Part 1 A European Programme for Cities of Culture

Chapter I

The European City of Culture Programme

1. BACKGROUND

At the end of November 1983, the ten Ministers of Culture within the European Community, gathered in Athens at the invitation of the Greek Minister of Culture, Melina Mercouri. At the meeting, Mrs Mercouri put forward the concept of generating a greater knowledge of European cultures within the member nations of the European community. Culture and its dimensions had to also be given reasonable attention, alongside trade and economics, the main focus of the EC until that time. “I want to improve communication amongst artists and the intelligentsia in Europe. It is time for our voice to be heard as loud as that of the technocrats. Culture, art creativity are not less important than technology, commerce and economy”, argued the Greek Minister .

The idea involved the selection of one European City each year to be awarded the title of European City of Culture. The vision came in anticipation of a renewed focus by cities on their own cultural heritage and their distinctive cultural identity and vitality. Although its first aim was to , "highlight the cultural wealth and diversity of the cities of

Europe whilst emphasising their shared cultural heritage and the vitality of the arts" (Commission of the EC, 21997:2), the City of Culture designation has over the years become, a versatile development tool of cultural policy capable of achieving multiple objectives.

A Cultural Capital year was not supposed to be viewed exclusively as a festival. Instead, dialogues, discussions, seminars and public participation were essential elements for broadening debate and knowledge of cultural life and of the culture of Europe. The terms for an application were deliberately kept as vague as possible and the interpretation of the scheme was left very much to the individual designated cities. Examples include: the organisation of specific cultural projects designed to bring young people to the arts; to increase social cohesion; to develop high quality and innovative cultural tourism with due allowance for the importance in this connection of managing the cultural heritage on a sustainable basis and reconciling the wishes of visitors with those of the local population (Cultural policy and Hallmark events as toll for urban regeneration: the case of Lisbon European City of Culture 1994, Ines Roseta, September 1998). Thus, the main reason for the success of the ECC has been the use of the 'indigenous model', i.e. one that is flexible and allow freedom of interpretation to reflect specific needs and aspirations of different kinds of cities. This has tended to be in past ECCs on infrastructure improvement, festival programmatic or artistic conception (J. Myerscough Report , 1994).

EUROPEAN CITIES OF CULTURE (1985-1999)

YEAR ECC

1985 Athens

1986 Florence

1987 Amsterdam

1988 Berlin

1989 Paris

1990 Glasgow

1991 Dublin

1992 Madrid

1993 Antwerp

1994 Lisbon

1995 Luxembourg

1996 Copenhagen

1997 Thessaloniki

1998 Stockholm

1999 Weimar

2. PROCEDURES

2.1. First resolution

The European Cities of Culture programme operates with simple rules and minimal central supervision.

The resolution governing the programme8 after recognising that European culture is “characterised by having both common elements and a richness borne of diversity" suggests that the ECC initiative should open up to the European public particular aspects of the culture of the (designated) city, region or country concerned and concentrate a number of

cultural contributions from other member states on that city.

The City of Culture designation is decided by the Council of Ministers and the permanent staff of the Council of the European Union (EU) oversee the process. The original conception was that each year one member state would hold the event and nominate the authority to take responsibility. The programme still operates today on the basis of an inter-governmental agreement. The European Commission, though not formally associated with the decision, gives financial assistance on its own authority.

2.2. Post 1996: a new competitive selection

In 1990, the Council of Ministers decided on the future of the programme after 1996 . In particular, in this year, it was decided that rather than run a second round of designations for the member states, it was more appropriate “to open up the nominations to other European countries basing themselves on the principle of democracy, pluralism and the rule of law”. Plans for extending the membership of the community and the collapse of the Communist bloc in Eastern Europe gave further impetus to the decision. Since the field of choice was much wider a new form of competitive selection among rival candidates replaced the original cycle of sequential nomination among the member states . The aims of the programme were not altered. The procedure for the new process included for the first time criteria for the selection of the city. This was concerned with the balance of the programme between capital and provincial cities, EU cities and others and different geographical zones. Not surprisingly, the process led to strong advocacy and lobbying on the part of the same candidates.8 Resolution, 13 June 1985

3. THE EUROPEAN CULTURAL MONTH PROGRAMME

In response to the growing number of applications from cities both inside and outside the Community to host the European City of Culture event, the Ministers of Culture, through their Conclusions of 18 May 1990, introduced the, “European Cultural Month”, a scheme which has the same objectives as the European City of Culture but is intended mainly for the countries of Central and Eastern Europe. The city of Krakow was selected for being the first Cultural Month in 1992.

