Tag Archives: creative cities

Capitals of Culture in 2024; A title held by 25 (now 26) cities worldwide

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Welcome to my 8th annual review of Capitals and Cities of Culture around the world. As usual I only include those where the title has been awarded by an external organisation rather than a self promoted marketing slogan.

The main news this year is Russia´s first Capital of Culture. Despite destroying Ukraine´s cultural infrastructure and killing thousands of Ukrainians in its illegal war of aggression Russia attempts to show “business as usual”. The competition was open to cities over 250,000. Selection has a novel twist: an online public vote, followed by a public presentation to an expert panel. The general criteria were: “Experts assessed the preservation of historical and cultural heritage, the level of development of the urban environment, theatres, museums and archives, education and enlightenment, the introduction of innovations and creative industries.” Nineteen cities put in bids leading to a shortlist of eight: Grozny, Kaliningrad, Nizhny Novgorod, Novosibirsk, Samara, Tomsk, Cheboksary and Chita. Nizhny Novgorod topped the poll with 189,151 votes, 2,000 ahead of Samara. The city is preparing a programme of around 150 events (well worth a read). Unexpectedly, Grozny the Chechen capital, was appointed as the 2025 title holder by the president of the organisers (a member of the Duma and under Western sanctions). It was a very controversial announcement. Several of the other shortlisted cities vented their surprise and anger at this impromptu decision. With the war continuing both Nizhny Novgorod and Grozny are to be boycotted. (No normal activity in an abnormal situation). The long standing regional Capital of Culture in Krasnoyarsk goes to Uzhursky.

The Cultural Cities of East Asia programme gains strength every year. Despite the frequent political differences between the three countries (China, South Korea and Japan) this cultural programme thrives. The 2024 title-holders are Weifang and Dalian in China, Ishikawa in Japan and Gimhae City in South Korea. Weifang is in the UNESCO Creative Cities network for crafts and folk art. Dalian stands out for its 30,000 cherry trees and their blossom. Ishikawa was hit by the earthquake on New Years day. The Korean title holders have formed a network. At their second meeting in September the five previous title holders and Gimhae held a workshop and “shared practical challenges of the current CCEA project and debated on diverse ways to overcome such limitations“.

The Cultural Capital of the Turkic World goes to Änew in Turkmenistan whilst the Commonwealth of Independent States selected Samarkand in Turkmenistan. Änew has important archaeological ruins from the 15th century and an impressive White Wheat Museum whilst Samarkand is a UNESCO World Heritage site.

Tripoli in Lebanon hosts the Cultural Capital of the Arab World. The original plan was to hold the title in 2023. It seems a combination of COVID19 and lack of preparations led to a postponement. Marrakesh In Morocco and Shushi in Azerbaijan are the two Cultural Capitals of the Islamic World. Let´s hope they have better luck than Benghazi who had to forgo their programme in 2023 due to the effects of Storm Daniel.

Another UNESCO World Heritage site becomes the Capital of Ibero-American Culture: Sucre in Bolivia. Designated by UCCI and known as the La Cuidad Blanca, reflecting the white painted colonial era houses. The State of Nayarit (Mexico) is the American Capital of Culture continuing the Spanish only nature of this NGO run title.

Time now to look at the 12 Capitals of Culture in Europe.

It is “welcome back” to the Portugal CoC. This lasted for just two editions in 2003 (Coimbra) and 2005 (Faro) before a change of government closed the programme. The restored title follows the example of Italy: the three unsuccessful shortlisted candidates for the European Capital of Culture 2027 are recompensed by holding a national title. In 2024 Aveiro takes the honours followed by Braga and Ponta Delgada before Évora holds the European title.

Pesaro holds the Italy title. A key takeaway from the handover from the 2023 holders, Bergamo/Brescia: In the coming years, at least 200-300 million new tourists are estimated in the world, strongly attracted by the beauty and culture of Italy. The problem is that the ‘historic’ art cities, therefore Rome, Venice, Florence, are already overbooked. For this reason, a network of medium-sized cities is needed, such as Pesaro, Mantua, Parma, Matera and Bergamo and Brescia themselves, to serve the country to increase its competitiveness and attractiveness “. No wonder 26 cities have sent in bids for the 2026 title, now reduced to a shortlist of 10, with decision in March.

The second Serbian title goes to Užice after bids from 12 cities. Kaišiadorys becomes the Lithuanian CoC. There was no Slovakian title holder last year. Humenné beat off competition from Brezno and Šaľa to take the 2024 title.

In the folk-art/traditions group the Finno-Ugric title has not yet been announced. Belarus has selected Belynichi from five candidates.

Regional Capitals of Culture in Spain continue with Sabadell taking the Catalan title and Monóvar (for places over 5,000) and Bicorp (under 5,000) the two Valencian titles. The latter has spectacular cave paintings, (another UNESCO Heritage site)..

