European Capitals of CultureΠοιειν Και Πραττειν - create and do

You are here: Home » Institution of European Capitals of Culture » Debate about European Capitals of Culture » Spyros Mercouris » European Capitals of Culture: History, Evolution and Impact by Spyros Mercouris

European Capitals of Culture: History, Evoluton and Impact by Spyros Mercouris

Introduction

 

Undoubtedly our era is one of the most interesting in the history of mankind. Great achievements have been made, colossal steps have been taken, but, it is also inconsistent and full of contradictions.

The world is passing through revolutionary change. Especially in the last decades development of transport and tourism has facilitated the acquaintance and communication between people. Moreover in these days of the computer, the micro chips, the telestar and of the Internet we are in the midst of a transitional period.

Indeed, the achievements of technology in intelligence and information along with the globalization of mass media have increased the awareness as to what is happening in every corner of our planted. Still, from a reverse angle, something else has developed. The centers of power and mass media are creating such a bombardment of impressions. Consequently people feel more directly than ever before the horror of war even if it happens at another location on this planet but the way they are informed, they cannot really follow what is happening. Hence they cannot judge correctly as if they lack the measure of knowledge by which incoming information can be validated or questioned. Above all they do not know much consideration is given if at all to their opinion. Despite this being the Information Society, there is a widening gap between public opinion and official policy.

At the same time geographical and ideological frontiers are shifting. Nationalism and racism are spreading. The problems of minorities and migrants rise again. There is the problem of unemployment as much as of demographic shifts in the overall population towards more elderly people.

Unfortunately hunger and poverty in the third world but also within our own modern cities has not retreated. There is also AIDS. As to war, this terrible form of destruction has not stopped.

Scientific information has become the driving force just as energy was once. Human beings themselves are now an economic resource.

The leading economic powers rely nowadays on inspiration, inventiveness, education and knowledge. Modern technology is opening new vistas. Productivity is transformed and has developed faster than at any other time. The change is not only in quantity but in quality. The scientists are in continuous research and pursuit of a variety of new products.

Nature, capital and labor are not enough anymore to meet contemporary needs. In business and enterprises, there exists an increasing challenge to manage these new conditions, in order to follow innovation and technological change. There is needed the ability to choose the right advice and collaborators, to understand the complexity of social organizations, and to foresee the new demands while anticipating the future and the unexpected. It requires the right decisions and consideration of the appropriate time for action and reflection so that people can cope with change.

History

With these thoughts in mind, on November 22, 1983 at Zappeion Megaron in Athens, the then Minister of Culture Melina Mercouri gathered all Community Culture Ministers together in order to submit to them the following main question: “How is it possible for a Community which is deprived of its cultural dimension to grow?” and continued: “our role as Ministers of Culture is clear. Our responsibility  is a must. Culture is the soul of Society. Therefore, our foremost duty is to look at the foundations and nature of this Community. This does not mean that we should impose our ideas. On the contrary, we must recognize the diversities and the differences amongst the people of Europe.”

Then Melina Mercouri said something which holds still today, for the “determining factor of a European identity lies precisely in respecting these diversities with the aim of creating a dialogue between the cultures of Europe. It is time for our voice to be heard as loud as that of the technocrats. Culture, art and creativity are not less important than technology, commerce and the economy.”

Following the declaration signed by the Heads of Government in Stuttgart on 19th June 1983, where for the first time cultural co-operation acquired real meaning, the agreed aim was to achieve a better knowledge by each member of the community of their cultural creativity and common history and culture. This declaration gives us both the opportunity and the stimulus to proceed to specific proposals. Melina proposed immediately to designate each year a European city as a Cultural Capital of Europe. She wanted to create an ever closer union among the peoples of Europe and to give a cultural dimension to the community and a more attractive image.

The European community, a commercial and economic community up to that point, had not given special attention to its cultural dimension and Cultural Ministers met not as a EU Council of Ministers in charge of culture, but only informally. Yet the gathering of the Ministers of Culture in Athens on 22nd November 1983, stirred the waters.

