Building up: a shifting paradigm for cultural development in post-industrial Britain

Building up: a shifting paradigm for cultural development in post-industrial Britain Kenn Taylor (https://engage.org/contributors/kenn-taylor/?jcontent=31738) Creative Producer and Writer

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Building up: a shifting paradigm for cultural development in post-indus‐ trial Britain

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44. Biennials and beyond (https://engage.org/journals/44-biennialsand-beyond/)

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Engage, the National Association for Gallery Education

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Spring 2020

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Dragon Slide at The International Garden Festival in the Summer of 1984, Liverpool, England.

Photo originally taken on 8 August 1984 on a Hanimex 110F 110mm film camera. Digitally scanned on 10 May 2009. Image: Rept0n1x, CC BY-SA 3.0 (https://commons.wikimedia.org/w/index.php?curid=9742676)

As a baby I was, apparently, taken to the Liverpool International Garden Festival (https://en.wikipedia.org/wiki/International_Garden_Festiva in 1984. It was arguably the first cultural mega event in Britain since the Festival of Britain in 1951 and the first to have what would become familiar goals of such events: urban renewal, creating a buzz and changing public perceptions of a place. /

The event was largely a success. Based on the German Bundesgartenschau concept (https://en.wikipedia.org/wiki/Bundesgartenschau) and backed by significant government funds, it turned a former riverside landfill site into a varied garden and event space with activity across the year. It was popular locally and further afield and there were some significant ripple effects. It helped the region regain some confidence and think about what its future might be after more than a decade of especially hard decline. The festival was also part of a wider governmentbacked programme, which for example included the Mersey Basin Campaign to clean up the river, and started the long, still ongoing process of reclaiming the miles upon miles of abandoned industrial waterfront on both sides of the Mersey.

The legacy of the festival site itself is more ambiguous. It was sold off and turned into a leisure complex, which was successful for a while but later closed and lay derelict for years. More recently the gardens at least have been restored, but they have struggled for lack of maintenance funds.

The festival also did not in itself alter the fundamental economic challenges the region faced: a lack of decent quality well paid jobs, a solid local economic base and the tax base that comes with it to fund important services. 35 years later, while Merseyside has improved in many ways from when I was a child, even if things were never as bad as the media stereotyped them, this fundamental challenge has not really gone away. The event however was meant to be a spark for change, not a solution to what is an almost existential urban issue. One that has in the time since, sadly, gone on to affect more and more areas of the UK and the world.

The Garden Festival also inspired others. Similar events followed in Glasgow, Gateshead, Stokeon-Trent and Ebbw Vale. Arguably the initiative influenced Glasgow working towards its 1990 European City of Culture programme, and Gateshead’s arts-based regeneration projects including things like Sage Gateshead, BALTIC and the Angel of the North. The perceived success of Glasgow led to fierce bidding for the 2008, renamed, European Capital of Culture title, including between Newcastle-Gateshead and Liverpool, the latter eventually winning. In Liverpool itself, one of the regeneration projects which followed the Garden Festival was Tate Liverpool opening in 1988 in the redeveloped Albert Dock. Tate Liverpool’s first Director, Lewis Biggs, went on to play a huge role in the city’s cultural development in a range of ways, including founding the Liverpool Biennial in 1999, one of the first attempts in the UK to hold a regular biennial in the general mould of Venice.

By the time of the build up to Liverpool’s year as Capital of Culture (CoC) in the mid 2000s, I had managed to get a first, tentative job in the cultural sector, as a zero hours gallery attendant as well as being part of the alternative publishing scene in the rapidly regenerating city. What happened in that period was, after years of stagnation and decay and then slow, patchy development was a period of hyper development. Like many locals, I was torn between the positivity of finally seeing our region get such a level of new investment and construction after so long when so little was built at all — something hard to grasp if you’ve never lived somewhere facing hard decline; and a wariness about whether all this was sustainable. /

The Capital of Culture programme was by and large varied and successful and had a huge impact on changing perceptions of the city, giving it a new level of ambition. For me though, one of the most interesting things about CoC was that, initially intended or not, it made large questions that may not otherwise have been addressed locally or nationally. Being held in Liverpool, it built on what began in Glasgow and to an extent deconstructed the idea of what a large scale cultural event (LSCE) should be in a city heavily impacted by post-industrial decline — a very different context to the first European City of Culture winners: Athens, Florence and Amsterdam.

Liverpool International Garden Festival Japanese Garden 1984. Image: Aq42 – Own work, CC BY 3.0 (https://commons.wikimedia.org/w/index.php?curid=4340256) Raymond Williams said that ‘culture is one of the two or three most complicated words in the English language’.1 This makes it hard to organise a LSCE, much harder I would say than organising the sporting equivalent, but to me, that’s what makes it a lot more interesting. Before, during and after 2008 the question pushed to the fore was a simple one with a complex answer: what is culture? Breaking that down: how much should things be ‘local’ and how much from ‘further afield’; how do you choose between art forms; between the popular and the niche, the traditional and the radical? Who are the intended audiences? How do you talk about a ‘local’ culture without excluding people newer to a place? Who decides all this and allocates responsibility, platforms and money accordingly? What do we want to change through all this?