EUROPEAN CULTURAL MONTHS (1992-1999)

YEAR ECM

1992 Krakow

1993 Graz

1994 Budapest

1995 Nicosia

1996 St. Petersburg

1997 Ljbjana

1998 Linz, Valletta

1999 Plovdiv

4. ORGANISATION

From 1985 until today the years have been arranged broadly by means of two alternative organisational models: either direct administration within existing government structures, usually ‘politically’ driven or independent promoting companies. The exception was Amsterdam (1987) where the Holland festival and The Netherlands Institute were jointly

contracted to organise the event.

From 1985 until 1990 direct administration within existing government structures have run the ECC year. In particular, Athens in 1985 was handled centrally by the Greek Ministry of Culture throughou t a newly established autonomous office. The years in Florence, West Berlin and Glasgow were each organised by their respective authorities.

From 1991 until 1999 independent companies have run almost all the ECC. In particular, in Lisbon a former Minister was executive chair and the company directors each taking executive responsibility in relation to a particular area of the programme. In other cases (Antwerp, Copenhagen, Stockholm) directors were appointed to carry out the executive function. These individuals have been selected mainly from a professional background in the performing arts.

Broad responsibilities were much the same which model was adopted, namely to plan the programme and co-ordinate and promote the event. The number of staff required d epended on the structure and methods of organising the year. There was no recognised formula to follow.

Size of office required was most affected by the programming method adopted, especially the degree to which direct promotion was undertaken “in-house”. Numbers of staff engaged to manage and co-ordinate the Years ranged from 15 in Athens to 93 in Antwerp.

5. RESOURCES

5.1. Public and private sponsors

The Cities of Culture were successful at generating extra interest and extra resources for the cultural sector. This was generally achieved through a partnership between the national and local authorities and the private sector. "The history of this programme tells us that that National (40%) and Local (50%) Authorities mainly support the European Cities of Culture. The appeal of the City of Culture to business sponsors is a strong feature, which has grown with the programme. Many first-time sponsors have been recruited and the benefit of broader partnership between the public and private sector demonstrated", reports J. Myerscough ( Myerscough Report, 1994).

5.2. The EU support

Even if the ECC programme is not a European Commission programme the Directorate General on Education and Culture has been active in supporting the Event with funds since the beginning. According to the European Commission, from 1985 until 1995, the ECC and ECM have received Community support totalling 2.241.000 ECU.

EU SUPPORT (1985-1999)

YEAR ECC EURO

1985 Athens 108.000

1986 Florence 136.000

1987 Amsterdam 137.000

1988 Berlin 200.000

1989 Paris 120.000

1990 Glasgow 120.000

1991 Dublin 120.000

1992 Madrid 200.000

1993 Antwerp 300.000

1994 Lisbon 400.000

1995 Luxembourg 400.000

1996 Copenhagen 600.000

1997 Thessaloniki 400.000

1998 Stockholm 600.000

1999 Weimar 600.000

Thus as the programme has developed over the years it has moved away from simply the development of networks to touch on several other areas of Commission competence such as urban regeneration, training and tourism. This has meant that the level of support in EURO has risen from 108.000 EURO to 400.000 EURO per year (Cultural policy and Hallmark events as toll for urban regeneration: the case of Lisbon European City of Culture 1994, Ines Roseta, September 1998) . Furthermore, between 1996 and 1998, the Community made a contribution to the “European City of Culture” and the European Cultural Month” event under the Kaleidoscope programme. During this period the selected European Cities of Culture and European Cultural Months received Community support totalling 2 420 000 ECU.

