development in rural territory

Sustainable cultural ecosystems in rural areas: practices for culture-led development in rural territory

Arts and Cultural Management at BSB

Elena Borin

PhD in Economics and Doctor Europeaus

Associate Professor - Finance Law and Control Department

ENCATC Research Award for cultural policies and management 2016

Director MSc in Arts and Cultural Management

Coordinator Research Team in Arts and Cultural Management

CEREN, EA 7477 - Burgundy School of Business, Université Bourgogne Franche Comté

Member Scientific Committee international network "Routes towards Sustainability"

Arts and Cultural Management at BSB

MECIC - Management des Entreprises Culturelles et Industries Créatives (in 2019 celebrates 29th anniversary)

Ranked n.1 Master in Cultural Management in France (Eduniversal 2018)

2012: Research Group in Arts and Cultural Management

2016: MSc Arts and Cultural Management

2017: Creation of the BSB CACM – Centre for Arts and Cultural Management

2017: Culture Track in the MGE program

Research team Arts and Cultural Management

➢ The BSB ACM research team:

❖Dr Elena Borin, Associate Professor and Coordinator of the Research Group in Arts and Cultural Management , BSB Dijon (Director MSc ACM and Spec.)

❖Dr Mario D'Angelo, HDR, Emeritus professor in cultural management, BSB Dijon

❖Dr Christine Sinapi, Professor in finance and Academic Dean, BSB Dijon

❖Dr. Marilena Vecco, Professor in cultural entrepreneurship – BSB Dijon

❖Jean-Yves Klein, Expert Professor in Cultural Management, BSB Dijon

❖Simeng Chang, Assistant Professor in Accounting and Arts Markets, BSB Dijon

❖Eleonora Montagner, Assistant Professor in Philosophy of Management, BSB Dijon

Research areas

Both qualitative and quantitative research methods

Our current research is on the following topics:• Arts markets

• Cultural policies

• Cultural governance and management

• Entrepreneurship in the cultural and creative sector

• Culture and sustainable development

CfP IJESB on the topic "Sustainable Entrepreneurship in the Cultural and Creative Sector: Contextualisation, Challenges and Prospects

ENCATC Conference « Diversity and sustainability at work. Policies and practices from culture and education” (Dijon, 2-5 October, 2019)

Sustainable cultural ecosystems in rural areas: practices for culture-led development in rural territory

➢ Module of 12 hours

➢ Language: English

➢ Schedule of the lessons:• 28 October: 5pm-8pm

• 29 October: 5pm-8pm

• 4 November: 5pm-8pm

• 5 November: 5pm-8pm

• Evaluation: Oral presentation (in groups)

Objectives of the course

• Understanding the main factors and characteristics for creating cultural ecosystems in urban and rural territories

• Being able to developed a critical analysis of significant cases of cultural ecosystems and their sustainability dimensions (cultural, social, economic, environmental)

• Reflecting on the necessary means to implement cultural ecosystems in rural areas in terms of governance, management, and multi-stakeholders partnerships

• Reflecting culture in rural areas for sustainable development

Understanding the main factors and characteristics for creating cultural ecosystems in rural territories

Objectives of the sub-module

1. Understanding the origins and connotations of the « ecosystem » concept

2. Peculiarities of the cultural and creative field and of the ecosystem concept in the CCS

3. Examples of cultural ecosystems in urban areas

4. Points of reflection: what about rural areas?

« Ecosystems » as a buzz word?

Biology origins and « environmental » links

Links to/among different subjects of the economy and society

Recognition of the interdependencies

Possibility to focus on the links ratherthan on the separations

Creating ecosystems

• Over the last year, several societal changes (digital innovations, globalisation but also crisis, economic, social and ethical, environment and climate change) have questioned the models of development of society

• New concepts, borrowed by scientific/biological disciplines have emerged to help us interpret these changes

• Among these concepts, the concept of ecosystem seemsparticularly promising

Why ecosystem approaches?

• Delineating/interpreting the changes on the basis of ecosystem principles

• Concept of ecosystem has been transferred to othersectors

Reflections on:

• Ecosystems concept

• Ecosystems in business, entrepreneurship, tourism…

• Cultural ecosystems and their peculiarities

Rethinking society and economy as an ecosystems?

