expression through public and private investment.

Dublin City’s Cultural Strategy recognises the change, diversity, and the divisions of today’s Dublin, and acknowledges that the city’s greatest asset is the citizens’ creativity.

It aims to ensure that people’s creativity is not obstructed because of lack of access, affordability or education.

Instead it will facilitate the next stage in the city’s cultural expression, creating a new identity from the lives, the creativity and the ambitions of all Dubliners.

Discovering the divided city in Dublin; realising that Dublin is a 'two-speed' city, was both sobering and exciting.

Sobering because it is obvious and painful. Exciting because it focuses the mind to start solving the problem.

Ray Yeates, City Arts Officer

This strategy will be put before the City Council for formal approval in the first week of November 2015.

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Illustrating the ideas at one of the Dublin2020 workshops.

If your city is awarded the title of European Capital of Culture, what do you think would be the long-term cultural, social and economic impact on the city (including in terms of urban development)?

Building a powerful active community is Dublin’s unique strength. Releasing this major human resource is the objective of Dublin’s ECoC. Confront division by uniting people CHANGING OUR MINDS

We hope Dublin2020’s legacy will be to alter the city’s mindset. Today, citizens see a false separation between their many abilities - between innovation, communitybuilding and creation. We hope to change that by showing the clear connection between these activities. In this shared creative future, technology will retain meaning and culture will remain relevant, usable and innovative. We believe the ECoC will also change the Dubliners’ mindset regarding Europe - shifting their sense of identity from soley Dubliner or Irish, to European.

CULTURAL IMPACT

Dublin2020 will generate mobility in the city: between the villages, between the visible and the invisible, between generations and income groups, between ideas, between producers and consumers, and between Dublin and Europe. It will create awareness of other people and other possibilities. It will show us that experimentation, experiential learning and creativity are central to self empowerment. The process will embrace Dublin’s new diversity, build sustainability and create long-term cultural engagement. Our culture will help us start the process of disconnecting poverty from place and history.

Working together, Dublin can build real alliances between communities, artists and organisations, and spark innovation between culture and creative sectors, producing new and relevant work. We hope this will foster new relationships and conversations, and will wake the city to its new, intercultural future.

SOCIAL IMPACT

We believe Dublin2020 can create new skills and abilities across the city: in the municipality, in all business sectors - including the cultural and creative sector - and throughout the population. It will create opportunities by helping citizens to become smart, competent, technologically alert and responsibility driven.

Dublin’s ECoC process will create learning opportunities for municipal, cultural and community leaders to explore the social and economic power of culture. By connecting them to networks of practitioners and thought leaders throughout Europe, we will facilitate partnership and co-production opportunities beyond 2020. Our cultural programme will engage with groups usually excluded from cultural participation by health, education or economic barriers. We want this engagement to build new opportunities, new skills and new networks. Dublin2020 will facilitate and drive the conversation between the cultural, the creative and the technological sectors to create relevant and usable solutions and products. This focus on up-skilling and education will fuel new cultural output, and a new city-wide culture of creation.

ECONOMIC IMPACT

Dublin2020’s vision and strategy is about promoting a new understanding of the city’s resources. We will highlight the dynamic connection between economic development, cultural expression, tourism and community. We will do this through meetings and conferences, commissioned research, online and offline platforms. It is important that everybody - including cultural producers - understands what resources are available. There needs to be awareness of visible and invisible resources, the need to maximise the resources immediately available and an understanding of the resources the bid process will create. This new thinking will develop an innovative approach to cultural development, new partnerships and new audience engagement.

It will require cooperation between the villages, developing strong networks that link different sectors, and developing new models for cultural action. Achieving this level of joint action will require greater flexibility by the City Council in their response to new cultural initiatives.

The goal is clear: to maximise the resources available for creativity and culture across all communities and drive economic growth.

Dublin2020 has the potential to transform the way the city thinks. Building legacy is a long process that must start from the ground up. That’s why we are working to build engagement and develop a Capital of Culture from the needs, imagination and creativity of all our citizens.

How is the European Capital of Culture action included in this strategy?

Describe your plans for monitoring and evaluating the impact of the title on your city and for disseminating the results of the evaluation.

The Cultural Strategy aims to build Who will carry out the evaluation? a culture based on participation and cohesion. Similarly Dublin2020’s Third level institutions of international cultural goal is to create awareness reputation unite to evaluate the that experimentation, experiential impact of the Bid and ECoC. learning and imagination are central to self-empowerment and social Building trust through cohesion. transparency This is the moment Dublin’s Cultural Strategy and Dublin2020 share common themes and goals. Tackling the issue of a Divided City is clearly stated in Dublin’s Cultural Strategy. The creation of cultural models to tackle this problem is central both to the bid and the strategy. Many of the concerns and objectives that emerged from Dublin2020 workshops and public meetings have been integrated into the city’s new Cultural Strategy.

Dublin’s new Cultural Strategy has radically shifted the municipality’s thinking, by making clear the relationship between culture, economic development, community building and tourism. Highlighting this connection is also a Dublin2020 goal.

Dublin2020’s ECoC bid is driven by inclusion, relevance and participation in cultural creation and decision making. This approach is echoed in the Cultural Strategy which aims to ‘create and support opportunities for all citizens, to engage equally in inclusive and diverse cultural experiences.’

The Dublin2020 bid will keep the goals of the Cultural Strategy at the top of the city’s agenda, and vice versa. If economic growth continues, it’s likely that citizens benefitting from prosperity will return to individualism and consumerism.

Dublin has a number of respected research institutions with the required expertise to carry out an evaluation of Dublin2020. All of Dublin’s third level institutions (University College Dublin, Trinity College Dublin, Dublin City University, Dublin Institute of Technology, National College of Ireland Maynooth, National College of Art & Design, the Institute of Art, Technology and Design) will be invited to contribute to the evaluation project.

An expert group drawn from these institutions will be established to carry out the evaluation. This will be the first time in the Greater Dublin district that all of the major centres of excellence for the evaluation of social, cultural, economic and environmental dimensions are brought together, and assigned specific responsibilities tied to their own specialties.

We hope Dublin2020 will remind citizens of the urgent need to address the divide that exists in Dublin and other European ‘two-speed cities’.

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* The indicators listed in the complete bid book have been removed.

Will concrete objectives and milestones between the designation and the year of the title be included in your evaluation plan? Over what time frame and how regularly will the evaluation be carried out?

The main purposes of these phases are: •

Building up a database of indicators over a long period to permit evaluation of the dynamic impact of the ECoC programme - from early implementation to long-term legacy;

OBJECTIVES, PURPOSE AND TIMEFRAME

•

Utilising the interim reports as tools to monitor the progress of implementation. This will indicate strengths and weaknesses, with an emphasis on citizen participation, cultural vibrancy, intercultural dialogue, and financial viability;

•

Using the evidence from interim reports to inform and update stakeholders, throughout the ECoC implementation phase.This helps establish a shared commitment among stakeholders to using measurement of impact as a key governance tool.

Six months before the production of each interim report, a meeting will be organised with other ongoing and future ECoCs. This will allow exchange of information and best practices in evaluation, and make a preliminary assessment of the results of the evaluation. The idea is to invite all of the ECoCs between 2018 and 2022 to participate in at least one of the meetings ensuring full networking between all of the evaluation teams from all the operating ECoCs. Also, selected experts involved in the evaluation of pre-2018 ECoCs will be invited to the meetings. For the presentation of the final report in Q4 2022, a major global conference on the theme of evaluation of cultural interventions with budgets of more than €25 million will be organised. This may include participation of the European Commission and possibly of relevant researchers from the Joint Research Centre.

The evaluation process will operate in four phases:

1.

Methodology Setting

to be completed by Q4 2016

2.

Pre-ECoC Evaluation

with three interim reports in Q3 2018, Q3 2019, Q3 2020

3.

ECoC Year Evaluation

4.

Post-ECoC evaluation

throughout 2021 until Q3 2022, with a final report in Q4 2022

with two interim reports in Q3 2023 and Q3 2025 a final report by the end of 2026

At the Operational Objectives level of the scheme of Table 1, we will add extra focus to reflect the key theme of our bid i.e. challenging social division through culture.

We will add a further Operational Objective, namely “Build new capabilities through active cultural participation to ensure the widest possible inclusion of the most weak and marginalised social constituencies”.

On the basis of the Specific Objective 2 “Widen access to and participation in culture” we will build indicators to track the inclusion of marginalised citizens into the ECoC programme. An example of this might be: “Percentage of events in the whole ECoC programme that explicitly envisage a role for citizens from marginalised constituencies at the design and implementation phase”.

This is a typical Result indicator whose data source is directly found at the ECoC bid office level. We will not only consider local marginalized constituencies. At European level we are facing a dramatic humanitarian emergency because of the large flows of refugees from some of the most deprived countries in the world. There is an awareness that this is a long-term issue that will maintain its relevance throughout 2021 and beyond. We will develop indicators that monitor how our ECoC programme finds ways to reach and involve other marginalised communities in Europe, and in particular the communities of migrants and refugees from the diasporas of Syria, Afghanistan, and Kurdistan.

What baseline studies or surveys - if any will you intend to use?

In recent years a variety of studies on Dublin’s cultural scene and the impact of cultural policy have been commissioned by Dublin City Council, Dublin Chamber of Commerce, Dublin Universities, the Arts Council and others.

However, this knowledge and data is too fragmented to provide a ready-to-use baseline. Creating such a baseline will require substantial additional work, which will be carried out during the Methodology Setting phase in 2016.

What sort of information will you track and monitor?

Dublin City Council is committed to long-term, evidence-based, target setting across its whole range of functions. The municipality intends to use the opportunity of the ECoC bid to expand its partnerships and networks with key agencies and stakeholders to improve its data collection and analysis as a permanent legacy.

The design of our evidence base for the evaluation of Dublin2020 illustrates the municipality’s approach to governance. We see the elaboration and monitoring of the indicators as part of a live public dialogue, with moments of open presentation and debate accessible to all citizens.

We will build our evidence base in line with the European Commission’s ECoC 2020-2033 Guidelines for the cities’ own evaluations of the results of each ECoC. In particular, we will start by outlining the hierarchy of objectives as illustrated in Table 1 of that document. From this we will derive our core indicators, as illustrated in Table 2 of the same document.

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How will you define success?

For us ‘success’ will be our capacity to meet the objectives of the bid as detailed in above. We can consider the ECoC to be a success if at least 75% of the quantitative objectives are fully reached, and if at least an additional 10% fall short by no more than 20% of the target.

But success cannot be defined in quantitative terms only. Therefore, on the qualitative level, we will also ask our citizens to be the programme evaluators from their own viewpoint. As an integral part of the ECoC year evaluation report to be delivered at the end of 2022, we will carry out an in-depth, statistically representative survey of citizens’ perceptions of the ECoC year, and in particular if the ECoC has been perceived to create real opportunities for them, to what extent, and in what capacity. Citizens will be also asked to give a comprehensive overall evaluation of the ECoC on an appreciation scale. We will then define an additional ‘success’ condition as having at least 75% of the sample providing an evaluation of the ECoC in the positive appreciation range.

2. European dimension Elaborate on the scope and quality of the activities Promoting the cultural diversity of Europe, intercultural dialogue and greater mutual understanding between European citizens

Diversity is not understood and communities are isolated. Aspirations to integration and diverse programming are seen with fear. A balanced vision and effective intercultural action are required. Dublin is experimenting with ways to make this work.

Balancing European relationships Dublin2020 intends to act as a catalyst to connect European citizens through developing contacts between individuals, organisations, networks and public, private and third sectors. It is our belief that greater mutual understanding between the citizens of Europe can only be achieved through communication at all social levels, and that building friendship is the greatest bridge over social, cultural and political intolerance. We will facilitate new individual friendships between those who attend events, the visiting artists, the visiting groups and partners, and using social media, thereby contributing to the primary goal of the European Union; building a closer union of the peoples of Europe.

CULTURAL DIVERSITY

As an old European port Dublin has long understood that our culture and city can only thrive in contact with other cultures, and not in isolation. Diverse cultural influences have always been the foundation of Europe’s development and the base for exchange, innovation and growth, also in Dublin.

If Dublin2020 is to succeed in the goal of challenging divisions, we must ensure that it reflects the cultural diversity of our city, and promotes European values of inclusion and respect. Dublin’s demographic has changed radically in the last 15 years, due to the influx of thousands of migrants, and has seen a growth of many new communities. Challenging divisions also means starting an open city-wide debate about our diverse cultures, values and problems. And it means making our diversity truly productive so we can find new ways of working together towards a better future.

City of Villages – embraces cultural expression from old and new communities in Dublin, the region and Belfast - creating a space where everyone can contribute to the cultural palette of the city.

Invisible City – fuels the urban vitality rising from underground culture and puts strong emphasis on inclusion of all areas and people who feel left behind due to socioeconomic and cultural divisions.

European Pilgrim - facilitates Dublin's artistic, civic and intellectual re-orientation towards Europe through collaborations with artists, citizens and universities to build a Europe that empowers its citizens.

City of Courage – adapts new leadership, decision-making and civil ownership models along with new funding systems for arts and culture.

Like Copenhagen, Prague, Vienna, Helsinki, Barcelona and other capitals of smaller European countries or larger regions, Dublin remains built up of villages, communities and localities, full of specific histories and culture. In the Museum On Your Doorstep we recognise the uniqueness of each local neighbourhood. We reconnect with their unique, cultural expressions and activate their participation by providing them with space, expert support, financial means and exposure. We’re also stimulating collaboration between local groups and communities that do not normally interact. To challenge the traditional division of the centre vs. the periphery, we’re making each of these villages the centre and a cultural destination. This strengthening of local cultures, identity and pride enriches our experience of European diversity.

Turning Dublin Around draws on local dance traditions from the city’s new communities as well as contemporary urban dance styles, remapping the city and showcasing the distinct places and people who live here.

Diversity is as important for humankind as biodiversity is for nature. Dublin2020 has begun a deliberate process of ‘inclusive European diversity’ as part of its campaign to become European Capital of Culture. 15% of Dubliners come from other countries but this significant part of Dublin’s population has not taken its central place in civic life. So-called ‘non-Irish’ cultural expression is hidden from the mainstream and at best it’s celebrated in monocultural ethnic festivals.