And finally: the three European Capitals of Culture: Tartu (Estonia) and Bad Ischl/Salzkammergut (Austria) are joined by Bodø (Norway). The three are probably the smallest trio of ECOCs since the title started in 1985. All three are including rural communities to widen their appeal. The gap between national CoCs and the European title narrows. Bad Ischl is the first “inner Alpine” title holder and Bodø the most northerly. Bodø opens (with memories of Galway) on “On February 3, we’ll gather in a circle around the marina – regardless of the weather – and enjoy a spectacular show before moving inside and continuing the party in town.” All three cities appear in the Guardian´s top ten cultural destinations for 2024.

You may have noticed some missing CoCs. Several titles with 2 to 4 year cycles are in their “off–year” so no UK, Eixo Atlântico, London or Africa title holders. I´ve also dropped the cities which become a CoC on the basis of the location of the summit meeting of an inter-governmental organisation (eg ASEAN and Portuguese Speaking Countries). Has anyone heard if a regional CoC in the Veneto region of Italy exists?

And I missed the French Capital of Culture!!!! It is Pays de Montbéliard Agglomération, a joint venture of 72 communes.

25 and now 26 Cultural Capitals for 2024! Enjoy.

My Awards of the Year for Capitals and Cities of Culture around the world in 2023

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Welcome to my sixth annual preview of cities with a title of Capital or City of Culture (CoC). This year I´m introducing my Awards of the Year.

The Solidarity Award goes to Comrat which was due to be the Commonwealth of Independent States CoC. But Moldova withdrew from the CIS because of the Russian invasion of Ukraine. So no CIS CoC for Comrat. Principles, and survival, come first.

The Never Give Up Award goes to Leeds. Brexit spoilt their bid to be an ECOC in 2023. Not to give up Leeds 2023 is a year long programme of “explosive creativity”. A role model for unsuccessful candidates. (and a late award to Volterra which was pronounced Tuscan capital of culture in 2022, after being unsuccessful in the Italian CoC for 2021. over 300 events in 2022).

The Blink and You Miss It Award goes to Luanda. The Community of Portuguese Speaking Countries give their CoC to the host of the annual summit (as do several others). Luanda managed their programme in just one week in 2022. No news on the 2023 title holder. No news either of the ASEAN CoC, another which rotates with the chair of the organisation. Indonesia this year.

The Under the Radar Award goes to the Valencian Community. A CoC programme since 2018 managed to escape my notice (and just about everyone else´s). Two title holders (below and above 5,000). In 2023 Geldo (population 700) and Guardamar del Segura (pop 15,000). Who needs PR and marketing?

The It was good whilst it lasted Award goes to the South Asia Association of Regional Cooperation. SAARC is on ice because of regional political differences so no more CoCs.

The Welcome to the Club Award goes to Čačak, the first holder of the Serbian CoC. The programme starts in the Spring ” through four sub-themes that together create one whole: “On Freedom”, “On Morava”, “On the crossroads”, “On the cobblestones””.

The Award for Let´s remember you were the first, and hardest, cities in Europe hit by COVID-19 The Italian Capital of Culture has, exceptionally, two cities this year with no competition. The Italian culture ministry chose Bergamo and Brescia in recognition that the two cities were at the forefront of COVID-19 when it first appeared in Europe. The two have a joint programme BGBC2023 with over 100 projects and 500 initiatives.

The Award for Let´s hope they actually do something is shared by the Arab CoC and the three Islamic CoCs. Tripoli (Lebanon) is the Cultural Capital of the Arab World, organised by ALECSO. The three Capitals of Islamic Culture, organised by ISESCO, are Abidjan (Cote d´Ivoire), Selangor (Malaysia) and Benghazi (Libya). The title holders in these two programmes vary from doing not very much (most of them) to a full programme of arts and conferences (rarely).

The Award for We may have serious financial problems but we will carry on goes to Croydon, the fourth holder of the London Borough of Culture title. The programme starts in the spring so little information so far. A major concern surrounds the programme as the council is deep in debt and has applied for significant central government funding.

The Award for Second Time Around is shared. St Helens holds the 2023 title of Liverpool City Region Borough of Culture, five years after holding the original title. The title rotates between 5 of the 6 districts of the region (omitting Liverpool). San Jose in Costa Rica held the Ibero American Capital of Culture in 2006 and repeats in 2023.

The Award for We are far more than Roman Walls goes to Lugo in Galicia. The only city with its Roman walls intact (2km, 71 towers, 10m+high). It is the Eixo Atlántico CoC (EU Interreg project covering northern Portugal and Galicia in Spain). The programme opens in late February and runs until November.

The Award for Let´s split the programme over two years goes to two cities. Both run their programmes until May. Rabat as the first African Capital of Culture and Revúca in Slovakia.

The Award for Supporting traditional culture without threatening contemporary culture goes to Kuhmo, the first time a Finnish municipality has held the Finno-Ugric title.

The Award for Supporting traditional culture whilst imprisoning hundreds of creative workers goes to Slutsk, the Belarus title holder. There are still many cultural workers in prison and artistic freedom is not possible in the country.