When our country proposed to the Ministers of Culture the event of the Cultural Capital, it did so in the belief that through enquiry into the roots of European Culture and by discovery of a new cultural identity, a real contribution would be made through culture to Europe and as concept realized on a yearly basis could enhance the reinvigoration both of the citizen’s participation and the governance of Europe.

Also, it was certain that though efforts to achieve a higher quality of life the event of the Cultural Capital would expand to cities of European countries outside the Community according to the principles of Democracy, pluralism and rule of law.

The proposal was unanimously accepted and the institution of European Cultural Capital was created with Athens being chosen first Cultural Capital of Europe for the year 1985.

This honorary distinction was not only offered to Athens solely for its long contribution in the area of Culture, nor for its accomplishments in art, literature and science which have left their mark on the cultural growth of Europe, but also because, once again, Greece had the inspiration and taken the initiative to propose a new cultural event, essential for binding together the countries of a future politically unified Europe.

Though first on the list, Athens had from the beginning a wide vision of this cultural event and its prospects. The concept of the event of Cultural Capitals of Europe shows the character of each city which is nominated, with its history, tradition and contemporary creativity and to be a meeting place for discussion and exchange of ideas, where artists intellectuals and scientists would bring their work and efforts together towards the promotion of European thought. The Cultural Capital ought to be a means for allowing every citizen to be more than mere spectator and to participate directly in the shaping of a European consciousness. Each citizen should himself feel, comprehend and define the new relationships arising from a new identity amongst contemporary European policies and conditions.

Given the importance of citizen’s participation let there were four principal concerns linked to the concept of European Cultural Capital Cities:

  1. how to shape attendance in such a way as to make it into a full participation in cultural events
  2. how to promote and to deepen the understanding what people see and experience when participating in the cultural events initiated by European Cultural Capital Cities
  3. how to enter a dialogue between cultures of Europe
  4. how on the basis of all these experiences strengthen the willingness to support and to give shape to Europe’s process of unification (which is not the same as expansion and integration, the terms currently used to describe the European process).

The aim was above all to achieve a going beyond egoistic standpoints as the receptivity of culture depends largely on citizens learning and participating in events on a give and take basis.

In the case of Athens 1985, the Ministry of Culture undertook the responsibility for the organization of the events, mobilizing all of its resources and forming a flexible, stream-lined office for co-ordination. Within a relatively short time and with only a very small budget available compared to what followed in the case of other European Cultural Capital cities, Athens 1985 came about. The most important objectives of the organization process were:

  1. The creation of infrastructure projects.
  2. Mobilization and participation of the cultural, scientific, and artistic elements of the country.
  3. Exchange of new ideas and cultural experiences.
  4. Co-operation with other European community countries, as well as, non members countries through their participation in all expression of art.
  5. Cultural decentralization. A close study of the resources of the local district of Attica and support for their financial and technical infrastructure.
  6. Citizens presence and participation in the events.
  7. Cultural upgrading, always bearing in mind that arts are not only to entertain but also to educate and to improve the quality of life.

It is because of this effort, that we experienced a sense of extraordinary satisfaction when, at the formal opening of the festivities heralding the Cultural Capital of Europe in Athens at the Acropolis, on the 21st of June 1985, we heard President Mitterrand say that this is the “year One of Europe”.

Only eight days before, on June 13, 1985 the Ministers of Culture in an official resolution considered that “the event Cultural Capital of Europe must express a culture which, through its historical structure and heritage and its modern development is formed form the above components and by a wealth created from its particular characteristics, differences and affinities.”

Evolution

In 1990, with a decision of the Ministers of Culture of the European Union, another significant cultural event was created. Every year and for one month, one city of Europe, outside the Community would organize cultural events and organize direct contact and dialogue with nominated Cultural Capital of the year. So, a new type of cultural dialogue was initiated throughout Europe and as shown, for example, by the city of Graz this dialogue continued even after the one month was completed. Moreover some of these cities having made this experience of one month became later themselves European Cultural Capital Cities during a later year (e.g. besides Graz also Krakow).