We cannot achieve interculturalism through goodwill alone. European policy won’t have any impact on citizens’ lives unless there is a change in attitude caused by positive action. The following are some of the actions Dublin2020 is taking:

Positive Bias: We will pursue a policy of ‘immigrant bias’, that will seek to make a place for Dubliners from other countries, and their children at the centre of all Dublin2020 preparations and programming,

Intercultural Council: Our consultation process has identified key opinion leaders among Dublin’s diverse communities - specifically from the Polish, Latvian, Lithuanian, Nigerian, Indian, Pakistani and Chinese communities. A number of these citizens will be appointed to an Intercultural Council that advises Dublin2020. The group will also be a key permanent advisory committee to Dublin City Council,

Capacity Building: Developing cultural programmers, artists and arts organisations within these new communities is another vital part of the intercultural strategy.

We will build key partnerships with such programmers in Dublin and Europe. We will work with three European organisations that develop artistic and cultural programming skills with diverse communities.

Dublin has always been an active member of the Intercultural Cities Network of the Council of Europe, and will bring this experience and previous partners into projects subject to the title being awarded. Due to staff changes in the last 12 months the relationship with the Intercultural Cities Network has weakened slightly but the ECoC candidature has provided a new impetus to strengthen the relationship again and, in a second round, we will organise a workshop on interculturality with key contacts in the network.

Our strategy for promoting the cultural diversity of Europe is to present our diversity as an engaging and inspiring prospect for new collaborations, cross-fertilisation and shared satisfaction.

We will experiment with the new, inclusive visions for a European city in the 21st century. We will celebrate and share our findings with everybody who seeks to experience the true Dublin - visiting our city or connecting with us digitally.

INTERCULTURAL DIALOGUE

As Europeans we rightly hope for intercultural unity and integration. However, Europe continually falls into the trap of division and suffers from the racism that reflects the isolation of ethnic communities. What we need is a vision and cultural actions to promote real dialogue. As part of our ECoC bid, Dublin will host the International Dance Federation World Championships - a multi-ethnic festival of dance drawing thousands of performers to Dublin from all ethnic communities. Each programme event and project in Dublin2020 will seek to be ‘integration-proofed’, seeking not just to involve diverse communities as a token gesture but ensuring they are a vital, integral and authentic part of each event

We see intercultural dialogue as the way to “establish linkages and common ground between different cultures, communities, and people, promoting understanding and interaction”. This is based on the European strategic-framework and is “essential for avoiding conflict and the marginalisation of citizens on the basis of their cultural identity”.1

All four strands of our programme showcase different viewpoints of European cultural diversity and its challenges.

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Our strategy to promote intercultural dialogue and to further strengthen the cultural fabric of our communities, is to expand our focus far beyond national or ethnic minorities. That’s why our programme includes all ages, genders, professions, religious groups, linguistic and cultural communities and many levels of ability.

24 Bridges will be a parade of European integration and diversity bringing together boating communities from Dublin and Europe. Each of Dublin’s villages will make their own rowing boat in collaboration with European partners and experts. Boat traditions from Italy, Norway, Poland and other European countries will be displayed.

In Voices of the City, Dublin’s musical tradition will be brought together with the local Gaelic Athletic Association, mixing different ages, professions and ethnic backgrounds to create a spectacular opera with a volunteer chorus of 10.000 voices.

Our specially designed Seen And Heard! festival will see the children of Dublin taking over streets and buildings. It will be co-designed and overseen by a specially created Children’s Council. Dublin will be transformed into the most child-centred city in Europe, we want to ensure that our next generation has their voice as active citizens.

MUTUAL UNDERSTANDING

It is our belief that greater mutual understanding occurs when people with different views, experiences, backgrounds and knowledge come together and share their ideas and skills in such a way that learning from each other takes place. They build the Europe of our future new, diverse and truly integrated.

We want to facilitate a deeper connection with our European partners, and with ourselves, as modern Irish people that are already a mix of people with different backgrounds. You don’t need to go very far back to realise that most of us are migrant. We will do this by expanding our existing networks, fostering the mobility of European and international creators, and ensuring that deep exchange and cross-fertilisation can take place. Together we will celebrate the emerging, new solutions, inclusive alternatives and share satisfaction resulting from these processes.

Our International School of Life will transform Dublin into the biggest open university in the world. We will build a new European network for radical learning, and collaborate with major organisations.

Dublin2020 wants to lead the development of AudaCity, a new network for medium-sized European cities to create radical new visions of how a European city can function in the 21st century. AudaCity will host its first international conference in Dublin in 2020. This is a forum for cities who put culture at their heart, to inspire meaningful change looking at how to preserve and enhance the creative capacity we all need.

Featuring European artists, cooperation with operators and cities In different countries, and transnational partnerships. Name some European and international artists, operators and cities with which cooperation is envisaged and specify the type of exchanges in question.

This is a chance to unite sectors, cultural institutions and artists to tackle social division, and a major opportunity for cultural institutions, municipal and national, Both European and Irish, both citywide and national to reach a intensive level of cooperation.

Interdependence between Europeans, Artists and Citizens The Dublin2020 bid is recharging the city’s European connections and creating new ones. Until now, Dublin has had low levels of engagement with EU-level partnerships.

The usual pattern of connection has been with the USA, and in recent years with Asia. Dublin’s ECoC process is creating new energy and opportunities for building European partnerships, strengthening connectivity between existing networks and engaging in greater transnational cooperation in Europe.

In recent years Dublin started to see that a cooperation based upon an ongoing dialogue on the value of culture as a basis works. The interdependence in the exchange is what matters.

* For the sake of brevity the list of potential transnational collaborators has been removed.

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Highlighting the common aspects of European cultures, heritage and history, as well as European integration and current European themes.

Are the sharp edges of poverty unavoidable in Europe?

Cultural division has been one of the key sources of conflict in European history. Europeans have learned through painful experience that allowing divisions to deepen leads to crisis and often to disaster. On the other hand, diversity and new cultural influences are the dynamic engines that built Europe’s rich culture and heritage. When Europeans embrace diversity, promote integration, engage their curiosity and participate in cross-cultural collaboration, we all win. The Dublin2020 cultural programme aims to reactivate a sense of European identity, through citizens' collective engagement with our shared culture, history and heritage.

ACTIVATING INTEGRATION, HIGHLIGHTING HERITAGE

Integration on a local or European level is challenging and complex. In the city we can broadly see two strands of Dubliners - old and new. By old Dubliners we mean those whose family connection to the city goes back 50 years or more, while new Dubliners are recent migrants who have come for political, health, family reunion or career reasons, or are mobile Europeans.

In a European city like Dublin, it means many ‘native’ citizens must re-think traditional and sometimes narrow ideas of self. Narrow nationalism is blind to the benefits of our common European identity. Dublin2020 is about old and new Dubliners shifting their thinking about their relationship to Dublin, to Europe and to each other. That’s why we are placing multicultural programming, collaboration and participation at the heart of Dublin2020’s programme - utilising it to challenge the divide, show alternatives and introduce solutions that work elsewhere. Already we’ve seen a real energy and enthusiasm for the Bid in immigrant communities. Meanwhile, projects involving New Dubliners - from Europe or further afield - will demonstrate the richness of diversity while helping all Dubliners to reconnect with the ideals of European integration.

Can you explain your strategy to attract the interest of a broad European and international public?

Create synergies across multiple partnership levels between European Citizens and design bespoke, personalised and contextual multi-media content. Vividly demonstrate how Dublin2020 is interrogating the ‘divided city’.

You can change the story

These are some of the programmes exploring European culture, heritage and history, and integration: •

In Dream Catcher we will ask New Europeans – refugees and recent migrants, who dream of a new life in Europe, to share their dreams with us. We’ll display these dreams for citizens and decision makers to remind ourselves of the processes that have built our European culture.

•

Tiny Plays for Europe invites people from every European country to write a three minute play in any language, exploring their connection to Europe and their experiences of living in a diverse society.

•

You could say that the early pioneers of European integration were the travelling masters and scholars who spread practical and expert knowledge through Europe. Inspired by this heritage we will transform Dublin into an International School of Life. Experts representing European and local forgotten crafts, urban folk traditions, contemporary urban cultures, traditions of new communities and a wide practical knowledge will, share their skills in every public space in the city.

•

The themes of homelessness, addiction and marginalisation, which, along with migration, urbanisation and social divisions are critical European themes, will be brought into the open through Beckett in the City. This offers the homeless and marginalised people a space to give expression to their struggle, and suggest solutions to help their reintegration into European society.

This multi-disciplinary, multi-cultural, multi-coloured, multi-media content will then be widely disseminated through diverse media channels. In the cultural programme, initiatives like the digital film project Dream Catcher is a good example of this kind of dissemination.

The strategy operates in three phases: Identify, Build and Disseminate.

IDENTIFY

We will identify the primary target groups in capital cities of smaller European countries to facilitate peer-to-peer engagement across all social media and related digital platforms, to engage the widest possible audience and maximise their participation. This will involve building ambassador networks within the European Capitals of Culture, the ex-pat communities, the embassy network, and Enterprise Ireland’s international support network, among others. Within these groups we have identified three key demographic segments: •

15-25 year-old tech-savvy, culture lovers who are visiting an ECoC for the first time,

•

30-40 year-old self-developers who have been in the top 10 EU cities and who have already visited an ECoC at least once,

•

55-65 year-old ‘baby boomers’ in need of fresh cultural engagement and relevance for their many interests and hobbies.

BUILD

We will forge key alliances and partnerships, both domestically and in Europe, across these groups and segments, to reach our target audiences in meaningful and comprehensive ways, and nourish these partnerships by identifying thematic content threads of mutual interest and value.

These alliances and partnerships can help us remove the divide and highlight the power of collaboration.

≤

A pop up European Portal, connecting people in Dublin’s city centre to neighbours in Barcelona, Berlin and Milan.

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DISSEMINATE

This multi-disciplinary, multi-cultural, multi-coloured, multi-media content will be widely disseminated through multiple and diverse media channels: •

Programme initiatives such as Dream Catcher will become both a social media theme and a dissemination channel in its own right,

•

Proprietory Channels – Dublin2020 website and apps,

•

Leading social media platforms (the world's biggest online companies have their European HQ's in Dublin,

• Local traditional media companies (including print,

radio and TV), and their respective hybrid digital media platforms, •

International traditional media companies (including print, radio and TV), and their respective hybrid digital media platforms across Europe,

• Co-branding and promotion with national tourist

boards, tourism groups and travel and accommodation operators, •

Co-branding and promotion with international conference partners,

•

Co-branding and promotion with established individual brands (public sector bodies),

•

Working with and through schools, universities and cultural and technology institutes, and trades unions, building stories and other content for their international and alumni networks and recruitment drives,

•

Working with and through language schools and international student exchange programmes,

•

Creating European Capital of Culture TV shows and ‘live’ content in partnership with Near TV and platform Ireland for distribution via member states community channels and web and mobile platforms.

Dublin2020 isn’t about institutions, it’s about people.

Our work on this bid - its theme, its programme and its strategy - have all been informed by our strong roots in digital media. Dublin2020 will embrace ideas, listen to the stories people create, and become a platform for sharing those stories and events, rearranging their relationships and re-imagining their future, culminating in the major closing event Home Is Where The Art Is. We will showcase collaboration and the exchange of ideas ranging from traditional to practical to revolutionary, and create a new European network for this exchange, AudaCity.

We will assemble a dedicated in-house department of young, enthusiastic IT and social media gurus to be the backbone of a communications programme that will invent new communications tools and processes as they go.

To what extent do you plan to develop links between your cultural programme and the cultural programme of other cities holding the European Capital of Culture title?

The similarity between Ireland and Croatia is that there are mental and cultural distances from the rest of Europe. Dublin2020 will work with their Croatian partners on these broken relationships.

We will also discuss further initiating a European communication strategy in which the Croatian candidates will focus on Southern Europe, and Dublin will focus more on Northern Europe. We will work closely with all Croatian candidates to collaborate on capacity building programmes, in the areas of volunteers, heritage institutions and cultural and creative industries.

Having established firm links between our programme and each of the candidate cities in Croatia, we look forward to exploring and expanding individual project collaborations in more detail in the second phase.

Mind the gap Calling Croatia Building strong links with bids in other cities is essential for developing a cultural programme that is truly European. That’s why Dublin2020 is seeking to work closely with our Croatian colleagues in the period running up to the ECoC year.

We have had discussions with all four Croatian candidate cities and have agreed joint actions and principles for collaboration. These include: • Collaborating in the field of evaluation • Exchange of staff, students, activist-artists, citizens, artefacts • Partnering in EU applications.

* For the sake of brevity we have removed the specific collaboration project from this summary document.

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3. Cultural and artistic content What is the artistic vision and strategy for the cultural programme of the year?

We don’t just make culture, we’re making a change. Not just change but lasting change powered by culture.

Storymaking to oppose the divide How did we get here? Driven by forces we don’t control, Europe’s capital cities are facing ever-increasing cultural, social and economic division. Dublin2020 is taking a stand against this trend. Our artistic vision and programme is based on the ancient Irish value of ‘Uaisleacht’ - a sense of respect and dignity for all. With our programme we want to contribute to: A Just City: Giving a voice to the underprivileged and creating opportunities for every citizen to participate.

An Inclusive City: Creating space for the European promise of cultural diversity to have full expression.

The two driving forces behind cultural development in Europe are the Arts, and Cultural Diversity. Only the innovative power of the arts can kick-start the revitalisation of Europe’s urban communities. Art offers Europe’s people dignity, new perspectives, and a belief that alternatives are possible. That’s why in Dublin2020 the artist takes the role of the critical innovator - inviting citizens to participate, and proposing new ways of living, sharing and cultural expression.

Dublin2020 is inspired by the European promise that diversity brings enrichment in every aspect of life. When people collaborate and participate across cultural divides, brand new ideas, styles, habits, tastes and aesthetics emerge. That’s what makes migration such a positive phenomenon - it turns local tradition into a European dynamic and a vital urban culture.

Without awareness there can be no change. The Arts may have no control over reality, but they can change how people see the world, and illustrate social, cultural and economic issues. Artists create space for new ideas and civic innovation. The arts create a new language to describe the world, to discover new identities and experience our cities in new ways.

Arts and culture must be relevant to everyone. They can’t be imprisoned in formal institutions. They must be free to live and breathe at the heart of European society in all its diversity. Local communities are based on shared stories. In our vision, storytelling can connect the past, present and future – bringing people together and feeding community life. Storytelling can form part of almost any artistic discipline. That’s why storytelling is central to Dublin2020.

Dublin2020 is about art forms and projects that improve quality of life by putting citizens’ stories at its heart. The programme is full of imaginative, playful and creative forms of expression, including traditional and contemporary culture, and sports. We are inspired by artists, thinkers and civic initiatives in similar European cities that have been seriously hit by austerity, as well as capital cities in smaller countries at the edges of Europe.