• Concept of ecosystems: communities of interacting organisms and their environments

• “complex networks formed because of resource interdependencies” (McCormack, 2011)

• open, flexible, demand-driven, interactive networked architecture and collaborative environments (Boley & Chang, 2007; Bajarin, 2011)

Definition of ecosystems

• Ecosystems’ individual agents or groups of agents proactively form symbiotic relationships to increase individual benefits and to achieve shared goals; that local interactions determine the global behaviour or state of the system

• Balance is needed to prevent system collapse –Antropocene area? (see Harari, Sapiens - A brief history of Humankind)

• The relationships and interdependencies ensure that resources are consumed effectively and sustainably

Definition of ecosystems - business

In the business world:

• “ecosystem” is used to describe the relationships among economic entities (producers, distributors, consumers, government agencies, etc.) that, through competition and/or cooperation, facilitate the creation and distribution of a product or service” (Isenberg, 2010)

• the environment in which these entities operate, i.e. in and through which they produce, exchange and consume value, is rapidly changing and requires their relationships to co-evolve

• As ecosystems, business ecosystems often faces the arrival of new species, which requires realignment and redefinition of the relationships that underpin the system. While such new species can emerge out of nowhere through genetic mutations, it is more often the environmental changes that cause or at least facilitate dramatic shifts in power over resources.

Entrepreneurial ecosystems

• Increasing attention on the ecosystems that favour the development of entrepreneurial activities

• Entrepreneurial ecosystems has been around for a while(Valdez, 1988) but at the centre of the debate over the last 10 years

• “The entrepreneurial ecosystem model or framework is then used to explore the relationship of new business formations to the economic environment” (Valdez, 1988)

Entrepreneurial ecosystems

• Not only entrepreneurship as a result of the system, but also sees the importance of entrepreneurs as central players (leaders) and policy makers in the creation of the system and in keeping the system healthy

• Transition in policy attention from pushing up the quantity of entrepreneurship (e.g. new firms, self-employment) to the quality of entrepreneurship (e.g. growth and innovation-oriented entrepreneurship) (Stam, 2015)

Entrepreneurial ecosystemsgainingimportance

Examples of entrepreneurial ecosystems

Silicon Valley (USA)

« There is little argument that Silicon Valley is the “gold standard” entrepreneurship ecosystem, home to game-changing giants such as Intel, Oracle, Google, eBay, and Apple. The Valley has it all: technology, money, talent, a critical mass of ventures, and a culture that encourages collaborative innovation and tolerates failure”

(D. Isenberg, 2010 “How to start an entrepreneurial revolution”, HBR)

But…don’t take the Silicon Valley model acritically!

• In order to explain or create sustainable entrepreneurship, one isolated element in the ecosystem is rarely sufficient

• “Shape the Ecosystem Around Local Conditions”

• Engage the Private Sector from the Start => it implies checking out the private industries that are already exhisting and tailor-made the dialogue and the model of development with them

• “Don’t Overengineer Clusters - Help Them Grow Organically” => holistic approach, no only the government to ensure sustainability of the entrepreneurial ecosystem

In sum…Etrepreneurial cosystems

• Hwang (2014): the dynamics in the ecosystem and its openness as the main characteristics that distinguish it from other, more static and managed forms of business networks such as industrial districts or clusters

the focus is on establishing the environmental conditions under which their elements can thrive and on making engagement not only

possible but easy

➢ Recognizing the ecosystem’s embeddedness in communities and larger society

➢ creating shared value that simultaneously enhances business competitiveness and advances economic and social conditions (Porter and Kramer (2011)

What is the concept of ecosystem bringing us in practice?