A part of the evolving concept of European Cultural Capital Cities has become the creation of a network.

Past European Capitals of Culture

Current European Capital of Culture

Future European Capitals of Culture

According to the official EU website[1]

 

European Commission / EU selection procedure

“The European Cities of Culture have been chosen until 2004, on an intergovernmental basis; the Member States unanimously selected cities worthy of hosting the event, and the European Commission awarded a grant each year to the city selected.”

“Decision 1419/1999/EC, adopted in 1999, changed the procedure for selecting the cities from 2005 onwards. Henceforth, the European Capital of Culture will be decided each year by the Council on a Commission recommendation, which will take into account the view of a jury comprising seven prominent independent members, each of them experts in the culture sector.
The selection will be based on criteria laid down in the above Decision.”

Given the symbolic importance and the positive impact of the “European Capital of Culture” event, and in order to enable the new Member States to participate in this action in the same way as the other Member States, the Parliament and the Council adopted the following modified decision: Decision no649/2005/EC.
The modified decision adds the new Member States to the existing chronological list of Member States (decision 1419/1999/CE).

Moreover, the Commission adopted a proposal aiming at improving the designation process of the European Capitals of Culture. This proposal, which will be debated in the European Parliament and in the Council in the following months, encourages the Member States to organise competitions between cities which would be interested in having the title, strengthen the selection panel's role, implement a monitoring phase in order to support the Capitals once designated in their preparatory phase, and specify the selection criterion highlighting the European Dimension.” (Source: http://ec.europa.eu/culture/eac/other_actions/cap_europ/cap_eu_en.html)

Network of European Cultural Capital Cities and Months

In 1990 another important event took place. The European Union and the city of Glasgow, then Cultural Capital of the year, held a meeting of the then organizers and coordinators of Cultural Capitals in order to benefit from their collective experience. As a result the Network of Cultural Cities of Europe was formed, and a big step taken towards a more concrete, practical and close collaboration between all Cultural Capitals. Since then the Network also undertakes as one of its many tasks to promotion of the idea of European Cultural Capital City in order to persuade the peoples of Europe through such concept the essence and value of culture.

The membership of the Network is limited to representatives and organizers of former and future cities of Culture and cultural months, representatives of the cities themselves, of national government and also of the founding personalities.

These people worked together with their governments, their municipalities, institutions, organizations, artists, intellectuals and citizens. They analyzed situations, they selected the right people to organize new projects and they coordinated the events of the Cultural Capitals of Europe.

The main aims and objectives of the Network are as follows:

Furthermore, members of the network have been regularly involved in international forums on general matters of European cultural affairs and on themes related to city planning and development in relation to arts and culture, sponsoring and tourism. They are also regularly asked to forward information to journalists, researchers and university students, interested in the various aspects of the program.

The Network of Cultural Capitals and Cultural Months of Europe serving both the Cultural Capitals and the European Union has had a significant cultural impact and contributed to a deeper understanding of the diversities of European cultures.

From what has been said up to now, it is clear that the event is not only what a cultural city offers and does on its own, but the contribution of all the Cultural Capitals and Cultural Months together as a whole.

Each city shows its cultural heritage, its traditions, its physiognomy and its contemporary creations.

Over the years, and linked by the Network to pass on the experiences made, this cultural event has become an outstanding European institution.

Another area of activity has been the direct generation of specific activities and projects which have come about because of the network members and their contacts. Some of these projects have been:

Furthermore, a research study was commissioned by the network to John Myersough about the impact of the institution of cultural capitals and cultural months of Europe, on culture, tourism, employment, economics, finance and sponsorship from Athens ’85 to Lisbon ’94.

Mile stones of the Network have been:

 

On Sunday the 16th of October at Pnyka (the seat of the ancient Athenian assembly) all the Networks and participants made a declaration on the importance of culture, dialogue, freedom of expression and respect to the diversities of cultures, especially in a period of terrorism and wars.