The Award for Not Noticing French and English speaking countries goes to the American Capital of Culture “aimed at all the countries of the Americas” which after 24 editions still has not picked a city in the 20 French or English speaking American countries. There is no title this year. The same organisation (Xavier Tudela) has arranged for Lloret de Mar to be the Catalan title holder. Package holiday makers will enjoy a change from the beach.

The Award for Optimistic Budgeting goes to Tauragė the Lithuanian Capital of Culture for 2023. A municipality of 21,000, it will receive €100,000 from the culture ministry and aims for around €500,000 for a full programme.

The Award for Upgrading goes to Shusha. Already nominated by the Azerbaijani government as the cultural capital of the country in 2021, the city gets an upgrade as the Cultural Capital of the Turkic World. At the handover from Bursa “the speakers especially noted that this event was hopeful, proud, and very important.”

The Award for Most Over-looked Cities of Culture is shared by the Cultural Cities of East Asia. Two from China, Chengdu and Meizhou; Shizuoka Prefecture in Japan and Jeonju in South Korea. The cultural ministers met, virtually, in September to formally appoint the cities; good to see the ministers meeting – the heads of government summits have not taken place since 2019. 11 cities competed for the China nomination. There is an interesting review of the Chinese selections since 2013 here. Jeonju (a UNESCO Creative City in Gastronomy) has the largest collection of traditional Hanok houses. It plans 4 major events and 17 projects, mostly festivals. Shizuoka outlines its programme.

The Award for Hey, There are Three of Them Again goes to the European Capital of Culture with three title holders again this year, a consequence of the impact of COVID-19 in 2020 on the programme. Three last year, three next year. Elefsina (or Eleusis) in Greece opens its programme on 4 February under the three themes of “People | Society, Environment, Labour”. Chris Baldwin, fresh from his success at Kaunas, directs the opening event. Timișoara  opens over the weekend of 17-19 February. The year long theme “Shine your light – Light up your city! is the motto that reflects the journey from individual to conscious and involved European citizen, in which community values and passion are rooted.” The third title holder is Veszprém-Balaton in Hungary. It opens on 21-22 January with a distinctly national focus on the Hungarian national anthem and the day of Hungarian culture. Very Orbán.

The Award for Let´s Not Forget Mariupol. Readers of my review for 2022 will recall I mentioned the first Ukrainian City of Culture, Mariupol, in 2021. The destruction of the city, its iconic theatre, the mass murder of its citizens, the looting of heritage and arts, the torture, the forced migration of children, all horrors of the Russian invasion. There have been calls for both Kyiv and Kharkiv to be awarded an ECOC title. The Ukrainian Institute, the organisers of the Ukrainian CoC (and now an associate member of EUNIC, the network of cultural relations institutes of the EU and UK), has asked for a boycott of Russian cultural organisations. Accordingly I am simply recording that Yeniseisk is the Krasnoyarsk Region title holder; where the railway was sabotaged this week. Russia has announced its own Capital of Culture programme for 2024. It is unlikely to improve Russia´s international reputation, one of its aims.

I hope these are most of the 2023 CoCs. I suspect there are more lurking unseen in Google in various languages*. More smaller cities/municipalities. CoC programmes are centred on arts events and festivals; few venture into social issues or creative industries and tourism is the main driver for many. Last year saw exceptional CoCs in Procida, Coventry, Kaunas and the first French CoC Villeurbanne. Good to see the emphasis on evaluation in Coventry. Few CoCs get beyond reporting the numbers of events/audiences/tourists. No doubt CoCs, and candidates, will soon be using ChatGPT software to write evaluations and bid books!

Have an enjoyable year!

  • I knew it! The Veneto region in Italy has its own CoC. Now in its third edition. Applications are now open for the 2023 title holder, closing date 15 February.

Capitals and Cities of Culture in 2020

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This year 26 cities in 24 countries around the world will celebrate a City or Capital of Culture title awarded to them (rather than self proclaimed as a marketing ploy, there are many more of them!).

Potentially the most interesting is the first African Capital of Culture. Marrakesh in Morocco is the first title holder, the title organisers are the Africa branch of the United Cities and Local Government (UCLG). Will the city with its undoubted heritage put on a programme combining that heritage with contemporary arts? How will it deal with censorship? At the conference in November 2018 of Africities a session was run with representatives of the European Commission and European Capitals of Culture (ECOC). It is far too early to suggest the African title can be as comprehensive as the ECOC in its first edition but it is a start.

An update. At the last minute the government of Morocco has stepped in and makes Rabat the title holder. Marrakesh is simply dumped. Not a very good sign for the new title if it is at the mercy of governments. I hope the UCLG make a protest.