Openness

Focus on the broader environment, not just a sector

Possibility to interpret the territory as an ecosystem of interactions

This is particularly important for the cultural and creative sector

Ecosystems in culture: the development of the concept of cultural ecosystems

KEA -Europeanaffairs(2006): The economyof culture in Europe

Introduction: definition of culture and creative sector

"The cultural and creative sector is a growing sector, developing at a higher pace than the rest of the economy. The same applies to employment. Indeed this sector provides many different and often highly skilled possibilities, and again the sector’s growth in terms of jobs out-performs the rest of the economy" (KEA, 2006)

Introduction: the cultural and creative sector

Growing importance of culture and cultural and creative industries

Approaches to "culture"

Anglo-saxon/UK- American approach: focus on culture as creativity - cultural and creative industries, divide between for-profit – not-for-profit cultural organizations

Southern-European: culture as focusing on the core art field, public and private cultural organizations (mainly public)

• New emerging approaches

• Pourous boundaries between the cultural and creative sectors, between public and private, profit and non-profit

• Hybridity and mixed governance and management models combiningpublic, private, community

Cultural and creative sector

• UNCTAD -United Nations Conference on Trade and Development

• (2015): Report on the Creative economy

Introduction: definition of culture and creativesector

UNCTAD approach on creative economy

• Creative economy is the creation cycle, production and distribution of goods and services that uses creativity and intellectual capital as primary inputs

• It constitutes a set of activities based on knowledge, focused but not limited to the arts, potentially generating trade revenue and intellectual property rights

• It includes tangible and intangible products or artistic serviceswith creative content, economic value and market objectives;

• It is at the crossroads among the sectors of craft industries, services and heavy industry

• It constitutes a new dynamic sector in world trade.

Introduction: creative economy

Some data on the cultural and creativesector

• More than 6 million cultural and creative jobs in the EU: ‘cultural and creative employment’, 6.3 million people in the EU were working in a cultural sector or occupation in 2014, that is, 2.9 % of the total number of people in employment

• Cultural and creative jobs relate to activities such as: ‘creative, arts and entertainment activities’, ‘libraries, archives, museums and other cultural activities’, ‘programming and broadcasting activities’, ‘motion picture, video and television programme production, sound recording and music publishing activities’ and ‘specialised design activities’.

• Main characteristic of the cultural and creative sector:

➢ working time (full-time versus part-time)

➢ multiple job-holding and, for employees, sprecific

contractual status (temporary contracts)

➢ self-employment

• Nearly half (49 %) of all cultural and creative workforce in the EU were self-employed in 2014

• This percentage is much higher than that reported in total employment (15 %).

• Some key countries: • United Kingdom and the

Netherlands (both 65 %)

• Germany and Italy: self-employment in cultural jobs reached 55 %

Some data on the cultural and creativesector

Share of self-employed in cultural and creative emplyment compare with total employement (Source: UNCTAD, 2016)

Cultural and creative enterprises

• In the EU, cultural market-oriented enterprises made up 6.4 % of all enterprises in total business economy services in 2013

• In 2013: around 675 000 cultural market-oriented enterprises in the EU (corresponded to 6.4 % of all enterprises in total services).

• Cultural enterprises employed close to 2.2 million people (self-employed and employees)

• The cultural sectors’ turnover (the total value of market sales of goods and services) was around EUR 300 billion, which represented 5.3 % of the turnover of total services.

• Smaller average size of cultural enterprises (3 persons employed, as against 5 in services as a whole).

• France and Italy: only Member States with over 100 000 cultural enterprises, each accounting for 15 % of the EU total number of cultural enterprises. Together with Germany (73 000 enterprises) and Spain (68 000), these four countries represented over half of the EU total.

Survival rate of start-ups

• High resilience of the start-ups in the creative sector (measure in terms of survival after 1 and 5 years)

• On average, across the EU, survival rates for enterprises in total services were about 80 % after one year, 60 % after three and 45 % after five.

• In comparison, enterprises in the films, TV and music did quite well, with survival rates of around 85 % after 1 year, 65 % after 3 years and 55 % after 5 years.

• In contrast, enterprises involved in the sector of libraries and museums were less likely to thrive, with an average of 70 % surviving after one year, falling to 45 % after three years and 35 % after five.