To underline the fact that the network was becoming in fact a network of networks’ following networks participated:

    the network of the European Capitals of Culture & Cultural Months

    the network of Cultural Capitals of the Volga region

    the network of the America's Capital of Culture

    the network of the Capital of Catalan Culture

    the network of Cities of Culture of Central Europe

    the network of Cities of Culture of Canada

    the network of Women Artists of the Mediterranean (F.A.M.)

The Municipalities of the Region of Attica participated as well since it was involved in the organizing of cultural events when Athens was the first Cultural Capital of Europe in 1985.

Moreover there came personalities like Sergey Kirienko, who is the special envoy of the President of Russia, Mr. Putin, Mr. Volker Hassemer as ex Senator for Culture of Berlin (West) and other personalities. Mr. Jack Lang, ex–Minister of Culture of France, who was a close collaborator of Melina Mercouri, was invited but due to other commitments could not attend and send instead his greetings to the participants of the symposium.

Mr. Sifounakis, President of the Culture Committee of the European Parliament, Mrs. Jacqueline Pacaud, Member of the European Commission, the 24 ambassadors in Greece of the E.U., the Ambassadors of Russia, Mexico, Brazil, Lebanon and Jordan and institutes like the Goethe institute and French, British, Italian, Spanish institutes, participated as well while coverage was guaranteed by the local and international mass media.

The first exhibition was shown in March – May 2006 in Patras, the European Cultural Capital City of 2006. Conceived as a travelling exhibition, it should subsequently be shown all over Europe and each year completed with the material of the new cultural capital. Despite the strength of its political message, the exhibition has a flexible structure which could suit different locations and demands of cities interested to show the exhibition.

Impact

Today we see emerging a huge gap between society on one hand, and the state and the economy on the other. This creates upheavals and disorders and has given rise to the present malaise of disillusionment with politicians and the growing indifference on the part of the citizen.

Melina’s initiative for the creation of the event of Cultural Capitals of Europe and the questions about the future of Europe retain all their relevant today. As important as it was to start the Cultural Capitals of Europe then, so it remains as important now when this cultural event has matured and acquired such importance that all the cities of Europe want to be nominated Cultural Capitals of Europe.

The exchange of ideas and communication between the citizens and societies of Europe is more important than ever.

Because it helps to convince people of the importance of culture for the development of societies and to understand and to help others to understand that culture is not an abstract notion and of interest only for intellectuals or a fraction of society.

For in culture, benefits and financial return are not always immediately forthcoming. They are continuous and take time. Besides the fact that the arts and culture upgrade the quality of life, they also shape awareness and create identity, factors which contribute to the enhancement of productivity in the economy and play an important role in society. The successful development and functioning of cities, regions and states is built upon the services sector, upon information and new technologies, all of which create a solid cultural infrastructure which in turn improves modernization and increases productivity for the economies of such areas.

In spite of all the economic priorities which the European Union has put forward, the gap which has emerged between political and economic decision making and society in general, is causing increasing concern. These matters cannot be treated with cynicism. In the long run we cannot allow giving a few crumbs to Culture to become an excuse.

To be sure the creation of European Cultural Cities has become a starting point for new cultural policy what started in 1985 has become by now a different picture since the scale is very different. There exists a much larger budget and many more steps are involved in the selection process before a city receives the designation but the overall task has remained the same.  People from all the Arts and walks of life and on an international level work every day for the dissemination of culture.

To develop we must adapt ourselves to reality. To use the means that the contemporary conditions offer to us and to function in a way that we can convince others in the importance and power of culture and for the development of societies and to make them believe that culture is not an abstract idea that occupies only the intellectuals but culture is at the center of our political, economic and social life.

Our work is difficult. Culture is in any case generated by its power, creating its own momentum. Here lies its perennial strength. Culture has cycles of germination and renewal. It now appears that the power of culture starts to grow again. I believe that it is this moment which will give the networks of culture the impetus to unite their forces and work together for the promotion of this noble idea.

The moment must not be lost. We have to ensure continuity. We must go further and organize the network of the networks of Cultural Capitals.