The ECOCs of the year are Rijeka in Croatia and Galway in Ireland. The latter had a struggle getting their act together but in the last year under a new CEO they have put together a sound programme. Rijeka in contrast have been very active and successful in their preparations. Croatia assumes the presidency of the Council of the European Union for the first six months of 2020 and has set out a wide range of cultural objectives. Croatia is the only EU member state where the culture minister is an international expert in cultural policy!

Lithuania was the first European country to develop its own national title, this year Trakai has the honour. Its impressive castle in a lake will undoubtedly feature as a venue. There are ten other “towns of culture” in the country, one in each county: an innovative way for smaller towns to highlight their cultural offers.

Parma takes the Italian title. There was no Italian Capital last year as Matera held the ECOC title but now the national title is back in full flow.

Braga in Portugal is the regional Eixo Atlântico Capital of Culture. A full programme from February to November is planned, no doubt as a practice run for their bid for the ECOC title in 2027.

Lida is the Belarus national title holder. This title stands out in Europe as being very folk art and heritage based under the restrictive government control. The Catalan regional title is with El Vendrell, home of the Pablo Casals Foundation and museum.

Russia hosts two very different titles. The Krasnoyarsk region has yet to announce its title holder. Mishkino is the Finno-Ugric Capital, a region of just 7,000 people. The only City of Culture programme run by civil society: the Youth Association of Finno-Ugric Peoples (MAFUN) and URALIC Centre for Indigenous Peoples.

The Commonwealth of Independent States has designated Shymkent in Kazakhstan as their 2020 title holder.

The London Borough of Culture moves on from Waltham Forest to Brent in 2020. Sefton in Liverpool also holds a Borough of Culture title. This title is held on a planned rotation of the 6 boroughs in the region and omits the competitive element. There is no UK City of Culture title in 2020, Coventry is in full planning mode for 2021.

Slovakia in 2020 also has its second title holder, Nové Zámky.

South America hosts two titles. Buenos Aires is the Ibero-American capital (for the second time after 1992 and following its 2017 year as Ibero-American Capital of Gastronomy) and Punta Arenas in Chile is the American title.

The Arab and Islamic titles are a mixed bag. Sometimes there is a good programme, more often the title appears to pass the city by. The Islamic titles in 2020 are Bamako in Mali, Cairo in Egypt and Bukhara in Uzbekistan. Cairo appears to be planning a significant programme. Bethlehem hosts the Arab title, the university is fully engaged and will run projects including a “Bethlehem University Prize for Arabic Fiction”.

Khiva is the second city in Uzbekistan to host a title in 2020, holding the Turkic World title. Normally Turkic World programmes start in April.

The Culture City of East Asia has, as usual, three cities. Yangzhou (China), Kitakyushu (Japan) and Sucheon (South Korea). Year by year the title holders seem to be becoming more adventurous in their programmes. The competition to hold the title in China and South Korea is attracting more applicants every year. Kitakyushu will be “competing” with the Cultural Olympiad of the Tokyo Olympics and Paralympics.

Several titles follow the summit meetings of their organisers. Their programmes generally are limited to high profile openings, a few concerts and exhibitions: a medium sized arts festival with little ambition to any other objectives or legacy. Yogyakarta continues with its ASEAN title which is spread over two years between the meetings of ASEAN member states. Praia and Velha (Ribeira Grande de Santiago) in Cape Verde are also in the second year of their Capital of Culture of the Community of Portuguese Language Countries. There is no news yet of the SAARC title holder; it is scheduled to be in India as the member states take it in turn to host the title. Thimphu in Bhutan hosted the 2018/19 title.

An updated and revised edition of my global survey and directory of Capitals and Cities of Culture is in preparation. The 2017 edition is available here.

Capitals of Culture in 2019: the idea keeps on growing, two new titles this year

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Welcome to my annual preview of Capitals, and Cities, of Culture around the world. It’s becoming as regular as Lonely Planets’ Places to Visit!

The concept of a designated City or Capital of Culture has come a long way from its initial offering in Athens in 1985. I exclude those cities which use the phrase as a marketing promotion. A designation means someone else has made the call, through open competition or more frequently in closed-door ministerial meetings.

There is a wide variation. Some are merely token: a few events organised by the government or official bodies, a form of diplomatic showcasing; in others nothing appears to happen, an honorary title. Many have a larger than usual arts programme with little focus. At the other extreme some titles seek to transform a city (eg European and UK). Some are contemporary arts minded, others resolutely fix on heritage and folk arts; most aim to increase tourism.  The United Kingdom title stands out not just with its 4 yearly cycle but as the most focused on broader economic rather than cultural benefits.

As usual there is a shortage of reviews and evaluations of programmes outside of the European and UK titles. This is not surprising; many of the titles are in countries with severe press restrictions and secretive officialdom. Information simply does not come out. But there are some where an enterprising researcher could mine for an article or even a thesis: Lithuania, Italy, Ibero-American and even the private American titles all offer possible research interests.  Makes a change from the seemingly endless articles rehashing the same academic “experts” with little critical understanding on the European title.