In 1997 (Proposal for a European Parliament and Council decision presented by the Commission, COM(97) 549 Final) the European Commission presented a proposal for a European Parliament and Council decision establishing a Community initiative for the, “European City of Culture event”. In this context, the Commission argued that, “the cultural competence assigned to the Community by the Treaty on European Union now requires that this event be placed in

the Community framework.

In the year 1999, the Kaleidoscope programme expired. The European Parliament and Council adopted a new single programme for culture, Culture 2000 programme. In this framework an Action, “European City of Culture”, Action III, was incorporated, including funding arrangements.

6. THE ECCM NETWORK

In the year 1990, the active members of the ‘old hands’ (Athens, West Berlin and Glasgow) set up a Network called the Network of the European Cities of Culture and Cultural Months (ECCM). The main aim of the ECCM is, “to promote and extend co-operation and to encourage cooperation between member cities, organisations and people working in cultural

and creative fields in those cities”. Moreover, the ECCM members aspire to “serve the principles expressed in Article 128,” of title IX contained in the Treaty of the European Union, agreed in Maastricht.

Basic secretarial tasks are performed in a rotating basis within the Network (usually the forthcoming City of Culture take the responsibility) and meetings generally take place in the current ECC.

The Network functions according to a ‘conference model’. The meetings are the core activity that refreshes the relationship amongst the group and leads to professional bilateral contacts being taken up as necessary between meetings. Information exchange and professional contacts are the essence of the activity. The last informal ECCM meeting was held in Athens on November 2000. 20

7. THE HOUSE OF THE ECC AND ECC ON-LINE PROJECT

Today, thoughts on the follow up of this initiative are required: How can we enhance the value of this unique experience obtained by the ECC? How can we enhance the value of the archives of the ECC and make use of the extensive researches and studies carried out in the past years for the general public? How we can stimulate, support, and reveal the possibilities for structured and long lasting co -operation between the ECC? How can we assure a systematic approach with regards to the organisation of initiatives for exchanges of experiences (both academic and practical) and further the training of local authorities and professionals working within the framework of this programme? How can we stimulate a European debate on this event? And finally, how can we avoid the unnecessary proliferation of associations in Europe pursuing the same objectives?

In order to find a definitive answer to these important questions the General Secretary of the AECC, Mrs GiannaLia Cogliandro, submitted (AECC Board and Directors meeting, Reykjavik, August 2000) a project proposal to the AECC Board in August 2000. The main idea of this proposal was to create a structured organisation “The House of the European Cities of Culture” based in Brussels. This special secretariat would be the place where cities preparing the event can go to with their questions and where there is a record of experience of past events.

In March 2001, Mrs GiannaLia Cogliandro also invited the AECC members to join and support the ‘European Cities on line project’. The general purpose of the project ECC on-line is to set up a structured and long-lasting network of ECC. This new network allows the transferring of experience gained by the past ECC (1985 -2000) to the present and future ECC in a structured and long-lasting way. The city of Reykjavik, Bergen, Helsinki, the University of Weimar and the European Network of Cultural Administration Training Centres, ENCATC, has already joined this network. In the near future, the network will be extended to other past, present, and future European Cities of Culture and Universities thus properly fulfilling its European vocation.

The specific actions of the ECC on Line project are the following: 1) to establish an operative electronic ECC archive ; 2) To provide for the systematic organisation of training sessions for local authorities and professionals working within the framework of this programme; 3) To establish an online discussion forum for the members of the network and for the general public; 4) To launch a European award for the best university research on the ECC topic; 5) to publish a manual of best practise in order to provide the future ECC with a quality system for the management of cultural events that will apply to all the ECC.

The ECC on Line project as well as the House of the ECC should guarantee an efficient, sustainable and structured follow up of this European program me. Thanks to new technologies we can assure the protection and the valorisation of the ECC archives and make use of the extensive research and studies carried out on this topic. Moreover, intercultural dialogue will be made possible and will contribute towards creating a feeling of belonging to the same cultural space. The project will start on October 2001 (preparatory phase) and will last until December 2003.