Our programme rebalances Dublin’s bias towards anglophone culture - reminding Dubliners that they’re part of Europe’s cultural palette. Dublin2020 takes us out of our comfort zone. It stimulates the collaboration of Irish artists with colleagues in the most inspiring European settings; because you cannot become European without ever leaving home.

Describe the structure of the cultural programme, including the range and diversity of the activities/ main events that will mark the year.

Rivers, streets, parks, living rooms every space is a cultural site and every citizen is an artist.

The programme only works when people know it is about them and they are unified PROGRAMME STRUCTURE OF THE ECOC YEAR CITY OF VILLAGES (JANUARY TO MAY) 24 BRIDGES (OPENING) THE GREEN SPINE MUSEUM ON YOUR DOORSTEP TURNING DUBLIN AROUND FESTIVAL OF RAIN INVISIBLE CITY (MAY TO AUGUST) MAYDAY MAYDAY (FLAGSHIP) VOICES OF THE CITY DEVOTION BECKETT IN THE CITY DIGITAL RIVER HIRSCHFELD CENTRE EUROPEAN PILGRIM (JULY TO OCTOBER) INTERNATIONAL SCHOOL OF LIFE (FLAGSHIP) NEW BABYLON DREAM CATCHER 100 MILES NORTH TELLING TALES IN MEDIEVAL DUBLIN TINY PLAYS FOR EUROPE WE REALLY NEED TO TALK PLAY FAIR (EURO 2020 YOUTH FESTIVAL) CITY OF COURAGE (SEPTEMBER TO DECEMBER) HOME IS WHERE THE ART IS (CLOSING) AUDACITY RE:GENERATION SEEN AND HEARD!

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PROGRAMME CONCEPT

Dublin2020’s flagship events are built on collaborations with European partners, community participation, significant engagement from civic and political society, and cutting edge digital technologies. The year starts by gathering the citizens of Dublin together along the great symbolic dividing line of the city, the River Liffey, for the spectacular collective experience 24 Bridges. On the first weekend in May the whole city centre will be closed to traffic for Mayday Mayday, a celebration of urban culture, solidarity, protest and civil disobedience, making every street a cultural space and drawing on European traditions of May Day and Walpurgisnacht. The entire city goes back to school for the International School of Life in September, and the year ends by making every living space in Dublin a cultural venue on New Year’s Eve with Home Is Where The Art Is. Each programme line also includes other events which support the artistic vision of the overall project, focusing on stories and new ways of telling them. These include high-impact one-off performances, activities that run across the entire year and initiatives which leave a lasting legacy.

24 BRIDGES (OPENING)

City of Villages explores the rich variety of cultural neighbourhoods in the city, including places where immigrant communities create their own villages that bear traces of their home cultures. Rather than one unified metropolis, it considers Dublin as an amalgamation of small communities, each with it’s own geographical character and distinctive way of life. Our working method in this programme line is to focus on local culture as the basis for engagement. City of Villages embraces civil initiatives and cultural expression from the local communities of Dublin and from the surrounding region. It activates communities by promoting their essential role in the cultural fabric of the city, and energises local spaces with unique cultural expressions. It places inspiring artistic projects in these areas, revealing a rich tapestry of urban life, and challenges Dubliners to venture outside their local surroundings to experience the culture of their neighbours. Rather than focusing the programme on established city centre venues, major events will take place in all of the city’s neighbourhoods, decentralising culture and spreading it across the city to the doorsteps of areas ignored by mainstream culture.

The opening 24 Bridges gathers all the citizens of Dublin along the River Liffey. The Liffey divides Northside from Southside, and connects the river source to the harbour - an appropriate symbol of the divisions that define the city. A spectacular procession of boats will sail down the river, with Irish heritage boats joining Gondolas from Venice and Oselvers from Norway. Inspired by the European tradition of the Ship of Fools, each of the city’s neighbourhoods will be invited to design a boat that reflects their distinct identity. A two year consultation and workshop process, with European artists and craftspeople engaging with local communities over this period, will teach boat-building skills and explore local stories. This way we’re presenting the full diversity of Dublin, exposing all of its divisions and oppositions. All 24 bridges over the river will be closed to traffic for the day, becoming places to meet friends and strangers - markets and restaurants providing crafts and foods from our European neighbours.

This will ensure that everyone who would usually be unaware of culture notices the ECoC that day. We will bring together local and European boating associations, and the social networks created through the project to form a lasting legacy. Finally, a spectacular night-time water ballet with cutting edge lighting and projection technology, created by Strasbourg water magicians Aquatique Show International, will make the river literally dance in the air, becoming a wall of water that emphasises the divided city. Cameras mounted on the bridges will stream the event around Europe. We will employ digital technology via a smartphone app to provide the event’s interactive soundscape which follows the journey of the performance down the river.

The Green Spine is a major citywide project bringing culture and horticulture together, building a network of green public spaces, community gardens, allotments, forage walks, and nature reserves along the city’s main suburban transport lines. It will create green corridors linking opposite sides of the city. Each green space will emerge from a collaboration between an Irish or European artist and a garden designer, working closely with local communities to research elements of the local history, plant life and culture which form the basis of each design.

The legacy of this goes beyond landscape, beyond new uses for urban space - the legacy will be local regeneration, artistic inspiration and civic pride - a green capital working for its citizens and welcoming to its visitors.

Museum On Your Doorstep will see the opening of twelve new centres for local culture in diverse neighbourhoods – celebrating local heroes and untold stories, and providing a network of cultural hubs for Dublin2020 across the city. Museum On Your Doorstep aims to support a new model of curating and cultural authority - with ordinary citizens from local communities acting as curators, and exhibitions exchanged between the various local museums during the year to bridge divisions between different areas in the city. The exhibitions will be open to all ages, and include personal effects, photographs, first hand accounts and filmed interviews. They will underline the internationalism of the city, our place within Europe and its internal migratory patterns, as well as the ways Dublin has welcomed immigrants into its constantly evolving community. These exhibitions will be digitally archived providing a living, evolving online portrait of Dublin and its citizens.

Turning Dublin Around is a dance project that will change the way Dubliners, international visitors and European citizens see the city. Working with 16-20 local and European choreographers, this four year project will build relationships between choreographers, dancers, groups and communities in Dublin and across Europe - culminating in a large-scale dance spectacle in public spaces throughout the city.

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Turning Dublin Around draws on local dance traditions from the city’s new communities as well as contemporary urban dance styles, re-mapping the city and showcasing the distinct people who live here.

One thing that unites everyone in Dublin is the rain, and many of our conversations start by talking about the weather. Anyone organising public events in Dublin is faced with the same problem – the rain – which can disrupt even the best made plans! Festival of Rain is a programme of art-science commissions which respond to the rain, including performances conceived for the rain, public artworks which appear in the rain, digital projects which respond to rainfall, projection mapping on clouds, and sculptural installations activated by a rainstorm. Local and European artists and scientists are invited to work together and submit proposals which rethink our perception of rain and consider Europe-wide issues around water.

∫

MAYDAY MAYDAY (FLAGSHIP)

Invisible City will uncover new cultural movements from the underground and give a platform to voices not represented in official or mainstream culture. This includes new and diverse religious, moral and spiritual traditions, which risk being an increasing source of division today.

Invisible City will raise awareness of the marginalised and the excluded, using culture to ask the city important and difficult questions about how it cares for the most vulnerable members of its population. With the growth of Dublin’s new docklands technological hub, a vast invisible web of global information is moving rapidly through Dublin – Invisible City will also explore these unseen forces, and will work with artist-activists, urban artists, ethical hackers, bloggers, and marginal performing artists who meet on the web and explore data, privacy and surveillance in their work.

Flagship event Mayday Mayday will close the city centre to traffic for the first weekend of May, making the streets a stage for urban and non-mainstream culture, and building on a European tradition of protest to mark the start of the summer. The event will disrupt public space, exploring how citizens can invigorate their city.

It will also explore the potential for collective action. In Europe this date has traditionally been a time to celebrate labour and the working classes, to engage in protest and civil disobedience, and to light fires for Walpurgisnacht to mark an end to the darkness of winter and the coming of light for the summer. These celebrations have a complicated past across Europe, but Mayday Mayday reclaims these traditions from their darker histories. We will use digital technology to map the movement of people through the city streets, to look at how we use our public spaces and identify places in the city where people don’t go. A city wide, international art exhibition is going to bring the best visual artists to the urban landscape, including painting as well as digital projection mapping and light art. Street performance from European countries with great traditions in outdoor performance like France, Catalonia and Italy will occupy the city’s streets and spaces. And as night falls, fires installations will be lit all over the city.

Voices of the City is a newly commissioned opera with a cast of at least 10.000 volunteer singers from all parts of the community performing in a major sporting stadium that seats thousands of people. The opera will tell the story of the new Europeans and other recent migrant communities in Dublin. Opera is a unique artform that can amplify everyday experiences and place them in a poetic or heroic background. The invisibility of everyday experience is explored on a massive canvas through this project.

Devotion is a series of concerts of spiritual music and conversations with spiritual leaders, unveiling Europe's

ancient spiritual roots and reclaiming them for the present. It features ancient Irish music along with the sacred music of Dublin’s new communities - from Africa, the Middle East and Far East - and music from modern European composers who have engaged with devotional traditions. It addresses vital questions about the decline of the Catholic Church, the rise of Islam, and the religious conflicts that continue to divide Europe. Spiritual music has a power to unify people and create a collective experience of feeling part of something bigger and better. Shared spiritual feeling can be evoked by music without getting into conflict about ideas and morals, and Devotion explores how lost ancient moral values can be regained as part of Europe’s recovery.

Important questions about homelessness, addiction and the most marginalised people in the city will be brought into the open through the writing and drama of Samuel Beckett, placing it in public spaces throughout the city. Dublin’s Nobel Prize winner created powerful and poetic images of the most isolated people in our society.

Beckett in the City places his work back into the heart of urban culture. With installations of texts by Beckett in public spaces, as well as site-specific performances of his plays a powerful new realism in Beckett’s work. This project will be developed over three years with partners in Berlin, Madrid, Paris and Prague - European cities that also face a rising homeless crisis - and will also be performed in these cities and more.

Digital River investigates diversity and unity in Dublin through art and digital technology with the River Liffey as its focus. Artists and digital experts will consider themes of community and localities, environment, communication and travel. The legacy of this project will enhance Dublin’s reputation for cutting edge digital technology while also celebrating how the river creates and moulds the personality of the city. It will engage with the entire length of the river, including the surrounding areas outside the city boundaries. A three year programme of residencies will provide artists, hackers and technology designers with space to develop new creative skills and inspire a series of physical and digital commissions which are at the heart of the programme.

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Less than 30 years ago, homosexuality was a criminal offence in Ireland, but the 2015 referendum on equal marriage and the new bill of transgender rights have gone a long way to healing divisions between the LGBT community and the rest of society. Hirschfeld Centre documents how one of the most invisible groups in Irish society can move to the mainstream in a short time. This project will unite LGBT centres and organisations in a European network to support human rights and stimulate public debate. It will be a living and evolving archive, a meeting and debating place, and a cultural centre which maintains and presents the history of the LGBT movement in Ireland.

In 2020 the museum will open with an international conference and exhibition ‘5 Years Equality’, celebrating 5 years since Ireland became the first country in history to introduce equal marriage by public vote, and exploring attitudes to LGBT rights across Europe.

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INTERNATIONAL SCHOOL OF LIFE (FLAGSHIP)

European Pilgrim facilitates Dublin's artistic, civil and intellectual reorientation toward Europe through collaboration with artists, civil initiatives and institutions from other European cities. In the past, many European artists came to Dublin and Ireland to be inspired by the richness of its artistic traditions. At the same time Irish artists and thinkers have travelled out into Europe to share their culture or find inspiration, from the medieval monks to Joyce, Beckett, and a newly mobile 21st century generation.

Dublin’s artists and institutions will be offered opportunities to explore the artistic richness of Europe and to find partners for collaboration, to deepen Dublin’s connection to Europe, to rediscover what Europe can bring to Dublin and to find what the new Dublin can bring to Europe. The movement of people and ideas between Dublin and Europe, now as in the past, is central to this project. We will explore the unique relationship with our nearest European city - Belfast – only 100 miles away but separated from Dublin by politics, history and misunderstanding. We'll celebrate the arrival of the Euro 2020 football championships in Dublin and European sporting heritage with a pan-European outdoor festival for young people, bridging divisions through culture and sport.

September is a time of new beginnings, of going back to school at the end of the summer, a time for new learning. Flagship event International School of Life transforms Dublin into the biggest open university in the world - inspired by Ireland’s reputation as the ‘island of saints and scholars’, the historical tradition of underground hedge schools, and Joseph Beuys’s attempts to set up his Free International University in Ireland in the 1970s.

Every public space in the city will be turned into a site of learning, including parks, public buildings and even street corners. International School of Life focuses on unofficial forms of knowledge and ‘non-knowledge’ from outside the mainstream - forgotten craft skills, urban folk traditions, contemporary urban culture, and the culture and traditions of new communities. We will build a new European network for radical learning, and collaborate with major organisations.

Built from shipping containers and situated in the port, New Babylon is a hub for Dublin2020 and a place for the city of the future to be imagined. Named after Constant Nieuwenhuys’s vision of a radical future city, it is a laboratory and a place of debate where citizens can explore what it means to live in a modern European city. Situated right next to Dublin’s ‘Silicon Dock’ high tech district, this is a place where new technologies combine with the

oldest forms of gathering and sharing stories. It will take the form of a vast vertical urban garden and will provide a home for radical new business initiatives and start-ups as well as social enterprises engaging with local communities. At night it will be animated by underground Dublin theatre companies with a programme of music, radical public events, immersive theatre and other explorations of city life. Inspired

by Burning Man and Glastonbury’s Shangri-La, it has its own rules and currency, is a highly visible symbol of Dublin2020 - a true gateway to the city and to Europe.

Dream Catcher is a Europe-wide digital film project which gathers the dreams of New Europeans – refugees, recent migrants, and those looking in from outside who dream of a new life in Europe. It will seek to discover what Europe can learn from its new arrivals and how divisions arising from such migration can be repaired. These New Europeans will be encouraged to make short films using easily accessible smartphone technology, which will be exhibited in the container city New Babylon and in alternative spaces in Europe’s capital cities. The films will be shown to decision makers, and presented in centres for the most vulnerable, including prisons and centres for recent migrants in direct provision.