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Such was political engagement locally, there was a huge level of critical debate and it was fascinating to watch received wisdom nationally about what and where was relevant in terms of culture getting unpicked by the region.

What was also important, and I saw this later in Hull too when I worked there, was how the year and build up to it helped restore more confidence and pride to the area. Not that it had ever gone away, but it had been severely dented by years of negative stereotypes and media hatchet jobs, which eat away at the collective psychology of a place. The power and importance of this is little understood by those whose world view comes from richer, more powerful cities which inevitably dominate the arts, media and academic discourse, rather than those who live in places which may only feature in the media as the butt of a lame comedian’s joke or in an negative article by a journalist from far away.

Nevertheless, the nagging question, especially when I came from a local, working class background, was would a LSCE event make things better in a region facing multiple challenges?

My experience was that CoC in Liverpool did, in many ways. Even just in cultural terms, in the late 1990s, the city’s Philharmonic Hall was on the rocks, the Playhouse and Everyman theatres had shuttered, even popular music venues like L2/Lomax had closed down. No new cultural buildings had been built since 1939 and culture was not high on the agenda of the local authorities. The situation now, even after 10 years of austerity, is very different. Though the impact of CoC itself cannot be separated entirely from other factors such as wider public and private investment in that period.

However, CoC did not remove in itself the fundamental structural issues the area faced, even if it reduced some of them significantly. The point for me though is, much like with the Garden Festival, it should never have been expected to in isolation, because, frankly, no one single thing would remove complex challenges many decades in the making and part of huge global shifts.

The counter question I always put is, would the region be better off if it hadn’t happened, if it had gone to another city? Few local people, I think, would agree.

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Jeanne van Heeswijk, 2Up 2Down, 2012. Commissioned by Liverpool Biennial

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Vicky Lindo and William Brookes, Dead Dad Book, British Ceramics Biennial 2019. Photo: Jenny Harper On a wider level, what happened in Liverpool for CoC also had a real impact in beginning the still ongoing process in the UK of rethinking how culture is defined and funded and how LSCEs are delivered, especially in terms of how they interact with the varied residents of a city. Something which has carried on in subsequent events. Demand and interest in such LSCEs has kept on growing. After the popularity of 2008 in Liverpool, the government launched the UK City of Culture model, held in Derry/Londonderry then Hull and now upcoming in Coventry for 2021, with several areas now developing bids for 2025. The Liverpool City Region launched a Borough of Culture and the Greater London Authority launched a similar scheme, with Greater Manchester starting a Town of Culture. Folkstone has its own art triennial, there’s the British Ceramics Biennial in Stokeon-Trent, Brighton Photo Biennial, the biennial Manchester International Festival, Blackburn’s National Festival of Making, Whitstable Biennale, Glasgow International, and so on. Britain was due to have a European Capital of Culture again in 2023, with several cities bidding, until the UK’s involvement was barred because of Brexit. Leeds valiantly has decided to deliver a year of culture regardless in 2023. In 2025 Rotherham plans to deliver a Children’s Capital of Culture, codeveloped with children and young people. With, it seems an ever-increasing number of such events, is there risk of diminishing returns? At some point will everywhere have had a big cultural festival of some kind?

For me though, the question should be, why shouldn’t everywhere have a year of culture, or similar? When the Garden Festival began this whole trend in the 1980s, culture for many UK cities was at the bottom of the civic priority pile, in contrast to the past. Poorer cities didn’t see it as important given what other challenges they had, even wealthier cities saw it as something to give a bit of funding and support to, mainly via older established civic institutions, but few put it front and centre and rarely did it stretch out to all forms of arts and different interpretations of culture.

Many cultural facilities were ageing and underfunded, with few built outside London between the 1960s and the 1990s. Artists were rarely considered in town halls if not dismissed entirely. The creative industries were low on the economic agenda despite their importance. All this has now changed for the better, with the role of the arts and culture in its many forms not just valued in itself but increasingly for many other reasons besides. Many fear negative aspects of instrumentalization, with good reason, but if anything, the conversation around culture, what it is and should be, who gets to access and create it, is wider than ever. With a growing understanding of the role it can play in planning, health and many other areas. Many cities like Leeds, Liverpool, Manchester, have it near the top of their priorities, while authorities like Hull, despite the huge central government cuts they have received, have maintained cultural funding levels.