More titles come on board each year. 2019 sees two newcomers.  Waltham Forest becomes the first holder of the London Borough of Culture title. I’ve a soft spot for this one as I lived in the borough for over 25 years.  Banská Štiavnica is the first national title holder in Slovakia.

The two European Capitals of Culture are  Matera and Plovdiv. Another soft spot as these two were the first I announced as chair of the selection panel. I’ve followed their ups and downs since then and look forward to their comprehensive programmes.

In the Americas the flagship is Panama, the Ibero-American title holder. It merges this title with its celebration of its 500 years anniversary. Its build up programme has been impressive including listening to experiences from international cultural experts. The privately run American title goes (as usual with no competition or openness) to San Miguel de Allende in Mexico. The title had a poor 2018 as a casualty of the Venezuelan collapse but San Miguel, a UNESCO World Heritage city , together with its region, could put the title back on track after an interesting Mérida in 2016.

There are fewer titles in Europe this year. The United Kingdom now waits as Coventry prepares for 2021 (and a debate starts about a smaller “Towns of Culture” title). The next stage of the Hull 2017 evaluation should come out; it will start to evaluate the programme and its possible legacy and follows the extensive preliminary review report issued  by Hull University in March 2018.  The Italian title sits out the year (not to compete with Matera) until Parma in 2020. In Portugal and Spain the Eixo Atlántico title has its fallow year before a 2020 title holder.  Spain does host the Catalan title of Cervera.

Lithuania has 11 title holders. yes, I’ll repeat that, 11 title holders. Rokiškis is the national title holder. There are 10 holders of the “Small Capitals of Culture” title, one from each county. Lessons there for the UK Towns proposal?

Belarus has two titles, both in the south-west of the country. Pinsk holds the national title and Brest that of the Commonwealth of Independent States. Both titles are low-key, more conservative and folk orientated. The government still persecutes members and supporters of the exiled Free Theatre of Belarus which is increasing its programme around the world as well as in Belarus.

Russia also hosts two titles.The regional title in Krasnoyarsk goes to Achinsk and the Finno-Ugric holder is Shorunzha. The latter title makes a welcome return (now for three more years). Run by youth organisations it is a purely cultural title. The Turkic World title goes to Osh in Kyrgyzstan. Let’s hope it continues the pattern of considerable regional cultural partnerships and performances.

The Arab title year runs from April to March.  Oujda in Morocco will finish their programme of over 600 events and hand over to Port-Sudan in Sudan. The Islamic title has four holders this year, one in each of its three regions and one in the host city of its annual Culture Ministers meeting. The latter title goes to Tunis. Hopes are not high after the underwhelming impact of Sfax as the Capital of Arab Culture two years ago. Expectations are only for a few more events at the official cultural institutions level.  ISESCO who run the Islamic title have decreed 2019 as the Year of Islamic Cultural Heritage. It follows on from the European Year of Cultural Heritage last year; I wonder if there are any joint projects in the pipeline? They are also calling on the three Islamic capitals to twin with the fourth title holder, Al-Quds, also known as Jerusalem. The other two title holders are Bandar Seri Begawan (who did little as an ASEAN holder two years ago) and Bissau.

Yogyakarta holds the ASEAN title, having canvassed for it two years ago. A centre of Javan culture it remains to be seen how a programme develops. So far the ASEAN titles have been disappointing.

The three remaining titles are the East Asia Cities of Culture. This trilateral programme is gaining in strength with competitions in two countries (not Japan) and programmes moving beyond a showcase of traditional arts. Xi’an, the archaeological home of the warriors, is the Chinese representative; Incheon in Korea and Toshima in Japan are the three cities for 2019.

Several titles have not yet released their 2019 title holders.  SAARC in South Asia (probably a heritage site in India as they follow an alphabetical rota of member states); Community of Portuguese Speaking Countries, CPLP, (probably somewhere in Cape Verde as the host of the biennial meeting of culture ministers) and Victoria in Australia.  I’m not sure the latter is an annual event, any news welcome as they don’t answer emails.

Will France  join the national titles list, with its first edition in 2021?   The previous culture minister indicated “oui” in the summer of 2018 but little has been heard from his successor.

So the year starts with 22 declared title holders, plus the 10 Small Capitals in Lithuania and possibly 2 or 3 more. The Capitals of Culture concept develops every year; let’s hope more of the titles start to evolve and leave a lasting change in the city.

 

 

 

 

2017: the year of 23 “Capitals of Culture”

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For the capitals of culture in 2018 go to this page.

There are 23 “Capitals of Culture” around the world in 2017. A few are formally called “City of Culture” but the idea is the same!  The full list is later in this post.

Many cities (amplified by travel journalists, place making and marketing PRs) call themselves a “Cultural Capital”.  There is something special about having the title awarded from outside the city. It implies recognition not self-promotion.