For many Irish people, American culture is dominant and they are divided from the art and ideas of our European neighbours. We Really Need To Talk is new kind of cultural parliament. Major European thinkers, radical artists and journalists will discuss the issue of divided cities alongside members of the public, and propose alternative solutions. After each major Dublin2020 event, We Really Need To Talk will reflect on its themes and outcomes and act as an in-built process of self-criticism and self-reflection. These conversations will take place in public locations all across the city, and will be broadcast on television, streamed online and made available as a series of podcasts to reach a wide international audience and promote Dublin2020 across Europe.

The vision for Telling Tales in Medieval Dublin is to bring Dublin’s earliest books back together on a digital platform, with a public exhibition and a programme of knowledge-exchange activities. The project aims to engage the public across all ages in Ireland and abroad as well as the international community of scholars. These books are Ireland’s first great contribution to European cultural heritage and one of the roots of European culture. This virtual return of a library of illuminated books could be compara-

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ble to a digital restoration of the Sistine Chapel and will be a source of inspiration for future generations. A television documentary will follow the search for these books across Europe and the discoveries made in international auctions and public and private libraries.

Tiny Plays for Europe will invite people from each European country to write a three minute play. Promoted by theatre institutes and new writing companies across Europe, anyone can submit a play in any language. The work will explore the writers’ connection to Europe, the challenge of living in a city, and the lives of visible and invisible citizens. A selection of these plays will be translated and produced in Dublin in 2020, bringing Europe vividly to life on stage. It will then tour to major European venues and festivals, bringing these Tiny Plays home to the countries where they were written. A digital archive of all the Tiny Plays will make them available in an open source format, so anyone can make a selection and produce them in their home city.

Belfast is our closest European city, only 100 miles away but separated politically and emotionally from Dublin due to the history of the last 100 years. 100 Miles North is a new arts festival, taking the relationship between Dublin and Belfast as a starting point to explore the experience of other politically divided communities across Europe.

It will include a deep exploration of religious division in Belfast and around Europe, and will happen in both cities, as well as the towns and countryside of the border regions in between. It will feature a range of internationally co-produced live and digital projects. A centrepiece of the festival brings together a company of real-life soldiers from Dublin and Belfast as well as international dance artists, to create a powerful and moving exploration of conflict and brotherhood - in the form of a live site specific performance in both cities. A digital film of the work will be presented at dance and film festivals across Europe.

We will collaborate on Play Fair, a pan-European outdoor youth festival, which will involve partners from the 13 European countries hosting the Euro 2020 championship football matches, to bring young people together from across Europe to bridge differences and create new networks through culture and sport.

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HOME IS WHERE THE ART IS (CLOSING)

City of Courage ensures the legacy of Dublin2020 is built into the preparation from the beginning, and makes a commitment to lasting change in the city. We have inherited a system where many people and cultural forms are excluded from the mainstream, where decisions are made by a few and where resources are guarded from the many.

This needs to change. City of Courage will adapt the funding system for arts and culture and experiment with new forms of decision making. It will test new business models and commit to innovative new structures.

The Cultural life of European cities is divided and Dublin is no exception. All through the public engagement in the preparation of the Bid Book saw people engage enthusiastically around issues that resonate in Dublin and other European cities. But they seemed to have little to say when discussing culture. Finally we had to admit that apart from cultural professionals and arts audiences the majority of Dubliners do not realise that they are engaged in culture, as fish are with water. They are listening to music and taking part in sport and playing with their children but think that this is not culture. They see Culture as somewhere else, guarded by specialised knowledge or expertise.

Having started with a major event around the river Liffey, Dublin2020 will end in a more intimate way, with every home and living space becoming a cultural venue for New Year’s Eve. Flagship event Home Is Where The Art Is will start with an open call to every citizen, to open the doors of their home, and provide a cultural offering to friends, family, and tourists from across Europe. It will be the greatest explosion of simultaneous cultural events that Dublin has ever seen – a celebration of the local, the invisible, the international and the digital to bring the year to a close and look to the future. Dubliners will send postcards to friends and relatives across Europe inviting them to Dublin for this unique house party. Artists will open their homes for performances, conferences, readings and exhibitions, community groups will create their own responses to Dublin2020, and members of the public will organise their own events or invite artists to their homes.

Home Is Where The Art Is is inspired by local traditions of celebrating New Year’s Eve, as well as radical European projects like Jan Hoet’s Chambre d’Amis and Matthias Lilienthal’s X-Apartments. Private houses, homeless shelters, residential care units and centres in which refugees are housed, are included, making no distinction of hierarchy between the places people call home. To navigate the thousands of cultural events happening on this night, a smartphone app will be created by a Dublin tech startup company, using geo-location

technology. In addition, events will be streamed online across Europe, using Skype and similar technology, to bring the insides of Dublin’s homes into Europe, and to enable our European neighbours to engage with the events of the night through social media.

Dublin2020 will initiate AudaCity, a new network for medium-sized European cities to create radical new visions of how a city can function in the 21st century.

AudaCity hosts its first international conference in Dublin in 2020 – a kind of Davos for cities who put culture at their heart to inspire meaningful change. It aims to create a new generation of artist-activists committed to changing their city through culture, by inviting leading socially engaged European artists to share their practice over a three year period leading up to 2020, and offering commissions to Dublin-based artists to respond to these new ideas in a series of ambitious new collaborative artistic projects.

It seeks to place artists and communities at the heart of decision-making processes, and to facilitate new creativity and diverse voices to reshape our cities and structures for the future.

Re:Generation challenges Dublin’s major cultural organisations to forget their previous small scale approaches to community activiation – and asks them to think differently. This new approach is a two-way street – putting cultural institutions into the heart of disadvantaged and excluded communities and placing these communities at the heart of cultural institutions.

The institutions and the neighbourhoods will together explore what happens when artistic excellence meets the challenge of relevance and inclusion. The relationship of participation to professional practice will also be tested out. Both groups must exhibit/perform together in both localities. Local people and professionals will be guided by and learn from each other.

Seen And Heard! is Dublin’s first cultural festival exclusively for children. It will highlight the lives of children who arrived as refugees, and recent immigrant communities, transforming Dublin into the most child-centred city in Europe - giving children new authority at the heart of civil society. It aims to create zones controlled and run by children for the duration of the festival, disrupting the usual hierarchy of authority and decision making.

It will be a run partnership with Dublin and European organisations in the arts, culture, sports, public life and business. It will be an inclusive and innovative programme emphasising the voice of the child.

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These are only a few of the major legacy projects of the City of Courage. A new Arts in Education Charter for the city will draw on European best practice to ensure access to culture is available for all from an early age, building a new culturally empowered generation. A new approach to Food in Schools challenges issues of hunger and obesity in young people. It will be a collaboration between chefs, designers, policy makers and educational institutions that explores nutrition for the young. Mother:Ship will introduce a new system of child care to create space for artists with children to work, and for members of the public to leave their children while they engage in cultural experiences. Major corporations will be challenged to put an Artist on the Board of Directors to introduce new creative thinking into business. And a portion of all ticket sales for Dublin2020 events will go towards creating Ireland’s first Pension Scheme for Artists, ensuring the security of vulnerable creatives in older age.

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How will the events and activities that will constitute the cultural programme for the year be chosen?

Vision, consultation, storymaking and unique programming illustrate the divide and bring us closer together.

Healing City An inclusive approach to ECoC programming Dublin2020’s cultural programme is being created by many, for many. Dublin2020 is engaging with citizens, partner organisations and artists through creative brainstorming workshops to collectively generate ideas for the cultural programme. We are also talking with artists and activists in similar European cities who are contributing ideas as well. We will extend this organic ‘ground up’ process to ensure our cultural projects develop in line with our vision of an inclusive ECoC, which addresses division in European cities.

We view our task not as ‘choosing’ projects.

Instead, we see it as a process of ‘nurturing’, ‘growing’ and ‘evolving’ ideas.

This is the only way to remain true to the diversity of citizens’ voices that have joined our consultation process.

We want to foster an ethos of creative collaboration among cultural operators, curators, artists, citizens and European partners - an approach that challenges old ways of thinking and working. We’re planning to build citizen participation into 60% of cultural programme activities.

Through our engagement with the local community, we have identified Dublin2020’s key values as: tolerance, solidarity, respect and creative curiosity. These values are driving the programming process.

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We also understand there the need for a practical procedure that makes potential collaborators understand what they can expect from us. This takes the form of a continuous Open Call for programme ideas until January 1st 2019.

The Dublin2020 cultural programme is guided by the principles and criteria common to all ECoC’s, with a clear emphasis on European connections, intercultural dialogue, inclusivity of the marginalised and disadvantaged, accessibility, participation and digital exchange. These indicators will be posted on our website and documentation, meaning that everyone has a chance to develop ideas inside this framework.

We will hold city conferences twice a year where there will be an open marketplace of ideas around each of the programme lines and flagship projects.

Here, citizens will have the chance to speak with the curators and artists involved, and respond with feedback and new ideas.

In line with the new Cultural Strategy of the City, we will focus on projects that create opportunities for all citizens to equally engage in inclusive and diverse cultural and creative experiences. Projects should also strengthen the capacity of the cultural and creative sectors in Dublin.

How will the cultural programme combine local cultural heritage and traditional art forms with new, innovative and experimental cultural expressions?

CITIZENS confront the traditional and contemporary art with artistic and socio-cultural activities to discover new energies.

Old meets new celebrating creative tensions The Dublin2020 programme celebrates the apparent division between traditional art forms and contemporary culture. It creates a space where our cultural heritage and cutting-edge arts can collide. This collision shows the diversity of European culture, sparking new creative energies.

The programme line City of Villages is rooted in local cultural heritage and tradition, with the opening event 24 Bridges drawing on Europe’s boat building tradition, while The Green Spine combines local history and gardening traditions with new approaches to urban planning and greening the city. Museum On Your Doorstep creates new structures to exhibit local traditions and cultural expression. Turning Dublin Around uses contemporary European choreography to build on local dance forms and the traditional dances of ‘new Dubliners’.

Festival of Rain is a programme of cutting edge art and science collaborations which reflect on one of Dublin’s eternal environmental elements – the rain.

Invisible City focuses on underground cultures and traditions as well as radical digital art. Mayday Mayday takes the old European traditions of Labour Day to examine the use of our city’s public spaces, while the massive opera project Voices of the City employs community stories and a chorus of performers from all across the city to make a dynamic new work. Devotion investigates of traditional spiritual music and diverse religious cultural heritage from Ireland and across the world. Beckett in the City uses Dublin’s literary heritage to explore urgent social issues in radical new ways, and Digital River uses digital technology to explore the ancient River Liffey as a cultural phenomenon. Hirschfeld Centre is a new kind of living archive, built on the 30 year history of the LGBT equality struggle. Play Fair, the international European youth festival in connection with the Euro 2020 football championships combines culture with Europe’s sporting heritage.

In European Pilgrim, the programme line’s flagship International School of Life is an experimental kind of Open University for sharing alternative forms of knowledge - from folk traditions to contemporary skills and practices. The container city New Babylon draws on the historical role of Dublin’s port as a gateway to Europe, and the traditional art of gardening with daring interactive performance. Dream Catcher uses digital film-making skills along with old-fashioned storytelling techniques to share the experiences, cultures and heritage of New Europeans. 100 Miles North illustrates centuries of cultural and social history between Dublin and Belfast through the prism of contemporary dance, with Telling Tales in Medieval Dublin bringing Dublin’s medieval literary heritage to life with digital technology, and Tiny Plays for Europe using open source concepts to access new writing for Europe’s ancient tradition of theatre.

The closing Home Is Where The Art explores the tradition of gathering at home on New Year’s Eve, as well as a long history of living rooms being used as spaces for performance – and uses new digital platforms to coordinate and share thousands of simultaneous events to a local audience and around Europe.

* For brevity's sake the list of local artists and cultural organisations we are cooperating with in the development and implementation of the programme has been removed.

How has the city involved, or how does it plan to involve, local artists and cultural organisations in the conception and implementation of the cultural programme? Please give some concrete examples and name some local artists and cultural organisations with which cooperation is envisaged and specify the type of exchanges in question.

We are challenging artists to leave their comfort zone, engage in unexpected collaborations and help re-imagine the city.

Zooming in and out of what a city can be and do it The Dublin2020 process offers the artistic and cultural sectors an opportunity to re-imagine the city, and change the way they engage with it. We are hosting a continuing series of creative brainstorming workshops to generate ideas for the cultural programme. These sessions create a space to talk openly about the city’s problems and generate creative and artistic responses. Following our principles of inclusion, participation and openness, the generation of programming ideas is open to everyone, not just the artistic community. In our workshops, community artists debated with the likes of CEO's from large companies, and cultural leaders discussed ideas with the likes of ‘new Dubliners’, who often feel excluded from ‘culture’ as they define it themselves.

A EUROPEAN CAPITAL RE-IMAGINED IN PRACTICE

Conversations are both serious, light-hearted, and at times emotional. Project ideas have emerged from this process in seed form. The challenge for the artistic community has been to take these ideas and respond. A panel of leading local cultural operators and curators were invited to advise on the shaping of the project ideas and the programme, and to use their existing European networks as a starting point to propose and explore potential collaborations.

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≥ Creative brainstorming session with The Potting Shed at Facebook HQ, Dublin’s Silicon Docks.

In addition to the workshop approach, project ideas are being welcomed on a continuing basis - at meetings, through our website, from European partners and via social media. Submissions have been received from many local cultural organisations and artists - in an on-going process.

Local artists and cultural organisations are also represented on the Dublin2020 Advisory Group, and are assisting with assessments of the outcomes of our workshop sessions. This holistic approach by artists to the bid process ensures the integrity of the cultural programme as it continues to grow.

Local artists and cultural organisations will continue to play a key role in providing the creative energy to develop and guide the cultural programme in line with the ethos of ‘for many, by many’.

A good example of this is Re:Generation, where cultural institutions will work closely with the most disadvantaged areas of the city, and with Seen AND Heard!, where the children’s cultural centre The Ark will lead the development of Dublin’s first Festival for Children. The closing event Home is Where the Art Is will see every artist in the city provide a cultural offering, in a true celebration of a year-long conversation with the Artistic Community.

AudaCity will place artists at the heart of decision-making processes - creating a new generation of ‘artist-activists’.

As Dublin declares itself a City of Courage, we recognise that our artists and cultural organisations are key to the long-term project of addressing social division in European cities. That’s why Dublin2020 will push for a new funding system for the arts and culture, implement an ambitious Arts in Education Charter and advocate for major corporations to include an artist on the Board of Directors.

It is only with the involvement and creativity of our artists that we can hope to create an innovative and excellent Cultural Programme that truly challenges the divide, resonates throughout Europe and leaves a lasting legacy of change in our city.