Chapter II

The future policy of the programme

1. A NEW DECISION

Consideration was given by the Ministers of Culture in 1995 to the future of the programme after the year 1994 when the second cycle of ECC had been completed. Rather than run a third round of designation the Ministers approved a new decision (Decision 1419/1999/EC of the European Parliament and of the Council of 25 May 1999 establishing a Community action for the European Capital of Culture event for the years 2005 to 2019. Official Journal L 166, 01.07.1999). Under this decision, a city would be chosen every year from 2005 onward as the ‘European Capital of Culture’.

1.1. Rules

Four years before the event is due to begin, the Member State whose turn it is will send a nomination or nominations, possibly accompanied by a recommendation, to the European Parliament, the Council, the Commission and the Committee of the Regions;

The Commission will each year form a selection panel which will issue a report on the nomination or nominations. Parliament may forward an opinion to the Commission not later than three months after receiving the report;

On a recommendation from the Commission drawn up in the light of Parliament's opinion and of the selection panel's report, the Council will designate a European Capital of Culture for the year in question.

1.2. Designation

The nomination must include a cultural project of European dimension, based principally on cultural cooperation in accordance with the objectives and action provided for by Article 151 of the Treaty (formerly Article 128). The project may be organised in association with other European cities. The application must specify how, within the scope allowed by the theme, the applicant city intends (Article 3):

- to highlight artistic movements and styles shared by Europeans that it has inspired or to which it has made a significant contribution;

- to promote events involving people active in culture from other cities in Member States of the European Union and leading to lasting cultural cooperation, and to foster their movement within the European Union;

- to ensure the mobilisation and participation of large sections of the population;

- to encourage the reception of citizens of the European Union and reach as wide an

audience as possible by employing a multimedia, multilingual approach;

- to promote dialogue between European cultures and those from other parts of the world;

- to exploit the historic heritage, urban architecture and quality of life in the city.

1.3. Eligible countries

The initiative is also open to non-member countries in Europe . Any such country may nominate one city and notify the Parliament, the Council, the Commission and the Committee of the Regions of the nomination. The Council, acting unanimously on a recommendation from the Commission, will officially designate one of these nominated cities as a European Capital of Culture each year, bearing in mind the desirability of four years preparation time (Article 4). According to the new decision each city is free to organise a programme of cultural events highlighting the city's own culture and cultural heritage as well as its place in the common cultural heritage, and involving people concerned with cultural activities from other European countries with a view to establishing lasting cooperation (Article 5).

Order of entitlement to nominate a European capital of culture

2005 Ireland

2006 Netherlands

2007 Luxembourg

2008 United Kingdom

2009 Austria

2010 Germany

2011 Finland

2012 Portugal

2013 France

2014 Sweden

2015 Belgium

2016 Spain

2017 Denmark

2018 Greece

2019 Italy

2. ROLE OF THE EUROPEAN COMMISSION

The Commission will be responsible for implementing this initiative. Each year it must produce a report evaluating the results of the previous year's event and present it to Parliament, the Council and the Committee of the Regions.

The Commission may also make any proposals for the revision of the Decision which it judges necessary for the smooth operation of the initiative and in particular, with a view to the future enlargement of the Union (Article 6).

2.1 Implementing measures

Based on Article 2 of Decision 1419/1999/EC (Council Decision of 17 December 1999, relating to the designation of jury members by the Council in the framework of the Community action "European Capital of Culture". Official Journal C 9 of 13.01.2000), which notes that the jury is to be composed of seven important independent people, experts in the field of culture, of whom two are to be designated by the Council, this decision organises the nomination of the jury. The two personalities chosen by the Council are to be proposed by the two states responsible for the presidency of the Council during the current year.

^ Top

« European Cities of Culture for the Year 2000 - Giannalia Cogliandro | Part II The European Cities of Culture for the Year 2000 »

European Capitals of CultureΠοιειν Και Πραττειν - create and do

Navigation

Part 1 A European Programme for Cities of Culture