• The other cultural sectors are in tune with the average of total services, with a slight reservation as regards the long-term life expectancy of enterprises in ‘creative, arts and entertainment activities’ (around 40 % survival after five years)

Importance of the cultural and creative sector in economic terms

Growing importance of Cultural and CreativeEnterprises, CC start-ups' potential

➢ increasing debate on cultural and creativeentrepreneurship

➢ Co-working spaces

Cultural and creative sector


Entrepreneurs in the cultural and creative sector are at unease with the label "entrepreneurs" (Klamer, 2011)

Ethical and artistical (intrinsic) motivations

Primary mission of cultural entrepreneurs is to create cultural value for both producers and consumers of cultural goods and services (Aageson, 2008; Acheson et al., 1996; Klamer, 2011; Snyder, Binder M., Mitchell, & Breeden, 2010).

They perform activities to influence shifts in attitudes, beliefs and behaviors (Martin, & Witter, 2011), further cultural values and traditions (Snyder et al., 2010), and influence changes in perceptions of aesthetics and identity (Rentschler, 2007)

Key characteristics of the cultural and creativeenterprises (1/3):

• Creation of value: • shift of focus from economic value to cultural and ethical value – artistic value, public goods,

public value/s

• Push for growth but not essentially in economic terms"For cultural entrepreneurs economics is an instrument to realize cultural value" (Klamer, 2011)

• Prevalence of SMEs and Micro-enterprises (Greffe, 2010; EC, 2011)

• Problem of financial sustainability – difference in the financing structure of cultural and creative sector (Greffe, 2010)

• Undercapitalized: prevalence of working capital

• Higher involvement of state funding

• Problem of access to bank financing: bias from both sides(Borin, Donato and Sinapi, 2017)


Key characteristics of the cultural and creative enterprises (2/3):

Strong relation between cultural capital and creative industries flowrishing


Cultural and creativeindustries tend to beestablished in places with high degree of cultural capital and

cultural heritage (bothtangible and intangible)

Cultural and creativeindustries enhance the cultural capital of theirterritory and contribute

to regeneration, growth and innovation

Key characteristics of the cultural and creativeenterprises (3/3):

Strong relation between cultural capital and creative industries flowrishing

"The Rise of the Creative Class" (Florida, 2002): creativity is closely related to the city where an individual lives

The quality of the city which a person lives, really affects the creativity index of individuals.

But also problems, such as gentrification, exclusion (Florida 2017 – The

New Urban Crisis)


Economic and financial crisis, decrease of public funding to culture and creative industries in the majority of EU countries due to the impact of economic crisis started in 2008 (Bertacchini et al. 2011)

− co-creation, co-production, crowdsourcing, people raisingand co-working spaces

− alternative financing (ex. crowdfunding)


Need to rethink the models of development of the cultural sector (Bonet and Donato, 2011) but also to rethink the interactions between cultural and creative sector and its"environment"

Emergence of ecosystem approach to the cultural and creative sector (Holden, 2015; Borin and Donato, 2015)

CHANGES IN THE Cultural and creativeSECTOR

Cultural ecosystems: development

Two reports in 2004, published almost simultaneously on both sides of the Atlantic, employ ‘ecology’ as a metaphor for the cultural and creative sector (Holden (2004), Rand (2005))

Ecology of culture: ‘the complex interdependencies that shape the demand for and production of arts and cultural offerings’.

• "Culture is often discussed as an economy, but it is better to see it as an ecology, because this viewpoint offers a richer and more complete understanding of the subject" (Holden, 2015)

Starting point: the ecology of culture could be conceived as three highly interactive spheres (Holden, 2004 – 2008 - 2015)


Publicly fundedculture

Commercial culture

Homemadeculture

Ecology of culture (Holden, 2015)

Publicly funded culture

Important role for the publicly funded sector, and particularly the larger, long-established and better-funded institutions, as guardians of assets and tradition


Commercial culture

• The commercial cultural sector is defined by the fact that it exists without direct public investment, and individuals and organisations must make an overall profit in order to survive.

• Taken as whole, this part of the cultural sector is of great economic significance


Homemade culture

The sphere of homemade culture is defined by the fact that people do not get paid for their work, (notwithstanding the fact that the organisations that they are working within, such as volunteer museums or community choirs, may receive grants or sponsorship). Homemade culture is a heterogeneous area, encompassing the ‘amateur arts’, ‘voluntary arts’ and the use of internet platforms to share content that is produced without financial reward and is free to the user.

Homemade culture speaks to the heart of individual and communal identity.