4. Capacity to deliver Please confirm and supply evidence that you have broad and strong political support and a sustainable commitment from the relevant local, regional and national public authorities.

City council has endorsed the bid.

YES WE DO Dublin’s bid for European Capital of Culture 2020 is supported by the elected, and the executive branches of Dublin City Council and official decisions are made accordingly.

The idea for Dublin2020 began in early 2013 when several city councillors began raising the idea of a new relationship with Europe through an ECoC bid. These inquiries by councillors reflected the changing strategic position of culture in Dublin. As Dublin searched for ways to escape the economic crisis, it became clear that there was a relationship between cultural programming, economic development, foreign direct investment, and tourism.

In addition, Dublin had received significant European funding during the crisis and councillors expressed a real desire to make the city’s relationship with Europe more than just financial.

Through becoming involved in Dublin’s bid to become European Capital of Culture 2020, I have focused on the importance of Culture in Dublin and the vital role it plays in all areas of city life. Culture is in everything we do and links into all the city has to offer. Culture makes Dublin the city we love and that in turn leads to social and economic success. Ní mór dúinn uile cultúr a luach agus gan é a chóireáil mar só.

In the following months, councillors debated the benefits, challenges and complexities of the ECoC bid process for Dublin - a European Capital City at the periphery of the EU. More than ten meetings, of full council or area council, discussed the proposal. Finally, the council decided to create a dedicated team of non-municipality staff to prepare the Dublin2020 bid, under expert guidance.

The Dublin2020 bid team is fully supported by the Council’s Executive but has complete freedom in engaging with citizens independently. This reflects the municipality’s understanding that political support is vital but does not imply ownership. The bid must have the cultural and civic autonomy to achieve its goals.

Councillors have been impressed by the citizens engagement with the Dublin2020 process, and the way it has raised issues that are important to Dubliners. This has given all sections of the municipality an understanding of the concept of ‘social change through culture’, which is the core concept underpinning Dublin’s bid for European Capital of Culture.

The main reporting body in Dublin City Council for the bid process is the Special Policy Committee for Arts, Culture, Community and Recreation. This group is chaired by a City Councillor and made up of councillors and Independent members from across Dublin’s cultural sector. This committee approved the creation of a steering group to help guide the bid. The steering group has more than two hundred members and meets once per month.

The Chief Executive of the City Council has met with his counterparts in the three other Dublin Regional Authorities and they have agreed to support a Regional Dublin Bid, should Dublin reaches the second phase.

If Dublin2020 is successful, the impact of the ECoC designation could reach 1.4 million people directly.

5.000 citizens will engage directly with the workshop element of consultation and up to 30.000 online. This ground-up approach has captured political attention, and many public representatives, including national representatives, have attended and even hosted workshops to support the bid.

Please confirm and evidence that your city has or will have adequate and viable infrastructure to host the title.

Explain briefly how the European Capital of Culture will make use of and develop the city’s cultural infrastructure.

Dublin is a creative tinder-pile waiting for a spark.

It’s the people The most powerful element of Dublin’s cultural infrastructure is people. This bid takes culture out of institutions and buildings and returns it to places where people gather every day - to cafes, to pubs, to public squares. Our cultural infrastructure is located in the spaces between the city’s buildings. This shifts the common idea of cultural infrastructure - making it people-centred. It also creates new spaces for expression, participation and collaboration.

Dublin already has a large cultural infrastructure that can receive thousands of people a day. There are well known and well received activities going on for many year. What is a big win for this candidature already is that these institutions now have a common goal to participate in. Most large cultural institutions welcome the idea of a European Capital of Culture.

Much of the old cultural infrastructure that made up the city in 1991 is still in place, but it has been added to and overtaken by new technologies. In a survey conducted

by Your City, Your Voice, 97% of respondents had internet access at home, 95% were online every day, 99% owned a mobile phone, 60% of these were smartphones. 72% or respondents communicate with family and friends every day via email and 70% of 18-30 year olds use Facebook for the same purpose. 75% access the internet on the move or in a public place and 87% would use an app to engage with city authorities and report on issues, services and events.

The Smart4Business research team in the Institute of Technology, Tallaght reports that 55% of people operate between one and three social media accounts and 37% between four and six. 82% say they use Facebook, 45% Twitter and 31% Snapchat. 98% of Facebook users access it every day (90 minutes is the average use time). 62% have a twitter account and access it at least once a week, and 79% of those have no more than 200 followers.

Ardmhéara Bhaile Átha Cliath, Lord Mayor of Dublin Críona Ní Dhálaigh

≥ Dublin2020 workshop at Dublin Zoo.

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This is the new cultural nervous system running through the city’s streets, connecting its people in way never seen before. The mass mobilisations of the marriage referendum and the campaign against water charges have been driven by this new connectivity.

The people of Dublin have engaged with technology faster than the institutions of government or culture.

It is these institutions who still try to use them as push systems of communication and have not yet discovered their collaborative, co-creative potential.

That will change.

Digital Dublin is an alliance of Government, Business, Higher Education and Citizens. Its aim is to develop Dublin as one of the world’s leading smart, innovative and intelligent cities. In 2013 it published the Digital Masterplan for the city, a guide for adaptation, creation and adoption of digital technologies and processes, leading to more efficient overall management of the city, its resources and everyday activities.

Digital Dublin will foster and develop an International and European Innovation system through city to city collaboration, working with Government, Business, Higher Education and Citizens. This project promotes intersectional innovation using Dublin as a testbed. Its aim is to build on the people’s engagement with digital technology to realise the city’s potential as an open-data digital commons, sustaining innovation and collaboration and promoting participatory governance. Digital Dublin is laying the groundwork for increased interaction across the city.

Our strategy for the development of the cultural infrastructure is interaction.

It is connected with our audience development strategy, our access and communication strategy, and our legacy strategy.

We want to enable the creation of work that is relevant, focusing on usability and encouraging storytelling (on and off screen). This creates content that is relevant to its users, which further stimulates usage and storytelling an ‘engagement loop’ is created that stimulates more participation and the city’s human cultural infrastructure grows. From the city’s point of view, what is relevant to the people is relevant to the project.

One of the biggest risks to any ECoC bid in a capital city like Dublin is that the programme will be obscured by the volume of existing cultural programming.

By placing 80% of our programme in public spaces we turn this risk to our advantage. By deliberately placing our cultural programme in the ‘space between buildings’ we break out of the old model of high art. Instead we return art to the people and the streets. By building our programme in an inclusive relevant way, we know that news and information about Dublin2020 will be fed directly into the new digital nervous system - establishing a presence that cannot be dwarfed by the old infrastructure.

It is worth noting that the historic city of Dublin is awaiting classification as a World Heritage Site. Within that Historic City the programme will take place along the banks of the river Liffey 24 Bridges, at the Port of Dublin New Babylon, along the major transport routes The Green Spine, in the parks and squares Mayday Mayday and International School of Life, in the Phoenix Park a soldiers’ project as part of 100 Miles North, in the centre of the city north and south Seen And Heard!, and finally in the homes of the people of the city Home Is Where The Art Is and across all the technology platforms connecting us.

These are not choices of convenience: they deliberately occupy locations of great historical resonance and re-imagine them for a new generation.

It is worth remembering what this new infrastructure is built on. The historic city of Dublin is home to 8 of the National Cultural Institutions, 31 galleries both public and commercial (also numerous pubs and cafes exhibit and sell work), 23 museums and visitor centres, 56 theatre, opera and dance production companies, 23 theatres of various sizes, 33 festivals from food to film, 5 universities and institutes of technology and several private colleges.

The city also has the largest concentration of creative industries in the country and it is home to artists, novelists, poets, playwrights, screenwriters, filmmakers and tech entrepreneurs. Dublin is a creative tinder-pile waiting for a spark.

* For the sake of brevity the list of infrastructure projects planned in the city has been removed.

In terms of cultural, urban and tourism infrastructure what are the projects (including renovation projects) that your city plan to carry out in connection with the European Capital of Culture action between now and the year of the title?

The power of culture will help to fast-track infrastructure, bringing the highest level of social benefits.

5. Outreach Explain how the local population and your civil society have been involved in the preparation of the application and will participate in the implementation of the year?

60% of the programme is created through consultation. The cultural agenda is driven by citizen ambassadors.

No buildings are connected to this Bid

Brewing up Dublin2020 with Tea and Fury

People are the key to Dublin2020’s strategy for infrastructure. Our approach focuses on how citizens use public space and buildings, their habits, how they interact with the city. The digital realm is an important part of this. Not surprisingly, in a European capital city like Dublin, a large amount of infrastructure development is already being planned. This includes housing developments, cultural centres and venues, urban development and transport structures. Therefore in our people-centred strategy, we are focused on working with already planned infrastructures rather than totally new venues and buildings.

By associating Dublin2020 with existing physical and digital infrastructure plans, we hope to raise their priority and ensure these projects are delivered. The strategy connects with the theme of the divided city by highlighting and collaborating on infrastructure projects that add or improve social infrastructure; projects that help to remove barriers and encourage social interaction. This is similar to the issues facing many European capital cities especially those that have grown quickly. We are focusing on smaller social projects that improve the environment for all citizens - and in this way addressing Dublin2020’s programme line of the Invisible City. We are also supporting transportation projects that give citizens greater mobility around the city, increase interactions between communities and cultures, and increase social inclusion through greater transport accessibility for people with disabilities and older people. This links with objectives in the programme line city of villages and creates a stronger transport infrastructure for both tourists and local communities.

The idea for Dublin2020 started in the middle of the activism that was sparked during austerity. Dubliners' resentment about the results of Ireland's economic and banking collapse reached a tipping point people began to ask: ‘How can we do things differently?’

BREWING UP DUBLIN2020

From creative thinking to conflict resolution, Dubliners do everything over a cup of tea. Dublin2020 is also using this informal and jargon-free approach. Here’s how Dubliners are involved:

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≥ A Street mural capturing the ideas for Dublin2020.

Phase 1, 2013 - Turn on the Tap Inspired by other European movements, Dubliners started questioning the narrative of austerity and demanded new solutions. Artist-Activists rediscovered the power of culture and united. Several messy backroom meetings resulted in more formal tea conversations, where unrest was expressed.

Phase 2, 2014-2015 - Put the Kettle on Dublin City Council' arts office researched previous European bids. Liverpool gave a strong comparable example of the benefits of ECoC status and its legacy. A group of worried citizens and artists-activists kept the department on their toes so that the call for action was not swallowed up in bureaucracy.

In initial contacts with citizens and people active in civil society, we received strong signals that an ECoC must be RELEVANT to the lives of Dubliners, so only they could tell us what Dublin2020 should be about. And this is what we did, we motivated groups of citizens and activists to go outside the arts to ask, debate and listen. Meanwhile artistic output in Dublin was striving to be more socially relevant, inspired by the 100th anniversaries of Ireland’s independence era.

Phase 3 2015-2016 – Let’s Have a Cup of Tea We are in the middle of a process of connecting with thousands of Dubliners in various ways, ensuring all sections of society are included through:

Advisory Groups – What started with the cultural sector soon opened up as public meetings with the cultural scene in a minority, and is now a meeting monthly with an ever growing group.

Tea & Chats – Informal listening sessions with groups of citizens about their lives and what they want from Dublin2020. Involved groups of youth, older people, new Dubliners, marginalised and disadvantaged. Thousands of cups of Teas & Chats have since taken place.

Socio-Economical and Cultural Workshops – Amateurs, professionals and interested individuals addressed targeted questions on the arts and social change.

Business Engagement Workshops – Information sessions on the Dublin2020 process, and its potential. Building Dublin2020’s connections to the business community at all levels, attended by over 120 entrepreneurs.

All sectors of civil society will be required to work together to make Dublin2020 happen. Our city's residents, independent artists and community groups are at the heart of, for example, the opening and closing events and the flagships. They will work closely with traffic and planning departments who will close down the city and reimagine how it functions. But also with local and national government bodies who will create new funding, developmental methods to make flexible policies and decision making structures for the future as part of the City of Courage programme (our legacy strand).

THE KEY PRINCIPLES WE USED ARE

How will the title create in your city new and sustainable opportunities for a wide range of citizens to attend or participate in cultural activities, in particular young people, volunteers, the marginalised and disadvantaged, including minorities? Please also elaborate on the accessibility of these activities to persons with disabilities and the elderly. Specify the relevant parts of the programme planned for these various groups.

The goal is inclusion, without highlighting disadvantages or ability, without labelling anyone.

Dublin2020’s ‘Divided City’ theme has emerged from our involvement of the citizens.

No Labels

Dublin2020 is relevant when it is about participation, usability and inclusion.

We believe that participation starts with a conversation.

From an early point in the Dublin2020 process we realised that face to face interactions are a vital starting point for maximising the participation of Dublin’s citizens.

In particular, we saw the need to listen to the usually unheard voices, and to include the widest variety of Dubliners possible in the conversation - community groups, young people, older people, new Dubliners, people who are marginalised and disadvantaged. Through this form of inclusion we are continuously learning about the issues that are relevant to Dubliners. By keeping conversation going, we can ensure the cultural programme is accessible to all, and develop ways of getting a diverse cross-section of citizens involved - as participants, audience and volunteers.

The cultural programme will be tested at a ‘citizens’ conference’ and 6 month updates are needed to keep people involved. Dubliners will respond to the programme.

≤ Tea & Chats workshop, Croke Park Stadium.

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Our city’s conversation has taken the form of a series of Tea & Chats workshops - the informal name reflecting how, in Dublin, you are always offered a cup of tea when you’re invited to someone’s home. By visiting groups in their community and on their home ground we’re able have honest conversations where people feel comfortable talking about their real concerns and ideas.

Tea & Chats always started with the question “what are your hopes for your future, your community and your city?” In their response, citizens repeatedly expressed a desire not to be treated differently or to be labelled as different. People simply wanted the support to integrate and take part in ‘normal’ Dublin life. Dubliners want an ‘access-all-areas’ city. Arising from this we learned that we need to lose the ‘them and us’ approach, because it’s all us.

The development of the cultural programme is a direct reflection of our conversations with Dubliners and our deepening understanding of their diversity and their needs, underlining the need to make the programme not only accessible and relevant, but also usable and inclusive for every individual citizen. We agree with the stated aim of the National Disability Authority, to provide the same means of use for all users: identical whenever possible; equivalent when not. Some of the programme events are inspired by our differences, but all of them include, and highlight our similarities, thereby promoting integration.