The concept has come a long way since the first “European City of Culture” in 1985.  Built on the initiative of probably the two most well-known Ministers of Culture (Melina Mercouri of Greece and Jack Lang of France) the European Union programme has evolved considerably since that opening event in Athens. Fifty-four cities have held the title (now the European Capital of Culture).  Pafos and Aarhus share the title in 2017 and nine further cities have been selected to hold the title in the years to 2021.

In the mid 1980s there was very little appreciation, in practice or in academic circles, of the impact culture can have in a city. From seeing culture, (especially what used to be called “high culture” mainly for a small minority), in formal galleries, theatres and festivals the understanding now has widened and deepened. An annual title is no longer just a major pageant of artistic celebration but brings benefits through its social and economic impact.  Now there is an abundance of academic and management literature, reports, thesis and indeed consultants each with their own interpretation of the (mostly) positive effects of culture in a city’s wellbeing and prosperity.

From that initial event in 1985 the idea of designating a city as a “Capital of Culture” has been progressively adopted around the world. In some cases the title is organised in a  single country and in others the designation comes from a multi-lateral organization.

There are considerable variations. The main one is probably whether there is an open competition, many benefits can accrue to unsuccessful candidates as well as to the title holder. Are the cities appointed by ministries or through a competition with an independent selection panel? Is there a short period of notice from selection or enough time over several years to develop a programme?  Is the selection based on a city’s heritage and current culture or on a specific programme for the title year? The specific objectives of each programme are different.  The budgets, and programmes, of the capitals vary considerably. Some have an intensive annual programme, others focus on a month.  A few are linked to formal Ministerial meetings and many keep a long arms length from politics.  With the exception of the European Union programme there is severe lack of transparency in most programmes.   I will explore these differences in a longer paper.

The 23 in 2017 are

Aarhus and Pafos        European Capitals of Culture

Hull                              UK City of Culture

Pistoia                         Italian Capital of Culture

 Klaipėda                    Lithuanian Capital of Culture

Lisbon                         Ibero-American Capital of Culture

Vuokkiniemi                Finno-Ugric Capital of Culture

Luxor                          Capital of Arab Culture

Bogra                   Cultural Capital of South Asian Association for Regional Co-operation

Amman, Sennar, Mashhad, Kampala      Islamic Capitals of Culture

Kyoto, Changsha City, Daegu,                 Culture Cities of East Asia

Mérida                                                      American Capital of Culture

Turkestan                                                 Culture and Arts Capital of the Turkic World

Some more additions:

Reus is the Catalan Capital of Culture; Bobruisk is the Belarus Capital of Culture and Sharypova is the Capital of Culture in Krasnoyarsk,  Bandar Seri Begawan is the ASEAN Capital of Culture and Ganja is the Commonwealth of Independent States Capital of Culture

There could have been more.  The Irish “City of Culture” programme is on hold as Ireland will host a “European Capital of Culture” (Galway) in 2020.  Canada had a “Cultural Capitals of Canada” programme for 10 years but it ended in 2012.  A non government organisation in Korea awarded the title of National Cultural Capital in 2016 to Siheung  but no news yet on a 2017 title holder. In recent years the idea of a “World Capital of Culture” has been floated and there was an attempt at a “West African Capital of Culture” programme. There was an initial announcement in 2015 that Russia was exploring the idea. A Russian city was one of the candidates for the 2017 Finno-Ugric title.  Sadiq Khan, the London mayor, has launched, for 2019 and 2020, the “London Borough of Culture”.    

In addition to these major “Capitals of Culture” programmes there are many more titles for cities. Conakry is the UNESCO “World Book Capital” in 2017.  The European Union has a wide range of titles including “Youth Capital” (Varna in 2017), “Green Capital” (Essen in 2017) and “Capital of Innovation” (Amsterdam in 2016).  Other organisations in Europe award Capital titles, based on a competition, including “Sport” (Marseille in 2017) and “European Regional Gastronomy Award” (East Lombardy, Riga-Gauja and Aarhus).  Indeed several cities have become serial title holders (or at least candidates) seeking titles every few years.  That’s for another paper!.

From small beginnings the organic and unplanned growth of the “Capital of Culture” concept has become a global activity. Every continent has its opportunity (although limited in Africa despite its flourishing cultural activity).  Competitions are attracting more candidates.

So in 2017 if you are looking for somewhere to go, try a “Capital of Culture” or two. If you live near one, support it! Why not encourage your city to bid for a future title

 

NOTE:  edited on 30 December to include note about the Korean National Cultural Capital.

NOTE:  edited in October to include more capitals.

 

At last: where the £100,000 is going at the William Morris Gallery

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The William Morris Gallery in Walthamstow won the Museum of the Year award in 2013.   The prize was twofold: a significant amount of free PR and marketing which has led to a massive rise in visitors and £100,000.  The prize came after a total refurbishment.

