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Strong, weak points and parameters

http://www.plzen2015.cz/en/sites/plzen2015.cz.en/files/pilsen_application_en.pdf

 

1 What, in your opinion, are the strong points of the city’s application and the parameters of

its success as European Capital of Culture and what, on the other hand, are its weak points?

 

Looking back, those who worked hard, find it difficult to abstract from time and place when doing a self evaluation about strong and weak points. As pointed out, “those who put their hearts into it, spent many a sleepless night preparing it”.

Indeed, evaluation in the sense of being both open and self critical is a very difficult task.

 

Prime comment:

The Pilsen bid is said to have returned to the roots of what ECoC stands for, namely to transgress “from revitalisation of space to the revitalisation of the individual.”

This has to mean in terms of vision to interconnect again two different European intellectual worlds, so as to go:

While the former is not readily clear what is meant, the latter is hardly understood in Western Europe. Of interest is all the more what consequences are derived out of this. There is even a talk about something being 'imperative' presumably in the Kantian sense. For this to be clarified, there needs to be made an interconnection in the minds. The aim is to lead “to a radical transformation in the methods of thinking and behaviour of individuals and of the city as a whole, imperative in allowing a true entry into Europe.”

But is access to Europe possible under the given circumstances? The question is posed due to the exclusion of culture by the European methodology by which projects have to be managed and therefore are implemented with people on the outside hardly noticing what is taking place within the European project(s). It is said that European projects, and especially the European Capital of Culture would empower the stakeholders to act in the name of a larger unity than themselves, and while aspiring to fulfil the European dimension, begin to realize besides concrete outcomes, that there needs to be institutionalized an ongoing learning process on how to speak up on behalf of culture.

So while Pilsen 2015 has experienced a relative long process of creative learning (3 years), and thereby can claim by having adhered to “the principle of participation in the creation of the application”, to have come “closer to the standard European democratic principles of decision making and management”, it seems that this is not reflective enough in terms of a possible negative impact upon culture. Due to the management methods used culture is silenced as indicated by a truly artistic orientation being treated as secondary due to all the other considerations a city has to take into account when making the bid.

 

STRONG POINTS

 

The Slogan: Open your Pilsen! – Pilsen, Open Up!

 

Comment:

Usually to open up a bottle means to let the ghost out. Children will know this story. There is hope for extra help and strength. Something invigorates the human spirit where before despair reigned. But the question of beer as cultural fundamental has to be questioned, insofar beer leads easily to mere repetitions. This beverage and other types of alcohol has made Franco Bianchini warn about the intoxicated tourists who consume too much in the sun and once they end up being drunk, know no longer in which city they are in.

There are still other associations linked to the drinking of beer. One needs only to look at Munich and the kind of dogma which seems to be an expression of local tradition, but implies at the same time something compulsive, if one wishes to become a member of that local society. This leads to sitting at the 'Stammtisch': the key table.

If that is defined as access to culture at local level, it will be difficult thereafter to alter the discourse since talks at such a table decline very often into disputes as to who can evoke a no fly zone over the table, so that only the own voice counts. Besides tradition as mask for conformity is being honoured when allowed to sit at the 'Stammtisch'. It makes it all the harder to alter this subtle practice of discrimination exercised as to who is allowed, who not to sit at the table. Generally power is exercised very often in the form of distributing privileges and yet it is not the host who pays but those who are allowed to sit with him at the main table.

Thus such kind of reference to beer as something fundamental to local culture has to be studied more carefully in terms of what value premises are being determined by such a drink and habits linked to its consumption. There are certain rituals while on the other hand the method of production implies a special form of agriculture and gastronomy. Often it means there is not sufficient self reflection as to what else is smothered by not being allowed to speak up or to deviate from such ritualized drinking and consumption patterns. Often the host would singularly dominate with his kind of story telling at the 'Stammtisch'. Naturally he would also be an integrating figure within the local community even though he would spend most of his time inside. As 'Horchposten' (listening post) he would know, however, quite well what is going on in the village due to being able to interweave story telling with forms of gossiping. Categories born in such a milieu can easily lead to stigmatized images of what amounts to a description based on classifying things as if typical and therefore equally unchanging. Better than Max Weber or Jung, these types of persons classified in talks at the main table show what social determinism amounts to over time. As such it shapes both memories and concept of time, and out of which often results a distorted view of history. At the same time, the sense of continuity is replaced by being a regular guest at the table. It guarantees that changes can be kept at best at a minimal. Hence the sitting and ranking order at the table can never be upset since no one dares to challenge the way this social determinism works at the disgression of the host in conjunction with some leading figures more privileges than others.

It might be wise to pick up the implementation of Pilsen 2015, in order to see if the special year of being European Capital of Culture has any impact, if at all any, upon the local culture. For the entire project can get stuck right away if this local tradition is not only mystified, but perceived in a kind of romantic form of nostalgia. Articulation of cultural relevance shall then not go beyond expressions of nebulous feelings when claims are made repeatedly to having only then significant relationships to the others in the locality, if allowed to sit at the main table!

 

Key elements of the bid

The broad concept of the programme proposal structured into four directions characterising Pilsen’s situation:

 

What characterizes the bid:

The explicitly defined steps in selection and management of individual projects.

The network of partners in project implementation at a local, regional, national and international level.

The concordance of the programme with the long-term programme visions and goals of the city and region.

Establishment of cooperation with the city of Mons.

The proposal to create an international network of cultural facilities and centres in former breweries.

