iv) Minority language productions EU countries have a far stronger tradition of consuming foreign-language cultural products than the UK and countries like America, in areas such as music, film and television. It is, therefore, a major market for the UK’s minority language creative exports. The EU has also funded British productions in languages such as Welsh. There is a risk that an exit from the EU will block access to funding which is crucial for these minority language productions. The restrictions put on non-EU content by the Audiovisual Media Services Directive (AVMSD) might also limit access to a market which has been interested in this content. 2f. The partnership working mandated by EU funding is central to its value Funding is not just about topping up budgets, but building networks and resources. EU programmes support organisations to develop mutually beneficial working relationships. Partnering on projects multiplies the level of expertise available to each participant, including offering insight from a wider range of backgrounds and experience. Widening the range of experience on a project increases its productivity and returns (see Federation’s Creative Diversity report). It also increases the range of business opportunities that partners encounter. 2g. European Capital of Culture programme Role of the European Capital of Culture scheme in developing the UK’s creative industries
Regenerating Plymouth through culture Plymouth is part way through a major regeneration project, with arts and culture key to its future as a vibrant, international, waterfront city. The cultural development agency Plymouth Culture formed a local steering group in order to build the international profile of the city in the run up to Mayflower 2020 - the 400th anniversary of the sailing of the Mayflower from Plymouth to the New World - and to strengthen understanding of the role culture can play in regeneration. It brought in leaders from digital, dance, theatre, visual arts, heritage and education, to lead a proposal for Creative Europe funding. Links were established with other European cities who are also investing in arts and culture as part of regeneration projects, including Larissa in Greece, Nicosia in Cyprus, Rijeka in Croatia and Gdynia in Poland with the aim of making a joint bid, under Plymouth’s leadership. Bid leadership brings with it a higher level of funding. However, following the result of the referendum on June 23, it was decided locally that it would no longer be appropriate for Plymouth, as the only UK city in the partnership, to lead. The partnership is currently looking for a new lead city to take the project forward. Plymouth would have received in the region of €400,000 of funding as lead partner in a successful bid, with further potential matched funding to come from the Arts Council, Plymouth City Council and the university.
The European Capital of Culture scheme has significantly developed infrastructure and improved creative industries performance in areas of socioeconomic deprivation and low cultural engagement. During its time as ECoC in 1980, Glasgow saw significant urban and economic regeneration, while in 2008 Liverpool saw visitor numbers increase by 34% to 9.7 million and £753.8m was generated for the economy from an investment of £15.2m different EU funds in the Liverpool Culture Company. Media coverage of Liverpool’s cultural attractions doubled, with positive coverage outstripping negative for the first time in decades. A survey of Liverpool residents found that 85% believed the city to be a better place to live by the end of the year.17