All power to towns and cities who have this level of focus and especially those which are doing it off their own bat. Rotherham, for example didn’t bid to have a Children’s Capital of Culture, they just decided it was something they should do. And there, for me, is something absolutely fundamental to the success of a LSCE at all levels, now more than ever, is that it is driven by local ideas, needs, interests and specialisms above all else. /

Barry Finan, WRRIGHHTINNGSERRS, British Ceramics Biennial 2019. Photo: Jenny Harper To me, one of the most important Liverpool Biennial commissions ever was 2Up 2Down / Homebaked for the 2012 Liverpool Biennial. (https://www.biennial.com/2014/exhibition/locations/homebaked) This saw social practice artist Jeanne van Heeswijk (http://www.jeanneworks.net/) work in Anfield, celebrated as home of Liverpool Football Club but also an area devastated by the Housing Market Renewal Initiative (https://en.wikipedia.org/wiki/Housing_Market_Renewal_Initiative). Jeanne worked over two years to develop a project with the community, which resulted in the tentative re-opening of a local bakery, an idea for community-led housing and a tour/performance explaining the complex local context. I always got the impression the biennial team were surprised this project seemed to attract some of the biggest interest from the international art press rather than other aspects of the programme. I was not though. Here was something original, specific, that could not be seen easily at similar events elsewhere in the world, even if some of the concepts were transferable.

Something that had impact locally, but relevance internationally as more and more of the developed world faced up to a post-industrial future. Eight years on, Homebaked (http://homebaked.org.uk/) is now a larger, co-operative community business, employing 18 people and playing a big role in a more sustainable wider development of the neighbourhood.

For me, this is an exemplar of how projects within biennials and other LSCEs can have impact in different ways — plenty of time to explore, develop and build something up with a particular community, with a later event or other public face that engages a wider constituency, but then /

some sort of legacy that can be taken forward. Of course, the very nature of such projects means that not all are guaranteed to be successful in the long term, but Homebaked demonstrates what it is possible to achieve when the conditions are right.

Vaivén Circo by Derren Lee Poole, National Festival of Making, Blackburn, 2019 Even from a purely strategic point of view, such as getting on the ‘art world map’, featured in travel guides, etc, doing what is already being done elsewhere over and over again is, I would argue, a hiding to nothing. The key is not to fall into the trap of replication, as tempting as it is when looking at successful cities or projects elsewhere. To truly have local impact as well as gain the benefits of increased attention and visitors, originality is key. This will vary from a more specific event — a ceramics biennial makes perfect sense in Stoke-on-Trent, Glasgow, with its large number of studios and galleries makes sense to have its International, while having an outdoor focus makes sense in a seaside town. Even within wider, year-long cultural programmes which need to approach culture from a broad range of perspectives, a firm rooting within the city or town itself will always have most power and local specifics are what can make a programme really stand out.

Towns and cities often have specific cultural strengths. Artists and art organisations based in them usually understand these very well and how they relate to the wider cultural landscape and they should play a key role in the development of such programmes. This doesn’t mean though, that the loudest voices, from the biggest organisations or the most well connected artists, should /

have all the power. Rather, those planning such programmes should take this as a starting point for a wider conversation about what they want to achieve within a LSCE. This should involve people at all levels: already engaged audiences, artists, community organisations, but reach much further out to people on the street and online going about their daily lives. Asking questions, such as: what part of town could most do with a boost? What local artist from the past has been forgotten? Which project could do with help to get it to the next level? What themes are important to this place? Crucial also is to maintain this conversation throughout all phases of a LSCE. Keep asking people, how do they think the programme is going, what do they want the legacy to look like and how will we achieve it? For year- or six-month long programmes as well, there should also be care to taper an event, with a steady build up and wind down so it doesn’t feel like the LSCE was ‘it’ in terms of culture, overwhelming people and then stopping dead, instead acknowledging a particular time as a period of focus. I don’t think there’s a single ‘best’ way organise a LSCE — remember, what Raymond Williams said about culture. Key for me though is to take a key perspective of the local, then see how those ideas fan out nationally and internationally.

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Women of Iron, Cleaners Wirral was the Liverpool City Region Borough of Culture 2019 and it was great to go back and experience some of the varied events as part of it. For me though, the most powerful were a couple of photographic exhibitions, Tabula Rasa

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(https://www.source.ie/graduate/2018/univchesba/univchesba_student_11_49_50_11-0518/univchesba_student_11_49_50_11-05-18.php) and Women of Iron (https://www.imaginewirral.com/madeofiron/women-of-iron), showing work by young people from the Creative Youth Development Programme (https://www.wirral.gov.uk/schools-andlearning/youth-services/creative-youth-development-cyd) run by the council. Using a LSCE event to inspire a new generation is so important, but having the long term programmes in place so young people can develop themselves before, during and after such an event is vital. As are new employment opportunities. If it wasn’t for the increase in entry level paid arts roles in Liverpool in the build-up to CoC, I might never have been able to get to the role I have now. In a LSCE, plans should be made around what cultural employment opportunities will be created for people locally and how at least some of these will be sustained beyond the event. Programmes in areas such as youth development and employment should be front and centre of long-term cultural programmes in a region to help develop them as centres of art and creativity.