So what happened to the money?  I blogged in June last year and quoted the Leader of the Waltham Forest Council (the owners):

” We’re now deciding what we’ll spend the money on, and I guarantee that it will make a real,tangible difference to the Gallery itself and to the experience of visitors, whether they live in the borough, come as part of school visit or have travelled from another country to explore Morris’ extraordinary vision”

So what happened?   Nothing:  no news on the website, no news in the Council’s free PR paper. Silence.  For six months.  Time enough for a decision perhaps?

So in January I asked both the gallery and the Councillor, Ahsan Khan, who chairs the “Health and Well-being” committee which apparently includes culture.  He replied:

We are planning the spend of the Art Fund prize carefully, to ensure it makes a real difference to the Gallery.  We’ve analysed visitor feedback and are using some of the funds to enhance the visitor experience. This includes replacing some of the glazing
on paintings with museum-grade non-reflective glass. We are aware that the
current glazing prevents effective viewing of the paintings in the Gallery, especially the larger Brangwyn paintings. The worst affected painting, Brangwyn’s Dogana, has already had its glazing replaced and we are seeking quotes for other works. Other suggestions that we are investigating  include – replacing the benches with chairs in the tea room so that families and older people find access easier, more equipment to control the temperature in summer months and a buggy park. 

However we plan to use the majority of the Museum of the Year prize money as match-funding to apply for other grants. This means we can potentially double (or more) the value of the award. The focus for our fundraising activities is the Gallery’s exhibition and
activity programme. This includes our schools, families and young peoples’
programmes, as well as new opportunities for older residents to engage with the
arts (due to launch in 2014).

This programme is crucial to making sure we keep the offer fresh and continue to
encourage local residents to keep coming back for more. We currently
receive Heritage Lottery funding to support this programme, until November 2014.
The Gallery’s core costs (staffing, building upkeep etc) are all funded by the
London Borough of Waltham Forest but if we can attract additional external
funding  we can continue to develop and exceed such a high quality
offer”

So there we have it.   The Gallery has now been nominated for the European Museum of the Year award. (a Council of Europe project, not the EU this time!) It is in illustrious company.  Good luck!

And please go along to the current exhibition of Jeremy Deller last shown at the British pavilion at the Venice Biennale last summer.

 

What would you do with £100,000?

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Yes, there is a catch.  Not a windfall of £100,000 for yourself. I mean the £100,000 prize money awarded to the William Morris Gallery in Walthamstow: the 2013 ArtFund Museum of the Year.

The Gallery is owned by the London Borough of Waltham Forest. The Leader of the Council, Chris Robbins, says, in the local Council free newspaper:

” We’re now deciding what we’ll spend the money on, and I guarantee that it will make a real,tangible difference to the Gallery itself and to the experience of visitors, whether they live in the borough, come as part of school visit or have travelled from another country to explore Morris’ extraordinary vision”

Fine words and indeed credit does go to the Council for reversing their original decision on the future of the Gallery and embarking on its marvellous renovation.

I have a major concern with Councillor Robbins’ statement. It’s that term “we’re”.  Who are the “we”?  Experience across Europe has shown that decisions about the detail of cultural projects are not best handled by politicians. This Gallery owes its current status to the energy of those who campaigned to keep it open.  Surely residents of Walthamstow, and “Morrisians” further afield, should be invited to contribute to and be part of the discussions?

Readers of Private Eye over the last few years have seen examples of less than transparent decisions and accountability by the Council.  We must not let any suspicion of this apply to the £100,000 prize fund.

I suggest that Councillor Robbins arranges a public meeting in the Assembly Hall (with its Morris inscription over the entrance) and calls for open contributions on the use of the money.  I am sure he would attract a large audience and a range of practical and imaginative suggestions.  We know we can fill the Assembly Hall, as local citizens did to help save the EMD Granada cinema.  I am sure ArtFund judges such as historian, and MP, Tristram Hunt would give us their views.  The Friends of the William Morris Gallery have a key role.  A public celebration of the prize and a forward looking debate.

A second stage would be to co-opt as non-voting observers several members of the local community to the appropriate Council committee which will be discussing the practical plans.

A third step would be a regular public updating on the William Morris Gallery website of progress, of options, of why certain proposals have been rejected, of how the money is going.  Openess being the watchword.

Yes I’m biased and declare an interest: a local resident, a member of the ArtFund (good value for money!) and I have many books by and about Morris on my bookshelves.

William Morris was an indefatigable public speaker, taking his views across the country and speaking directly to citizens.  A good model for the Council to adopt now.

Power to the people: from closure threat to Museum of the Year.

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A campaign which started local and went global, has finally paid off.  Six years ago Waltham Forest Council planned to close the William Morris Gallery, in Walthamstow.

Now the gallery has won the Museum of the Year 2013, an award worth £100,000, and organised by the ArtFund.  Congratulations are flooding in. They are well deserved.  The renovations have transformed a fusty, dark and quite frankly unappealing building into an informative, bright and attractive survey of Morris and his myriad interests.  The obligatory cafe is a nice touch as well. Many photos on google.