We’re focused on practical solutions to help ensure accessibility, usability and user diversity. We are working on the principle of ‘putting ourselves in their shoes’. By approaching the programme from the point of view of people with usability challenges we can take away barriers. And so Dublin2020 will: • Consider usability of potential locations and venues in terms of age, size and/or ability • Communicate with citizens in a clear, practical and socially connected manner • Acknowledge and continuously check for physical barriers • Create forums for accepting and responding to audience feedback • Develop travel support for audiences and participants who need it • Ensure larger events have direct public transport links to and from the diversity of the city’s neighbourhoods • Give volunteers a key role in Dublin2020 staff. Volunteers are included in all aspects of the ECoC bid and the delivery of the cultural programme.

Major projects like The Green Spine, Museum On Your Doorstep and Seen And Heard! are all examples of a programme that deliberately engages with these criteria and includes Dublin’s diversity, celebrating the local culture while amounting to something which is greater than each individual element.

The Green Spine fully depends on the engagement of the communities living and working along the city’s key transport lines. This form of citizen participation brings culture and horticulture together, building a network of green public spaces, community gardens, allotments, forage walks and nature reserves - to create green corridors across the city, bridging divides and engaging citizens to generate and regenerate community.

Gardens and project sites will be selected, researched, built and managed by local people. They will connect existing and newly formed groups – schools and youth clubs, older people and residents’ committees - with agencies and people from marginalised and disadvantaged communities.

These people could include those on community addiction programmes, homeless people, long-term unemployed, LBGT and others. The project brings the whole community together, leaving the legacy of a new landscape.

Museum On Your Doorstep opens twelve new centres for local culture in diverse neighbourhoods with ordinary citizens from local communities acting as curators. It’s a celebration of local heroes and untold stories. The exhibitions will be exchanged between museums, sharing experiences and awareness of each other’s similarities and differences.

The exhibitions will be open to all ages, and include personal effects, photographs, first-hand accounts and filmed interviews. They will focus on non-mainstream culture and subjects that official museums have ignored.

Seen And Heard! is a new festival for children giving young citizens a new authority in the city. Dublin will be transformed into the most child centred city in Europe making children visible on its streets and in its buildings.

It will create zones in the city which are controlled and run by children for the duration of the festival, giving children an authority and disrupting conventional decision-making. It encourages us to look at our community from a child’s perspective opening our eyes to our potential.

Explain your overall strategy for audience development, and in particular the link with education and the participation of schools.

The first step is listening to people’s concerns, ensuring we can programme work that is relevant and accessible for audiences. Multi-genre, multi-ethnic and interdisciplinary programming will break down barriers.

Relevance Removes Barriers Dublin2020 is about being relevant to citizens. For us, a relevant audience development approach means creating an inclusive learning process that gives culture and the arts a central place in European citizens’ life.

Active cultural participants are active European citizens. We must include, engage and energise all Dubliners, by giving the cultural sector the tools to understand and connect with citizens. Finding out what relevance means for a divided European city, and what stops citizens being more culturally active are key. The end result for audiences will be more profound and lasting cultural experiences.

2. Removing the barriers to usability and participation

beyond Dublin2020. Next we work on what stops people from going to arts events and prevents cultural participation. In the 2014 report The Arts in Irish Life the most common barriers were ‘price, family commitments, location, difficulty to find time and nobody to go with’. We will address this by removing price barriers and using technology to bring together art lovers that have no one to go with. We will take the arts out of ‘official’ venues and create projects that facilitate participation for young families, such as in Seen And Heard!

3. Creating engagement programmes before and after

the artistic events. To promote inclusion and critical engagement we will provide interpretative assistance before and right after events. This helps the audience to better prepare and have a deeper understanding of the cultural offer.

4. Helping the cultural sector engage audiences outside

the cultural ecosystem. This element focuses on schools and marginalised citizens. Dublin2020 will develop audience development toolkits for artists and cultural organisations. Engaging with the audiences in innovative ways is vital for the sustainability of the programme. This learning process is at the heart of projects like International School of Life. The goal is to make all citizens feel that they’re part of the audience.

The strategy works on 5 levels: 5. Evaluating and tracking the impacts of the cultural 1. Understanding how arts and culture can be relevant.

We start by listening to everybody. Learning what citizens want for their city is the first step to providing a meaningful and relevant cultural programme. The Dublin2020 cultural programme will test innovative ways to actively engage the whole community in that debate: Museum On Your Doorstep, Dream Catcher and The Green Spine are examples of such new inclusive approaches to understand relevance.

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programme. We want to understand the value and the impacts of the cultural programme beyond the audience’s profile, behaviour and motivations. We will test new ways to engage with the audience and will track the results of our engagement activities.

We will do so by using the latest research methodolo- gies in collaboration with some of the best national and international researchers. Ultimately, our goal is to help improve strategies for audience development throughout Europe.

Contingency planning Have you carried out/planned a risk assessment exercise?

A risk assessment has been carried out as an ongoing process - parrallel to the programming process and participation.

WE DEVELOPED OUR RISK ASSESSMENT IN THREE PHASES:

1.

Mapping and Learning - Research, 2013 Arts and culture are not viewed in Dublin as strong drivers of economic or social development, as they are in other European cities. Instead they are viewed as indicators that such development has taken place. Arts and Cultural initiatives are seen as a luxury that must wait until extra resources are generated from other sectors. The greatest risk to Dublin’s ECoC application is that this approach wins. Dublin2020’s greatest challenge is to fight for the European approach where cultural expression is an essential developmental part of all areas of life in Europe’s cities.

Across Europe, in cities like Dublin, the economic crisis made social divisions clearly visible. Debt was ‘socialised’ falling mostly on the middle class. Social welfare was decreased. This marginalised the poor even more. In Dublin, many wealthy people lost significantly but are starting to take advantage of the recovery. In the space of five years, Dublin’s housing surplus turned into a housing shortage and a homeless crisis.

The challenge in starting the journey to a European Capital of Culture is that ‘culture’ is not seen as part of the emergency response to economic failure, because it does not provide a quick fix to social problems like housing, healthcare or education.

The key risk and the greatest potential strength of Dublin’s ECoC application is to develop the city’s cultural thinking from short-term to long-term solutions.

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At the first Global Irish Economic Forum (2009) the culture debate was the most popular. Many people felt that while the economy and religion were ‘broken’, culture was not.

There was agreement that culture is a unique economic driver providing hope as well as employment, and greatly boosting tourism. It has been obvious in Dublin that culture in the municipality has a growing economic significance, e.g. festivals in the public domain supporting the retail core. However, ‘social culture’ that addresses exclusion is less valued. Repositioning culture so that it is a central part of the relationship between economics and social development is key to the success of this application.

We analysed City Council and partner reports and discussion documents: The Lord Mayor’s Commission on Employment (2010) identified the growing digital divide, the increasing exclusion based on education, age and poverty, and the lack of cohesion between the arts, science, public and commercial sectors.

Defining and Valuing Dublin’s Creative Industries (2010) highlighted the lack of awareness of the size and value of the creative industries.

The Smithfield Cultural and Creative Action Plan (2011) highlighted the absence of local provision and creative use of available space.

Now You’re Talking (2012) reported on attitudes to the arts in the city. The development priorities identified were: empowering communities, increased access for marginalised groups, maximising use of vacant space, and stimulating local arts activities.

The Challenging Times report (2012) mapping activities and emphasised the need to promote cultural engagement among migrant communities and the need for collaboration and engagement.

Destination Dublin (2012), a tourism strategy to 2020, calls for strong public engagement and collaboration and a strong, relevant cultural identity and offering.

Our Dublin (2013), carried out by DCC, the Institute Without Boundaries and Dublin Institute of Technology, found that communication between the municipality and the citizens was limited and primarily one-way.

The new Dublin City Cultural Strategy highlights the absence of research on the relationship of culture with economic development, tourism and community.

These and other reports indicate that culture, civic engagement and collaboration are essential to the city’s development. The challenge is joining the dots.

The Arts Office has delivered cultural projects partnering with every department in the city council. Taking its cue from networking practice in the artistic community it also built an informal network of European Cultural Strategy practitioners to share knowledge and experience.

Meanwhile, the city is engaged in the new Development Plan in which Culture will be key. It is also involved in the Arts Plan and the development of Parnell Square Cultural Quarter, Grangegorman and Smithfield and South Heuston. Their risk assessments have informed our understanding.

2.

Appreciation of Risk 2014- 2015 What is emerging is an agreement that economic recovery without values is undesirable, as it will lead to greater costs in the long-term. A cultural understanding is key to the connection of social, economic and political progress.

Culture can be the ‘catalytic convertor’ of Dublin’s recovery.

Previous risk research in Dublin was applied to the ECoC process: •

A full assessment of the Bid book and application for an ECoC was commissioned and prepared,

•

The new City Arts plan (2014-2018) was launched in 2014, which presents the arts office as the broker, partner, developer and not just the funder of culture,

•

Risk intelligence was enhanced by key stakeholders in Dublin who participated in formal SWOT analyses work shops led by international consultant Han Bakker,

•

SWOTs were also done throughout the development of the Dublin2020 concept, addressing the bidding period and title year,

•

We compared these analyses to our information about Dublin’s cultural landscape, compiling the existing data and identifying gaps in our knowledge.

3.

Validation 2015 We compared our model with a number of relevant sources including the City Development Plans, the aspirations of the National Culture Policy (Culture2025), the newly launched Grow Dublin Tourism Alliance (A Vision for Dublin in 2020), the new Dublin City Cultural Strategy (2015 - 2021) and the beginning of a new Arts and Education Learning policy by Dublin City Council. Through these the risks assessed in the previous phases were compared and contrasted. We have further validated our findings through 20 workshops carried out in 2015, exploring the risks with experts and citizens.

From the validation process we have recognised that we are exposed to many of the risks identified by previous Capitals of Culture. The strategic risks include a failure to think in the long term and learn from the past. The city is also divided in its approach to cultural investment with many citizens failing to realise that we all engage in culture. A focus on Anglophone culture means a lack of real appreciation of our cultural connections with Europe. As with all ECoC projects Dublin risks political interference. It will also be a challenge to unify a city of this size. Meanwhile, there’s a risk that the professional cultural community will resist working with business and social initiatives.

How are you planning to overcome weaknesses, including with the use of risk mitigation and planning tools, contingency planning etc.

To create an open minded environment that that is outcome oriented and champions imaginative problem solving and a platform to think, plan and act courageously.

We believe we can reduce risk issues with effective corporate structures, public transparency and responsiveness, European co-operation, and contingency planning.

In 1991 Dublin became the first European Capital of Culture to create an independent company to manage the delivery of an ECoC. We know from experience that the correct governance structure is the first priority of risk management. For Dublin2020 an independent company will be formed with five members, composed of the CEOs of each of Greater Dublin’s four municipalities and one government representative. A seven-person Board of Directors will be appointed, comprising experienced members from the community, business, arts and culture areas.

To ensure its independence, the Board will not contain representatives of the municipalities or government.

This Board will appoint through open tender the CEO, Artistic Director and key members of the delivery team, prioritising people with strong networks and experience of delivery at a European level.

The Board and senior management of the delivery team will hold a public meeting every six months, to share the progress of Dublin2020 and engage with citizens’ concerns and questions.

They will commit to responding to any concerns or issues within six weeks.

Dublin2020 will design and implement clear and transparent process and protocols for management, project selection and development.

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We will work with all our projects to build partnerships at local and European level, and access multiple funding sources to increase the European focus of the project and guard against domestic financial shocks.

We will develop pilot projects in the years leading up to 2020 as ‘proof of concept’. These will address issues of apathy and trust, drive engagement, and build momentum for the title year.

It’s our intention to work with Matera and Leeuwarden, Valetta and Plovdiv and our partners in Croatia, Greece and Romania, to develop a best practice approach to risk identification and management. This will inform our strategies and provide a toolkit for future cities.

As lead partner of the Interreg IVB, AT (Atlantic) Brand project, Dublin City Council has collaborated with other European cities to develop new ways of marketing and branding cities. We will utilise these relationships in the Dublin2020 marketing and communication strategy.

The instability of the world economy means a serious financial shock remains a possibility. We want to reduce risk in this area, and will develop plans to allow ECoC delivery in a negative economic scenario.

Risk assessments will be scheduled on a regular basis to update the register, and a monitoring and reporting process established to communicate changes or potential changes in the level of risk.

At all stages we will take a risk intelligence approach, understanding the risks in a holistic way and working to eliminate them through strategic actions.

Marketing and communication Could your artistic programme be summed up by a slogan?

Dublin United Yes, ‘Dublin United’ sums up our artistic programme.

What the divide does to obstruct the community’s potential, is what the Dublin2020 European Capital of Culture’s artistic programme makes visible. It does this by empowering the citizens’ creative and constructive potential.

Our goal is to connect people by facilitating the making of culture through constructive opposition, imagination, courage and teamwork. Through the ECoC, we hope ‘Dublin United’ will become a real cultural fact and no longer an impossible aspiration.

The slogan’s sporting connotations makes a link between Dublin2020 and the Euro2020 football championships. That 4 matches of Euro2020 happen in Dublin in June-July 2020 is a coincidence - but not to organise a cross-fertilisation with an event that animates the European community would truly be a missed opportunity.

We believe Dublin2020’s year-long artistic programme can and will mirror the thrills and spills seen on the football pitch.

The ‘Dublin United’ slogan says that everyone is welcome and everyone can be a supporter and a participant, either in person or online. ‘Dublin United’s brand imagery is easy to translate, was tested in our workshops and has the potential to be iconic, and emotive, straddling all divides.

Overall the marketing and communications strategy will stimulate change that opposes the divide and creates greater solidarity. Through this revolutionary marketing strategy, we will stimulate peer to peer engagement and disseminate information systematically to our target markets in a way that:

What is the city’s intended marketing and communication strategy for the European Capital of Culture year? (in particular with regard to the media strategy and the mobilisation of large audiences).

Big Picture, Big Claim Dubliners are born storytellers. Together they make the stories that still have the power to connect in their deeply divided city. Europe is more and more divided, and Dublin is symbolic of this division. This social divide is not an act of God but it has become part of the city’s culture. The city’s full of deep contradictions - its traditions and unexpectedness exist side by side, in its pubs and in its global tech companies. In our communication concept we make use of these contradictions with a claim that is is centred as follows:

Attracts their attention by cajoling, entertaining and challenging them. This campaign is focused on the message “What's the story? You're the story!”,

·

Invites and encourages them to help in creating ‘Dublin United’ in a European context. This campaign will work around the message “Let's get together and make up a new story of Dublin: Dublin United”,

·

Connects them with one another in surprising, innovative, exponential ways, such as through a campaign inspired by the Samuel Beckett quote: ‘Ever tried? Ever failed?