What the legacy of LSCE looks like should be as specific to a place as the event programme itself. It’s certainly possible to be too rigid about long-term outcomes; when working in culture you have to allow for serendipity to an extent, but what the future looks like does need to be considered in some detail before such an event happens. A LSCE might have the big impact, but how to build on that long term needs to be thought about as soon as the event is being planned.

When funders are looking at a LSCE, they should consider their support in three or five year terms, tapering for developing, building up to the main phase and then afterwards, reduced but longer periods of funding to bed down sustainability and impact. One of the most powerful factors of delivering a LSCE is the scale of discussion and debate it can create locally about culture, how to nurture and further develop it; and this should be harnessed. It’s crucial to ask early on, what can such an event help spark that does carry on after it? Could that be, say, a permanent, low cost artist studio complex, protection through Agent of Change (http://musicvenuetrust.com/2018/08/4-year-campaign-agent-change/) for local music venues, an ongoing commissioning programme in a certain field, a new annual festival, a neighbourhood cultural event that starts the conversation about long term local change, a new creative arts facility for young people. Again, this should always be driven by specific local needs. Though it’s important to ensure that space in towns and cities is developed or sustained to make art, as well as show it.

However, while we focus on arts and culture here, we cannot separate it from the wider context in which that LSCE operates in particular locations. A LSCE in an area with a solid economic base but less of a cultural profile will be different from a place with a good cultural profile but challenging economic situation, different again from perhaps a smaller place with limited profile at all and a small arts base. Liverpool, for example had to deal with decades of nasty stereotypes; Hull felt it wasn’t heard enough of at all in the media; upcoming Coventry meanwhile has a relatively solid economic base but feels it doesn’t have enough cultural recognition nationally.

This does not mean though, that LSCEs should be the preserve of already successful places or that bigger, wealthier cities should have a monopoly on the arts. What’s been positive in recent years has been the increased focus on directing some more state arts investment in the most /

disadvantaged and under-invested areas of the UK. However, developing and sustaining an arts and culture programme in a post-industrial area, cannot be done in isolation. LSCEs and initiatives such as Creative People and Places are powerful, but they are not panaceas and must be linked in with wider plans and ideas for local economic and social development. Precious few places in the world operate wholly on a culture-based economy and those that do are fragile — Venice’s population has declined throughout the 20th century as its wider economy moved away to more modern places and it became purely a tourist city.2 While cultural mega cities, say London, New York, Berlin, are employing tens of thousands in culture, arts, tourism and creative industries those sectors still play second fiddle to things like high finance, professional services and public administration, which more fundamentally sustain them economically.

Silvio Palladino, I Wish to Communicate with You, 2017. Photo: Silvio Palladino A place cannot be regenerated without considering culture, but art and culture alone cannot be expected to regenerate a place. The Festival of Britain in 1951 is fondly remembered because it was just the celebratory part of a much wider programme of national renewal and investment and opening out of access to education and the arts.

Gentrification and ‘over tourism’ are also significant issues which need to be considered in this context. Though it must be remembered, in urban terms these issues principally impact on the most highly successful and well-off cities and receive so much focus because such places control much of the media and academic discourse. More disadvantaged cities face a different, perhaps /

even more stark challenge: to keep sustaining and further developing cultural provision at all with limited funds. While artists in these places can struggle to sustain themselves when faced with far fewer opportunities, even if rents remain cheap compared to wealthier cities.

The role of arts and culture in post-industrial urban change can and does have many positive benefits. Yet these can also be fragile and easily be lost. Long-term thinking is not something the UK often excels at, but now, as we’re getting closer to having (re?)won the argument about the importance of art and culture in urban areas and civic life, it’s time for a new paradigm, in which a LSCE is the showcase, the platform, for what’s been achieved and will go on being developed within longer term civic and community ambitions around art and culture.

If we do want to see our cities continue to transform for the better, LSCE’s should also be an opportunity, a catalyst to ask bigger questions about society, politics, economics, culture, and places. What we want them to be and how we go about achieving them. A way of exploring what changes people want to make in towns and cities in the UK and how to build underinvested places back up as we go through challenging and tumultuous times.

Notes 1. Williams, R. (1976) Keywords: a vocabulary of culture and society. London: Fontana, p.87 2. Kington, T. (2009) Who now can stop the slow death of Venice?’ in The Guardian, 1 March 2009 (https://www.theguardian.com/world/2009/mar/01/venice-population-exodus-tourism).

Accessed 24 January 2020

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