Cultural Capital of Europe: From myth to reality ...

Antonis Petrogianni gives a realistic assessment when referring to the ECoC concept in the Greek context as something of a myth which clouds the reality. Most crucial is his resume that due to a lack of hard evidence what impact the one year of being a European Capital of Culture has on the arts and the culture, politicians rely much more on all the other evidences pointing to this being a success story e.g. number of extra visitors coming to the city, revenues earned etc. Here Liverpool '08 took a lead to bend the Cultural Policy in that economic direction. Of great interest is as reflection of discussion in Greece, what lessons have been learned out of the way the ECoC concept has been handled aside from Athens 1985 by Thessaloniki in 1997 and Patras in 2006. Considerable doubt prevails not only due to these past experiences, but also because the present situation does not allow for having any myths in such a reality marked by austerity. Pointing out that the ECoC may give an uplift or rather may be used as a tool by the Municipal Council to overcome misery and pessimistic outlooks, shows what oppositions mayors face if they declare their city to be a candidate for the title. And this despite Kalamata having the experience with the yearly dance festival and many other activities which bring the arts and culture closer to the local people. However, claims are one thing, reality quite another. As described by BETON 7 gallery in Athens, it is not at all self understood even if a very dynamic space has been created, it does not follow that the local population in the neighborhood will participate. That shall prove to be one of the biggest challenges whenever something official is being curated and instrumentalized. There is real fear that money is again taken by the few, while the rest will at best gain something by doing volunteer work.

HF 27.11.2014

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European Capitals of Culture: from myth to reality

Antonis Petrogianni

The effort of Kalamata be crowned European Capital of Culture for one semester in 2021 may cause ... chills of excitement at the Municipal Authority, in some municipal factions and, by extension, to the residents, but not an easy story. But certainly will be for some years our local narrative
The passion to win the race not only hides "pathology". There is, perhaps, much more that is completely unrelated to the accumulation of fatigue and frustration in recent years.
Once the policy is not inspiring, people seek uplifting outbreaks anywhere. Much more in the myths of a cultural capital of Europe.
For the majority it is necessary that the process to acquire our society, our microcosm, cohesion and identity. No. But measureless, not to excess. Because the exaggeration lurk not only the institutional kitsch, but the reziliki the denial and frustration.
The history of the matter, as we wrote yesterday, our resembles the sparrow ... who wants to become an eagle. Or again with a couplet of Manos Eleftheriou, saying: "What jealous, what'd like the glorious Paris, anyway people everywhere are now tekke ...".
The Greek history with the cultural capital is instructive, up to a certain point. From Athens passed and not touched, from Patras and Thessaloniki still searching to find the money benefited from some cunning.
The success story is only in the cities prize winning abroad and managed in a rational way and planning to take advantage of some projects to "beautify" and give them a future and added tourism value. Because, in substance, that is the issue.
In the vast literature exists on the subject, we present today some concerns, which we believe they will help the whole thing:
The "European Capital of Culture '
In the European Union (EU) for several decades, cultural policies were focused on cultural action for regional development. Then gradually shifted to local initiatives in urban areas, with projects such as the "Cultural Capital of Europe" - named to 1999 'European City of Culture'.
The idea suggested a different city each year as ECOC, launched in 1983 by Melina Mercouri, the then Greek Culture Minister and adopted by the European Community in 1985, with Athens becomes the first ECOC.
In 1992, the EU enabled eligibility to countries outside the European Union. Originally, the event was mainly a cultural event, but later introduced and economic aspects. The choice of a city as "European Capital of Culture" is a label that will not refused any city. For any city, winning the title means enhancing image and more funding for cultural activities.
Also, it is likely to attract more tourists, stimulating the local economy, at least for a limited time. The crucial point is that a date and an event can lead both to accelerate making the necessary political decisions -which without the fact should be taken ever before and, second, to give a special emphasis on culture. The offer for claiming the title requires money, time and effort, which in the end, even if it is unsuccessful, it is always a good investment for the future of a city.
According to date design for the institution of the ECOC (at least until 2019), each year appointing two "European Capitals of Culture" in each state will be given the opportunity to host the event. This was done in order to avoid excessively harsh competition for the title between states.
Review the program
The ECOC is the largest and most important EU cultural initiative Provides resources for urban and economic regeneration, increased tourism and promotion of the diversity of cultures. These factors lead to improved quality of life, but do not benefit to the same extent for all social groups in the city. There are limitations to the benefits from the title, especially if there is a balanced approach to economic, cultural and political objectives, as part of the strategy of a long cultural project.
The main objective of the program is to create lasting and very obvious and impressive infrastructure. However, together with the ECOC program, most of these facilities were designed as prestige emblems of cities, which led the city's image and attracted tourism, but often did not take into account the social and cultural needs of the local community and had a limited effect on employment and long-term economic recovery in the region.
There is need for a cultural agenda in the program of ECOC, which will not necessarily included in the financial imperatives. It is crucial to develop further techniques for the evaluation of cultural influences and heritage, as an alternative to the established and clearly predominant techniques for assessing the direct economic impact.
Planners and politicians rely almost entirely on evidence presented by the assessments of economic and physical effect, because there is a lack of convincing data on the cultural and social implications.
Indeed, as in the case of cultural policy definitions, social and cultural impacts vaguely defined and so it is extremely difficult to measure.
To change this trend, initiatives such as the ECOC, must emphasize the value of long-term impact of hosting and ensure wide dissemination of findings and expertise.

Antonis Petrogianni
http://arfara-kalamata-greece.blogspot.com/2014/09/19-2014.html

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