No matter. Try again. Fail again. Fail better’.

The revolutionary marketing strategy will be delivered through a series of high profile initiatives to challenge social division during the European Capital of Culture Year. These include:

Dubliners are opposing the divide – What about you?

Opening Ceremony - 24 Bridges: Dublin is an intertwining fusion of cultures making up a fabulous mosaic. It is definitely not a ‘melting pot’ and that’s what makes it attractive to Europeans. Dublin is a city in flow, like the River Liffey that both connects and divides its Northside and Southside citizens. This is the river made famous in ‘Finnegans Wake’ by James Joyce (the quintessential European Dubliner?). Part of the Dublin2020 opening ceremony will be spectacular in creating Europe’s biggest ever dance extravaganza: ‘EVERYONE IN DUBLIN IS DANCING!’. The entire population, at a preordained time, will get up and boogie to a specially commissioned Dublin2020 Dance Soundtrack. It will be relayed ‘live’ around Europe. For these sacred moments Dublin will have no divides;

The objective of our marketing communications programme is mass awareness of Dublin around Europe, by citizens’ mass participation in Dublin2020. Our communication model will recognise the radical changes which have taken place in the way people engage with new development approaches towards social division. Change and a desire for change must be owned by Europeans.

In this context, everyone exposed to Dublin2020 is part of the media. Citizens control the medium and the message. Dublin2020 is not creating the message we are reverse engineering it and enabling people's journeys to be interactive, accessible and meaningful. We listen to ‘people like ourselves’. The approach works in many languages and is at the heart of our communications strategy.

Branding the City: As lead partner of the Interreg IVB, AT (Atlantic) Brand project, Dublin City Council has ollaborated with numerous other European Cities to develop new and innovative methods to liberate them from the tyranny of traditional marketing and branding of cities. Through this project, strong promotional relationships have been forged between Dublin and its European partner cities. These will be leveraged in the Dublin2020 marketing and communication strategy;

REVOLUTIONARY MARKETING IS TARGETED

Through creative content around the theme ‘Dublin United’ we will stimulate storytelling that creates motion across types of media channels. This is what we call revolutionary marketing: a model that is bottom up, not top down and where authority no longer carries influence.

Perceptions, attitudes and participation are influenced by peer to peer communication. Sitting at the heart of this strategy will be ‘search and paid’ amplification of content across the multiple levels of the media platform, in several languages. The conversation on Dublin2020 will be easily found, shareable, meaningful and impactful.

≤ Supporters of Dublin2020 gather outside Croke Park.

·

Website: Of course Dublin2020 will have its own website - acting as both platform and medium. It’s the communications hub that gives meaning and provides communication lines for dialogue with our central target markets.

Also, Dublin City Council is redeveloping its website into a highly responsive online platform - www.dublin.ie. It is launched in January 2016 and will be a key marketing platform for Dublin2020. The dublin.ie site will help attract new visitors to the Dublin2020 cultural programme.

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HOW WE’LL DO IT - WITH DEMOCRATISED CONTENT IN MULTIPLE LANGUAGES

Dublin2020 will stimulate communication and provide a platform promoting interaction. The classic model of sender and receiver is flipped. The receiver becomes sender and vice versa.

Audio and video feeds, written material, music recordings, photographs and promotional items will all be made freely available online to targeted audiences across Europe. This will have extra impact in capitals of smaller European countries and divided cities where mainstream broadcasters will welcome professionally-produced free content for their own channels. Our broadcasting strategy is based on the principle that all content generated by our cultural programme will be placed in the commons and published with a Creative Commons Licence for all to use, remix and republish freely. By making it easy for programme participants and visitors to access high quality content that can be republished via social media, they themselves will become key channels in communicating to a Europe-wide audience New hybrid data technology: Big Data and tracking will be utilised to create user-specific marketing messages. These don’t interrupt but rather engage and delight the user.

Experiments will be done with algorithms that notify our team only when content is changed before it is shared. This will demonstrate the other side of working with data. It will stimulate peer to peer conversation across our owned, social and hybrid media channels. The result is people will want to interact and share Dublin2020 as all interaction is tailored to them.

Dublin2020 will create dynamic, responsive data storage that enable us to track user interaction (with user consent), create tailored communications, optimize use of the city and serve the people like never before. Also, when the infrastructure is in place expansion platforms may be utilized.

INNOVATIVE TECHNOLOGIES

We will use cutting edge technology to connect citizens with the Dublin2020 cultural programme. Dublin2020 will be presented at unexpected times and in unexpected places. This disruptive approach will be facilitated by: The Internet of Things: The digital strategy is that everything is connected and has a story to tell. This makes the interaction more relevant, meaningful and beneficial. A history is recorded of all actions and interactions an item has. Dublin2020 will evolve this to allow the concept to work online and offline to ensure that all demographics are catered for. While information management and insight are Dublin2020’s primary challenge, creating connectivity to the city is constantly becoming cheaper and simpler. We want to make the streets themselves truly interactive, for example: What if by texting a number, scanning a picture or even pushing a button, you could

interact with an object/artefact (anything from a lamppost to an old door) which will tell you a story of the area; its life, what’s happening there, direct you to interesting things (push people to underused spaces)? Through interaction and information gathering, Dublin2020 can personalise the messages and create user-specific offerings. This can be worked through an algorithm or taken offline, allowing a person to interact with objects/artefacts and their stories. Not only will this get people talking to their networks but it will also bridge divides on the street and get people interacting with each other, as well as with objects. Community development and interaction is boosted by such activity, iBeacon Technology: This is a simple, cheap, long-lasting small unit that can be positioned throughout the city collecting data and returning location and user-specific messages. The technology informs people within an area that certain events are happening, using smartphone interaction. It builds on user data to provide user-specific, time-specific information.

PRINT AND AUDIO-VISUAL MEDIA STRATEGY

Digital marketing lies at the heart of the Dublin2020 strategy but is not the only key element. We will also leverage all the strengths of traditional media.

We will use our massive potential of high-quality, relatable, engaging content to build partnerships with the major national media organisations in digital and traditional forums. Many of these are global in their scope and reach.

Through our Irish media partners, associations will also be formed with global and regional media organisations in each of the 28 Member States, based on their individual reach, demographic and user engagement.

CORPORATE COMMUNICATIONS

Growing from the principle that this is a once-in-a-generation opportunity to shape Dublin’s new story, Dublin2020 will offer corporate bodies the opportunity to become Dublin2020 Brand Allies, via corporate social responsibility programmes and sponsorship opportunities. Dublin2020 will interact with businesses through: 1.

2.

3.

4.

5.

6.

BRANDING PARTNERSHIPS, ADVERTISING AND SPONSORSHIP

How will you mobilise your own citizens as communicators of the year to the outside world?

Dublin2020 offers many and varied opportunities. Some more examples of how Dublin2020 will get its name in the public domain are: ·

Transport Branding (buses, planes, trains, LUAS trams).

For example, using recordings of Irish literature as airline announcements on flights to and from Ireland, branding on staff uniforms

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Dublin Sports Teams (team clothing, websites, team transport, sports grounds, merchandise, ticketing)

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Events (ticketing, staff, venues, programmes), which allow Dublin2020 to explore the various elements of Dublin culture and life

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Pub Embassies - using Irish pubs in European cities as Dublin2020 embassies, with promotions and performances in the lead up to 2020 and during the year

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Dublin2020 own-brand newspaper, a magazine, a com munity radio channel, a community TV channel which will be established to communicate Dublin2020 events and news, and to create advertising space and revenue

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Gamification of Dublin2020: through the creation of Dublin2020 digital accounts, users gain points for interaction, attendance, posting, liking, sharing, engaging, volunteering, checking in, and connecting other people.

Great citizen led storytelling and storymaking in international markets energised by culture.

It will be difficult for the people of Dublin to avoid being communicators for Dublin2020, because if you are part of the city, you are part of Dublin2020. This entire movement comes from the people, is for the people and will benefit the people. Citizens will be empowered to be storytellers to the world. Dublin’s storytelling tradition will be energised

by Dublin2020’s transformative cultural revolution. The beauty of this mobilisation strategy is its simplicity.

Our strategy to build the Dublin2020 brand is to disseminate stories systematically through our partners and through our own communication structures: stories that focus on people and constructive disagreement.

People learn, grow and change through stories born out of opposing interests. Stories are core to humans everywhere.

And they’re core to Dublin’s tradition and reputation.

This approach is reflected in our cultural programme with story-focused events including: Home Is Where The Art Is, Tiny Plays for Europe, We Really Need To Talk and Telling Tales in Medieval Dublin.

OUTCOMES FOCUSED

The communications and marketing strategy will be focused on outcomes rather than outputs. The strategy is about awareness and visibility, but more importantly we will be focused on the participation and conversation which will arise from our awareness building activities.

The communications and marketing strategy will be core to Dublin2020’s success and will deliver: ·

Interaction between city and citizen, citizen and viewer, viewer and world

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Content and messages that will motivate citizens and influence their conversations. Messages and content will be authentic, universal, emotive and personalised

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Networks which will grow virally due to the authenticity of message and belief in outcomes, e.g. visiting artists and creatives will be Dublin2020 narrators and promoters for their respective communities.

Phase

The goal is to change citizens from attendees into champions and sharers of what’s happening. All demographics across Dublin and across a selected group of European sites will be included. Their preferred form of sharing will be at their disposal following market research. The feeling of belonging and having ownership of events and change will encourage sharing. For example not only will citizens be able to attend events but they will be part of the media machine by producing and presenting radio and television shows about Dublin2020. They will be part of a cultural revolution. Issues highlighted through the extensive consultation process will be addressed and people who participated will see their input in action. This is a powerful and contagious emotional driver and will push the Dublin2020 European Capital of Culture into every house and heart that it touches. Being part of the change and the story means people are more likely to share.

Cultural programming will cater for the majority and minorities in society with the aim of showing commonalities and creating ties. Accessibility and inclusion will be at the forefront to show that change is possible, practical and not just aspirational.

This storytelling strategy has been utilised to great success in Dublin before with the marriage equality referendum in 2015 and the Special Olympics in 2003.

We will build the brand in Europe through great storytelling in four steps:

Goal

2017-2019 Launch Dublin2020 in key European cities, especially capitals of smaller Be visible European countries and divided cities, well in advance of 2020.

2018-2019 Build toward 2020 by inviting Europeans to send us their stories of division.

Engage This is done through social media and partnership strategies.

Irish storytellers (authors, artists, actors, city residents) are sent on a media

tour, physically and digitally, toEuropean cities to invite citizens to send us

their stories.

Q3 2019 Just ahead of 2020 we unveil the stories in Dublin. We publish them online, Unveil with big bang in book format, and invite the authors to Dublin to tell their own stories.

This gives us themes to explore throughout 2020. Dublin 2020 is therefore

truly European as we are examining themes and issues generated by

Europeans themselves.

2020 Personalised content

Governing bodies Industry conferences Corporate mailings and online platforms Forums Specialised business media, periodicals and magazines Webinars

The content that we bring together from European citizens in advance of 2020, will shape the themes and conversations in Dublin in 2020.

Great stories are emotional, challenging, shareworthy and stand the test of time.

Strong narratives survive, no matter what European language they’re told in.

We’ve tested this already in our ‘We are Dublin2020’ series and our collaborations with ‘Humans of Dublin’, where a

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story about Dublin2020’s Youth Ambassador went viral.

It reached over twenty million people through social media, television, radio and print.

Finally, a direct ask will accompany event hashtags, Dublin2020 hashtags and other promotions. These will accumulate a living history of events and participation and keep our story fresh, engaging, multi-faceted and growing.

How does the city plan to highlight that the European Capital of Culture is an action of the European Union?

Dublin2020 will highlight that the European Capital of Culture is an action of the European Union by: ·

Ensuring branding, marketing and communications initiatives acknowledge the European Union

·

Raising flagpoles throughout the greater Dublin area with European Capital of Culture and E.U. flags

·

Co-branding Dublin2020 educational/promotional material with the European Capital of Culture logo, which incorporates the European Union flag. This includes billboards, newspapers, magazines, planes, trains, cars, merchandise, radio, TV and digital advertising

·

Giving highly visible on-site acknowledgement of the European Union’s involvement through written word, video and logos on Dublin2020’s website

·

Branding the digital content and making it highly shareable through social media links - in this way proliferating the European Union's name and symbols

·

Translating Dublin2020’s video content into Member State languages, highlighting how important other E.U. Member States are to Dublin2020 and what the European Capital of Culture and the EU can do for them

· Publishing press releases and newsletters that state

that the Dublin2020 European Capital of Culture

campaign is a European Union initiative, in several languages ·

Conduct cultural projects that ask artists to work with symbols/flags/statements of the founding fathers of the EU, and organise exchanges of people and artefacts that have already explored this area

· Talking about the value given by the European Union

to the European Capital of Culture during Dublin2020 interviews ·

Utilising Dublin2020’s newspaper, organised debates, radio and TV/live-streaming projects to build Dubliners’ knowledge of Europe and what the European Union has contributed.

7. Additional information

Add any further comments which you deem necessary in relation with your application

In a few lines explain what makes your application so special compared to others?

A Big Stage for a Big European Experiment

It’s time for a new approach

There is a perceived division between Dublin and the rest of the country. In recent times, Dublin has been viewed by other regions in a negative context; as the seat of government, the origin of the banking crisis, the birthplace of austerity and a monopoliser of scarce resources. The ECoC title would provide an opportunity for the capital city to re-connect and build new relationships with the rest of the country through culture and not politics.

We intend to involve and co-operate with the other Irish candidate cities in the Dublin2020 programme; Limerick, Galway and 3 Sisters. Each city has undertaken the same challenging journey and there is much that can be achieved by collectively harvesting the civic and creative energy that has been unleashed in the bidding process.

We intend to collaborate on developing European networks that focus on exploring the relationship between capital cities, satellite cites and the countryside in between. We will invite our neighbouring cities to join the conversation in We Really Need To Talk and AudaCity.

We will also seek to involve the other candidate cities in our City of Courage legacy projects, which aim to build a new culturally empowered generation, not only for the capital city but in time, for the whole nation. Collaboration is envisaged in particular with our Arts in Education Charter, Food in Schools and Mother:Ship.

We will also seek to co-operate with the most recent Irish ECoC, Cork. A designation for Dublin would be instrumental in bridging the divide between capital city and the rest of the country, thereby strengthening Dublin’s role as a modern European Capital that is truly representative of the entire country. European Capitals of Culture are about cultural issues. Dublin2020 reminds us that culture isn’t about consumerism, culture is something we all take part in. A city is something that must be built together with other people. When we work together, listen to each other and are listened to, we empower ourselves and help to create a more just society.