A clearly defined method of project organisation in the form of non-profit organisations, whose foundation

Was approved by the city’s authorities.

 

Financial capacity

 

Cultural infrastructural proposals

 

Communication

 

Monitoring and evaluation

Objective conditions

for fulfilling the programme’s vision and for project implementation:

• a reasonably sized city with 170,000 inhabitants;

• a strong regional centre;

• a city on borders – Pilsen as long having been situated on the borders of two worlds;

• an accessible city – good accessibility of the city, its proximity to the capital city of Prague and the border with Germany;

• a city with a long-term strategy of development aimed at innovative business in synergy with cultural development and care for the environment;

• the industrial tradition of the city;

• the gradual development of a knowledge economy;

• background and support for technical, humanities and cultural education at secondary and university levels;

• effective tools for the long-term and coordinated support of cultural events;

• the Cultural Development Programme 2009–2019, created through a participatory process;

• identification with the inhabitants of the city;

• the world renown of Pilsener Urquell beer;

• the support of soft projects in the new EU programme period starting 2013;

• establishing the new EU cultural policy expressed in the Green Paper on unlocking the potential of cultural and creative industry.

 

PARAMETERS FOR SUCCESSFULLY GAINING THE TITLE OF EUROPEAN CAPITAL OF CULTURE

Innovation – the programme’s vision is devoted to changing thinking and social behaviour, transforming Pilsen into an open, communicative, friendly and learning city of European significance.

Realism – programme conception and key investments are proposed in such a way as to be financially and organisationally manageable, and to bring the desired social and economic effects. In other words, it is not a high-flown project of typically large investments and cultural activities, but is an ambitious project more by virtue of its vision.

Openness – the project relies on a maximum level of cooperation from its partners. The project is open to changes and additions proposed in concordance with the basic principles in the years 2011–2014.

Transparency – project organisation, system evaluation, programme monitoring and financial management control mechanisms guarantee a maximum level of transparency in implementing the project.

Stability – the city and region have expressed the will to implement the project. The city has faith in the current organisation

Sustainability – sustainability of the programme concept and proposed investments is secured for the period leading up to 2015 and beyond. The ECOC Project falls into the category of long-term concepts for the city and region, reaching up to and beyond the year 2015.

 

WEAK POINTS

 

Objective risks which the project is making an effort to remove:

 

External risks which can affect the project:

 

2 Does the city intend to develop particular cultural projects in the coming years, irrespective of the outcome of its application for the title of European Capital of Culture?

 

The city of Pilsen has been expressing the long-term and determined effort to develop culture and its many manifestations since the 1990’s, which can be seen in the Cultural Development Programme in the years 2009–2019.

Its interest in the title of ECOC is the logical culmination of a long-term vision, and gaining this prestigious title would fundamentally help the city and region to implement its bold goals and plans.

In the event that the city is not successful in gaining the title, we can expect a significant decrease in the interest which has recently been growing, especially in the many-branched non-profit sector. However, the efforts of the preparation team would still continue on in the “bottom-up” process which has already been set in motion, and the goals of the discussion forums would still be carried out, which provide for the valuable exchange of experiences, including activities connected with the Soul for Europe network. The city would also continue in the study of optimising the conditions for the future operation of the Světovar complex by making use of the already well established network carrying the sub-title “To Beer or Not to Beer?!”

Implementation of investment plans is rooted in the established Cultural Development Programme, and it can be expected that the creation of new areas for modern art will lead to further development and the diversification of the cultural choices which follow. Specific project goals, however, will be more difficult to implement without the important financial support which gaining the title would create. The cultural schedule up to the year 2015 would most likely not grow to such large proportions as described in the application. There would still however be an effort to encourage multi-source financing and its transparent introduction at the city and regional level, namely for a wide range of non-profit organisations. By doing so, it would be possible to implement smaller projects on not just a local level, but internationally as well.

 

 

3 Please add below any further comments which you deem necessary on the subject of this application.

The second round of the Pilsen candidature was something reminiscent of a sprint for the ever-expanding preparation team, in communicating with the widest possible range of interested parties from all walks of life in the city and region. The result was an unbelievably dynamic process of “bottom-up” public interaction, which brought out into the open a number of hidden problems and at the same time revealed new opportunities for the development of cultural and creative industries in the whole area.

The preparation team deeply appreciates the great interest of local citizens and organizations, and would like to thank everyone for all their help, support and acknowledgement. We would also like to give thanks for all the constructive criticism and suggestions which were extremely important in gaining feedback.

 

In conclusion, the following contains a number of observations which we derived from the process of addressing the public:

The “language of Brussels” is far removed from the reality in which people live. It seems academic, sophisticated, dull and often incomprehensible. This is truly a shame, as the direction which the European cultural agenda has taken in recent years is attractive and in harmony with the feelings of the vast majority of experts and regular citizens of the Czech Republic.

The candidature team expended much energy in explaining and reformulating the terminology of Brussels. In the process of actually writing the application, the team made an attempt to use a livelier and more personal approach, reflecting the reactions of specific local participants of Pilsen and its surrounding districts.

If the city gains the title of ECOC, it is its intention to continue on this note and devote itself to an easily understood interpretation of “Brussels theories” of various ways of involving the artistic community. Inspiration for this can be the unique Czech approach to bureaucratic or political “Ptydepe-type” speech, a term coined by Václav Havel in one of his plays for an incomprehensible, bureaucratic language.

A result of the prepared brainstorming projects and studies could be a very interesting impulse and inspiration, perhaps for even the European Commission itself.

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