Amongst the plaudits there is, however, a little re-writing of history.  One of the judges, the artist Bob and Roberta Smith is quoted in the ArtFund magazine:

” in the current climate it’s amazing to see a local authority realise the power of art in regenerating a borough”.

Other reports have made a similar point. Fair enough; Waltham Forest Council did provide £1,500,000 towards the work (around 30%) and will run the Gallery.  Good news for all who believe in the important role the arts can play in local well-being.

But it was not always this rosy. Six years ago the Council wished to close the Gallery, merge its priceless contents with a museum in South London and be shot of the whole affair. They wanted to save £65,000.  Unbelievably they had tried to do the same in 1987.

What changed their mind?  A very active campaign which gained world-wide support.  A petition signed by 11,630, demonstrations (it was cold!): citizens actions. An active Friends group was formed in 1987 lobbied.  The Council changed its mind.

Now the new Gallery has attracted over 100,000 visitors in less than a year from its re-opening. The Museum of the Year prize will bring in far more.   So it is congratulations to the local councillors.. for listening to their local citizens.

As well as the standing collection the Gallery has already hosted exhibitions by Grayson Perry, David Bailey, modern crafts and in 2014 becomes the first gallery in the UK to host Jeremy Dellers’ current exhibition at the British Pavilion in Venice. That features William Morris rising to hurl Abramovich’s monster yacht into the lagoon.

With the arts in financial trouble in most of Europe it is a little bit of good news on the power of campaigning.   William Morris, socialist, would have been pleased.

 

 

Derry: UK City of Culture 2013 launches programme

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Derry-Londonderry, the UK’s City of Culture in 2013,  has announced its programme.

Shona McCarthy, Chief Executive of Culture Company 2013, said: “We hope that Derry~Londonderry’s City of Culture year brings a sense of joy, a sense of ambition, a sense of pride in our community, a sense of being part of a global community, and in the end a sense of achievement – that we all did this together and it meant something. A huge success for a small city.”

Derry won the title after a competition with 15 other British cities; selection was by an independent panel.

McCarthy continues

” It is a privilege to have received the baton from the amazing festival that was London 2012 and to be carrying on the legacy from Liverpool 08. We in turn will pass the spotlight to Glasgow  2014 and the Commonwealth Games and the next UK City of Culture in 2017.

Derry~Londonderry in Northern Ireland will play host to a world-class programme which includes the Turner Prize presented outside England for the first time; a new commission by the London Symphony Orchestra; award-winning choreographer Hofesh Shechter; the return of Field Day; a new play by American playwright Sam Shepard; local Nobel Prize-winning poet Seamus Heaney; and the first visit to Northern Ireland of the Royal Ballet for over 20 years.

The core themes of the City of Culture project are Joyous Celebration and Purposeful Inquiry with four distinct components:

1, Unlocking Creativity
2, Creative Connections
3, Digital Dialogue
4, Creating a New Story

As well as the cultural events  the Derry2013 programme has  extensive projects with schools and community groups.

 

 

European Capitals of Culture 2020+

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The new criteria and procedures for the ECOC from 2020 have now been published. See my later blog entry   http://wp.me/p20NFR-8S

There is also a new guidance note for cities considering or preparing to bid   http://ec.europa.eu/culture/tools/actions/documents/ecoc-candidates-guide_en.pdf

Original blog entry continues……..

The European Commission proposes to continue the European Capitals of Culture programme beyond 2020.  The current programme ends in 2019, with cities, as yet unselected, in Italy and Bulgaria.

The EC’s proposals take the programme to 2033:  the most long term assertion of the EU’s existence in recent months given its failure to address the crisis of the eurocrisis.

As now there will be two capitals a year, from different countries set out in a long term rota.  I would hazard a guess that some of the larger countries will adopt the UK’s national city of culture  on a four year cycle (Derry in 2013)  as they wait for their turn at the European level.

A new change is the return of applicants from candidate and potential candidate countries. (I already know bids are being prepared in cities in Serbia and Turkey for 2020).  However these only come into the programme every third year on the current proposals.

The Commission has issued two detailed papers on their proposals. One includes a very intensive review of recent trends by ECOCs and the proposed strategic direction for future ECOCs.

No doubt there will be strong lobbying by governments, cities and the cultural sector!  The Commissions proposals need to be approved by the Council (presumably via the meetings of culture ministers with input from others no doubt) and the European Parliament (via the Culture Committee and others).  Watch out for your turn to comment at both national and European level.

In the meantime here is the proposed list of countries:

2020: Croatia and Ireland (and candidate)

2021:  Romania and Greece

2022:  Lithuania and Luxembourg

2023: Hungary and UK (and candidate)

2024: Estonia and Austria

2025: Slovenia and Germany

2026:  Slovakia and Finland (and candidate)

2027:  Latvia and Portugal

2028: Czech Republic and France

2029: Poland and Sweden (and candidate)

2030; Cyprus and Belgium

2031:  Malta and Spain

2032: Bulgaria and Denmark (and candidate)

2033: Netherlands and Italy