Dublin2020 is an opportunity to test cultural strategies that attack social division in European cities. Dublin2020 is a laboratory where experimentation through culture helps to rebuild social connections, develop active citizenship, and empower imaginative learning. It puts audience development in a relevant setting.

European capitals are a warning sign for the future, showing us the worst examples of two-speed cities which separate people according to wealth, education and ethnicity. Dublin needs help. The crisis of poverty and division is worse than anywhere else in Ireland. Culture isn’t the cure, but it is the starting point for a new direction.

Dublin has much in common with other cities on the edges of Europe who were worst hit by the economic crisis. Dublin2020 will expand the cultural links with these cities, sharing our positive experiences and our mistakes.

It’s time to experiment on a big stage. By 2020 we will have seen in the past 10 years Valletta (2018), Riga (2014) and Tallinn (2011) as capital cities that were designated ECoC. With rapid social and digital changes during that time, we believe Europe can again learn valuable lessons from a capital city of a scale like Dublin.

Dublin is a different city to what it was in 1991 during its last ECoC. Its population has grown by 30% and today it’s truly multicultural - home to people from 185 countries speaking 182 languages. The Dublin of today is another city. Dublin2020 has consulted with the European Commission who confirmed that there is no formal reason why Dublin should not again apply for ECoC.

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Urbanisation is global. Today, cities are a symbol of hope for many people, especially for the younger generation.

War and poverty are driving millions from their homes, and sending young men and women on the dangerous journey to Europe. It’s an extreme situation, but migration has always been part of human history.

For thousands of years, the city has shown its ability to absorb new waves of people. It has been a motor for integration and cultural crossover. By living and working together, meeting in the marketplace and learning in schools, people of different backgrounds have exchanged habits, beliefs, customs, languages and religions. The dominant culture has been developed under the direct influence of those that found a new home in the city.

The Divided City is threatening the age-old role of European cities. This is a global phenomenon where people are sorted out spatially and locked into monocultural neighbourhoods.

European culture will either flower or freeze, depending on how we approach diversity.

With Dublin2020 we’ve made a clear choice for Europe.

Acknowledgments Michael Abrahamson

Lauri Cryan

Dick Gleeson

Niamh Kirwan

Emma Murphy

Liz Roche

Dr. Keith Acheson

Jim Culleton

Roise Goan

Dermot Kiwan

Finian Murphy

Sandra Rodriguez

Yemi Adenuga

Alan Cullivan

Katrina Goldstone

Clare Koehler

Niall Murphy

Dr. Marisa Ronan

Maurice Ahern

Jo Cummins

Lizbeth Goodman

Dorota Konczewska

Sarah Murphy

Kevin Rooney

Jane Alger

Eibhlin Curley

Chris Gordon

Paul Konosonok

Dr. Genevieve Murray

Orlaith Ross

Paul Alwright

Ali Curran

Gordon Gordon

Oriana Kraemer

Jonathan Myers

Frans Rosti

Sven Anderson

Caitríona Curtis

Catherine Gorman

Irena Kregar Šegota

Edwina Neilan

Sudipta Roy

Tom Andrews

Con Cusack

Michael John Gorman

Susanna Lagan

Kris Nelson

Avril Ryan

Jonas Arnds

Carmen Cutrì

Catriona Graham

Jonathan Lambert

Rowena Neville

Catherine Ryan

Nina Arwitz

Cliona D’Arcy

Allin Gray

Paula Lambert

Catherine Neville

Eamon Ryan

Grace Aungier

Aaron Daly

Bob Gray

Lauren Lankhuijzen

David Nevin

Elaina Ryan

Han Bakker

Lynn Daly

Ali Grehan

Bernadette Larkin

Seona Ní Bhriain

Jennifer Ryan

Tania Banotti

Colin Darke

Simon Grehan

Laura Larkin

Niamh Ní Chonchubhair

Kathryn Ryan

Sheena Barrett

Barbara Dawson

Mark Guerin

Michal Lemanski

Brendan Nolan

Theresa Ryan

Susan Barrett

Eamonn de Barra

Silvia Guglielmini

Ciara Lennon

Melissa Nolan

Pier Luigi Sacco

Aoife Barry

Róisín de Buitléar

Richard Guiney

Esme Lewis

David Norris

Joe Salam

Linda Barry

Juliane De Oliviera

Bill Gunter

Simon Lincoln

Sen. David Norris

Michael Sands

Aine Beamish

Sarah Dee

Mark Hackett

Gloria Lorenzo-Lerones

Fiona Ní Chinnéide

Monika Sapielak

Anne Bedos

Damien Dempsey

Elisha Clark Halpin

Sean Love

Críona Ní Dhálaigh

Sarah Jane Scaife

Jim Beggan

Michael Dempsey

Vladimir Ham

Jeanette Lowe

Darragh O’Tuathail

Orla Scannell

Lucianne Bird

Fiona Descoteaux

Niamh Hand

Graham Lowen

Gillian O’Brian

Claudia Schaefer

Rebecca Blake

Oscar Despard

Dylan Harcourt Killalee

Sorcha Lowry

Cian O’Brien

Benedict Schleppen-Connolly

Ken Bolger

Edwina Dewhart

Jim Harding

Geoff Lyons

Jean O’Brien

Gerard Scully

Mark Bonham

Niamh Dillon

Jamie Harrington

John Lyons

John O’Brien

Dean Scurry

Phil Boughton

Dave Dinnigan

Maryann Harris

Gerry Macken

Lydia O’Brien

Cliodhna Shaffrey

Kate Bowe

Eileen Diskin

Bill Hastings

Jo Mangan

Mark O’Brien

Fergus Sheil

Prof. Mark Boyle

Bernie Doherty

Séan Haughey

Louise Mannering

Rory O’Byrne

Mark Sheils

Fiona Bradley

Niamh Donnellan

Jenny Haughton

Emily Mark Fitzgerald

Eugene O’Callaghan

Donal Shiels

Dick Brady

Philippa Donnellan

Dan Hayden

Richard Marsh

Aideen O’Connor

James Shockey

Simon Brault

Ursula Donnellan

Margaret Hayes

Catherine Marshall

Carmel O’Connor

Hanne Siebens

Darragh Breathnach

Aoife Dooley

Brian Heavey

Nicola Matthews

David O’Connor

Luka Simic

Sarah Bredin

Angela Dorgan

Zef Hemel

Bryony May

Joyce O’Connor

Logan Sisley

Catherine Brophy

Jean Cristian Dos Santos

Alice Mary Higgins

Darren May

Ruairí Ó Cuív

Jenny Siung

Michelle Browne

Justine Doswell

Dylan Higgins

Barry McAdam

Owen O’Doherty

Nessa Skehan

Ian Brunswick

Paul Dowling

Séan Hillen

Cllr Paul McAuliffe

Niamh O’Donoghue

Geraldine Smith

John Buckley

Darragh Doyle

Jessica Hilliard

Natasha McCandless

Sióbhan O’Donoghue

Stephen James Smith

Marta Burgell

Elaine Doyle

Maria Hinds

Banbha McCann

Joeseph O’Gorman

Mirjana Smolic

Christy Burke

Jack Doyle

Jonathan Ho

Eoghan McCarthy

Jane O’Hanlon

Alex Sproule

Padraig Burke

Jim Doyle

Stephanie Hodges

Fergal McCarthy

John O’Hara

Pilippos Stavrinos

Anne Marie Butler

JR Doyle

Ela Hogan

Vince McCarthy

Maire O’Higgins

Katie Stephens

Claire Byrne

Roddy Doyle

Shane Hogan

John McCartney

Paul O’Kane

Tomas Studenki

Dr. Tara Byrne

Prof. Sean Duffy

Karla Holden

Gabrielle McClelland

Prof. Mona O’Moore

Aisling Sullivan

Iseult Byrne

Barry Duggan

Trevor Holmes

Tony McCullagh

Rory O’Neill

Katarina Supic

Kyran Byrne

Brenda Duggan

Lucy Horan

David McDermot

Mary O’Rawe

J.P. Swaine

Rhona Byrne

Charles Duggan

Brian Horgan

Ciaran McDermott

Cóilín O’Reilly

Katie Sweeney

Siobhan Byrne

Clare Duignan

Aideen Howard

Michael McDermott

Hugh O’Reilly

Greg Swift

Donough Cahill

Declan Dunne

Jade Hubbard

William McDonagh

Paul O’Sullivan

Tom Swift

Laura Cahill

Fiona Dunne

Miriam Hughes

Roisin McGarr

Darragh O’Tuathail

Lia Taylor Schaffer

Jenna Cains

Rhona Dunnett

Grainne Humphreys

Carina McGrail

Prof. Ruairi OhUiginn

Matthew Thompson

Patricia Callan

Paul Durrant

Calvin Hynes

John McGrane

Ian Oliver

Nicola Thornton

Caroline Campbell

Paula Ebbs

Zeph Ikeh

Paul McGrath

Kristen Orumaa

Eamon Timmins

Adam Cantwell Xenopoulou

Mark Egan

Mary Iskander

Séamas McGrattan

Kerrie O’Brien

Katarzyna Timofiejew

Margarita Cappock

Mary Lou Egan

Andrew Jackson

Emma McGuire

Jim O’Callaghan

Jessica Tobin

Michelle Carew

Cassie Egger

Keren Jackson

Sinead McKee

Kate O’Connell

Robbie Tomkins

Joe Carmody

Jonathan Ekwe

Sarah Jackson

Patricia McKenna

Simon O’Connor

Michael Torrans

Claudia Carroll

Neva Elliott

Vincent Jackson

Yvonne McKenna

Niamh O’Donoghue

Eszter Toth

Clyde Carroll

Jean- Pierre Eyanga

Ann Jenkinson

Declan McKenna

Damian O’Farrell

Mark Traynor

Matt Carroll

Paula Fahey

Emma Jordan

Henrietta McKervey

Vanessa O’Loughlin

Aimée van Wylick

Maura Carty

Hugh Fahey

Paul Joyce

Ciaran McKinney

Fiann O’Nuallain

Peter Varga

Angela Cassidy

Fares Fares

Gianpolo JoyceI

Daniel McLoughlin

Katie O’Reilly

Paul Verhaegen

Prof. Kathleen Chakraborty

Holly Farrell

Anne-Marie Kane

Siobhan McManamy

Feidhlim O’Seasnain

Richard Wakely

Liam Challenor

Nina Farrell

Naoise Kavanagh

Gerard McNaughton

Robert Palmer

Caeman Wall

Wissame Cherfi

Jacinta Fernandes

Victoria Kearney

Graeme McQueen

Shivanu Parmar

Adam Wallace

Godfrey Chimbginda

Filipa Ferraz

David Keegan

Amanda McSween

Emma Parsons

Anne Walsh

Loredana Chiuaru

Kelly Fitzgerald

Owen Keegan

Anthea McTeirnan

Jordi Pascual

Emer Walsh

Jennifer Churchward

Sarah Fitzgibbon

Deborah Kelleher

Aisling McWeeney

Sylvain Pasqua

Karen Walsh

Áine Clancy

Niamh Fitzpatrick

Jacqueline Kelleher

Paul Meade

Keith Payne

Heather Webster

Elisha Clark Halpin

Rebecca Fitzpatrick

Grainne Kelly

Katie Meir

Maria Payne

Emma Wheatley

J Patrick Clarke

Elaine Fitzsimon

Greg Kelly

Brian Merriman

Stojan Pelko

Alexandra Whelan

R.M. Clarke

Chris Flack

Keith Kelly

Edel Mitchell

Benjamin Perchet

Trevor White

Greg Clarke

Norah Flannagan

Stephanie Kelly

Karl Mitchell

Audrey Phelan

Willie White

Luke Clerkin

Anthony Flynn

Derek Kenedy

Niall Mooney

Sarah Piggot

Agnieszka Wieczorkowska

Margaret Coen

Brendan Flynn

Patricia Kennedy

Shane Mooney

Philomena Poole

Jane Wilde

Rex Coghlan

Clare Flynn

Sr. Stanislaus Kennedy

Shane Mooney

Maria Pramaggiore

Elvie Wilson

Amy Colgan

Jason Flynn

Brendan Kenny

Lesley Moore

Margerita Pulè

Anna Winkelhoefer

Rosemary Collier

Zoe Fox

Liam Kenny

Megan Moore

Natasha Purtill

Ray Yeates

Martin Collins

Mary Freehill

Orlagh Kenny

David Moran

Ana Puzycki

Felix Zakra

Liz Coman

Jessica Fuller

Penelope Kenny

Hannah Moran

Bernadtte Quinn

Paweł Zieliński

Niall Conlan

Jessica Furling

Rose Kenny

Lynette Moran

Gina Quin

Slavoj Zizek

Brian Conneely

Gary Gannon

Jim Keogan

Prof. Christopher Morris

Rafika Rajab

and many more...

Caoimhe Connolly

Maria Garau

Marion Keogh

Robert Moss

Raúl Ramos Monzón

Sinead Connolly

Stuart Garland

Jim Keoghan

Ziene Mottiar

Martynas Ratkus

Emma Connors

Diarmuid Gavin

Gerry Kerr

Rebecca Moynihan

Kenneth Redmond

Pat Cooke

Piotr Gawlik

Tony Kiely

Samantha Moyo

Marie Redmond

Declan Coppinger

Reilly Gemmell

Brian Killoran

Hugh Mulholland

Paul Reid

Daniel Cosgrace

Philip Geoghegan

Dunchadh Kinane

Una Mullally

Sarah Reid

Brain Cotter

Kenneth Germaine

Alan King

Dominic Mullan

Mariam Ribón

Eveleen Coyle

Pedro Giaquinto

Alison King

Prof. Ronaldo Munck

Norman Rides

Ruth Craggs

Thea Gillen

Elaine King

Brian Murphy

Pauline Riordan

Tom Creed

Jennifer Gilna

Susan Kirby

Dolores Murphy

Peter Robertson

Fergal Crehan

Ric Giner

David Kirk

Eavan Murphy

Tara Robertson

Authors Dublin2020 bid team Design & Layout Red&Grey Design Photography Matthew Thompson Photography Bryony May Derek Kennedy Sarah Jackson Pedro Giaquinto Illustration Maria Hinds Aoife Dooley Stephanie McDermott Summary Edition Published Electronically November 2015

Dublin2020 – A Cultural Challenge to Europe’s Divided Cities Bid Book – First Round October 2015 Summary Edition

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