The Cultural Capital Cities have achieved a lot, but we who have participated in the process and followed over the past twenty years this effort to unify Europe through culture have experienced that we still did not manage to convince the centers of power in their negotiations and their decision making processes to take into consideration as much as they should the human being, culture and the environment.

Today, the developed countries form a global village. Never in the history of mankind was contact so easy. Every country and every continent is engaged in a continuous communication process. However, it is very doubtful that this way of communication has achieved much in the promotion of a reciprocal dialogue between people and cultures.

Our times are dominated by the pursuit of money, and by cynicism, mistrust, fanaticism, racism, fear, insecurity, terrorism and war. Therefore, we must react and believe in the power of culture. It is important to restore some modest optimism as a way to go forward. It can be done best when people come together and trust one another by experiencing cultural dialogues of all kinds.

Fine arts, poetry, drama, music, science, and care of the environment are expressions of culture. However, the meaning of culture is much wider and deeper. Civilizations are formed by what man has said and done since thousands of years ago and which, up to now, have been accepted and absorbed by societies and peoples and have been added to in their habits, thoughts, actions and memories.

Culture absorbs from the past, moulds the present and shapes the future.

Culture exists in all our doings, in all our activities. It is knowledge, education, behavior, responsibility, understanding, tolerance and respect for the others opinion and diversity. It is creation, quality and a way of life.

First of all, the European Cultural Capitals has become an institution, is the biggest organized cultural event of Europe about which everyone is concerned and wants to become itself the city hosting the event. Moreover it has a global impact since this institution has by now many replicas.

Second, some basic guidelines reflect the experiences made by previous Cultural Capitals & Cultural Months. They give an idea as to the impact at various levels, including the capacity to organize such an event over the period of one year:

  1. A clear organizational and managerial scheme for organizing cultural events
  2. An open view of cultural policy at practical level involving organizers, people and artists
  3. A clearly defined policy with aims, strategy, tactics to guarantee successful implementation as part of an overall learning process involving city, European Commission and the Network of Cultural Capital Cities
  4. A specific but at the same time a flexible budget to allow commitment, transparency and added funds to finance the events
  5. Gain in knowledge about procedures for a social and educational cultural policy, broadening the margins for cultural activities
  6. Organising cultural activities in a larger area around the city to include the region and to network the city with other points of references as a way to give local cultures space for expression while meeting altogether the global challenges
  7. Creation of new cultural infrastructures which includes restoration of historical buildings and construction of new venues and thereby develop the city’s capacity and its venues for new cultural usage. This goes hand in hand with a beautification of the city.
  8. A setting up of a policy with regards to cultural tourism
  9. Showing the cultural character of the city, its history and tradition and thereby promoting a deeper understanding by both residents and visitors as to the meaning of urban space when seen by means of a developing cultural dimension
  10. Mobilization of the cultural, scientific and artist elements of the city and the country. This includes encouragement of contemporary art creations.

 

Exhibition

  1. Concept and structure

The exhibition will be conceived with the intention to attract the interest of the general public: people of all ages, all levels in the society, professionals and amateurs. A main approach is aimed towards the young generation, the future builders of Europe.

The exhibition wants to contribute to the discussions on all levels related to the strengthening of culture in Europe, giving practical proof of the multitude of cultures in the European community, united in their diversity.

This humane community is based on rich traditions, a strong cultural heritage, the awareness of culture as an important element of social life, a vast creativity, a multitude of practitioners, a fertile cultural life.

Conclusion:

Definitely the emerging gap between public opinion and official policy is a great concern. It is an outstanding issue for also Noam Chomsky.

To bridge it, there is ever more a need for cultural education not only in the sense of promoting literacy and thereby enhance participation, but as a form of debate allow for qualified and differentiated arguments which take the European thought further. Practically said, we need in Europe new visions and without culture such a perspective needed to bring together different people and their cultures is unthinkable. Cultural education is linked to the productivity of culture, allowing people to shape their own destiny and as such become a part of the creative forces of Europe.

^ Top

« Interview with Spyros Mercouris | Speech at ECCM Symposium Productivity of Culture 2007 »