The ecology of culture

Treating culture as an ecology, not only as an economy, changes the viewpoint:

• In the first place, an ecology is explicitly non-hierarchical: one part does not exist to serve another => all parts of the cultural system are interdependent and, in this sense equal, and equally valuable: all parts are needed to make the whole.

• The phrase ‘the ecology of culture’ implies that culture is a communal phenomenon, with disparate elements coming together to produce a whole; where ‘audiences’ create culture just as much as do ‘artists’. Culture is a social process.

• The concept of ecology helps us to see our position in relation to culture. As with the natural ecosystem, the cultural ecosystem is not separate from us, or related to us, but rather we are embedded in it – it makes us, at the same time as we make it. Culture is a process of constant formation, where our views and decisions are moulded by what we see, read, make, watch and listen to.

(Source: Holden, 2015)

The ecology of culture

• Ecology deploys many useful concepts that are transferable into the field of culture• co-operation and collaboration held in balance;

• existential threats coming from outside the system;

• positive and negative feedback loops;

• self-regulating systems;

• mutual dependence; interactions, linkages; patterns.

• dynamism;

• fragility and robustness;

• global environmental capacity

Changing scenario for culture

• Changing of the taxonomy of culture:• “The taxonomy of culture (and hence the way that is thought of as a

whole ecology) is being affected by technology, which is changing both the role of media (crudely put, theatre audiences over 40 read newspaper critics; the under-40s consult blogs) and creative possibilities (drawing on i-pads; creating an audience through Youtube; collaborating by Skype)”

• “Culture in the future is more likely to be described in terms of fluid movements and startling shifts” (Holden, 2015)

Implications: the « third places » concept in relation to the production and diffusion of

culture

Culture, espacially homemade and commercial, is key to the harmonious development of an ecosystem

Importance of places where culture is produced« informally »

« Third places » as a spaces for culture and socializationneeded by a sustainable approach to society (Oldenburg,

1989)

Characteristic of a functional space in societies

«THIRD PLACES» :

• decisive importance in the growth of society

• contributing to the creation of a real civil commitment and to the definition of a precise sense of place

• third-party places are comfortable, welcoming, easily accessible, generally free or low-cost environments where people can relax and socialise with each other

• places where a community can find itself as a whole, where it is possible to meet people with similar interests and become familiar with them

• places of leisure and entertainment but also of intellectual discussion and construction of new ideals.

(« The Great Good Place”, Ray Oldenburg, 1989)

Cultural ecosystems andThird places

Third places as new spaces of interaction/intersection between the different subjects of the cultural ecosystem

Examples: cultural centers

Ecology of culture as a regenerative life cycle

"An ecological approach concentrates on relationships and patterns within the overall system, showing how careers develop, ideas transfer, money flows, and product and content move, to and fro, around and between the funded, homemade and commercial subsectors"

"The cultural dynamism of today rests on a global inheritance going back thousands of years; and decisions taken now about things as various as the music in schools, and licensing and arts education will affect both the near and distant future"

(Holden, 2015)

Ecosystem approaches: developments

Ecosystem approaches: the peculiarities of culture

• ‘…the need is for a system to create spaces in which something can happen’ (Crossick, 2006).

Other interpretations of the ecosystem approaches emerged

Cultural ecosystems in relation to the broader socio, economic and environmental ecosystems as a way to enhance the potential of cultural and creative sector

Cultural ecosystemamong the broader

ecosystemto enable the flowrishingof cultural and creativeindustries and start-up: need for coordination and common strategyamong the differentsubjects (Bonet and

Donato, 2011; Borin and Donato, 2015)


Public authorities, public cultural institutions

Cultural and creativeindustries

Other stakeholders(associations and citizens)

Other sectors of the territory

Cultural ecosystem: implications

• Cultural and creative sector is not isolated from othersectors

• Connections between culture and other industries

• Culture as connected and reflecting on other sectors

• Culture interpreted in terms of co-creation, co-management and co-governance• Participatory governance and participatory management • Co-creation and community-based creation (Malik, Chapain &

Comunian, 2017)• Local cultural ecosystems: Public-private partnerships (Ferri and

Zan, 2014) and multi-stakeholders partnerships (Borin, 2016)


1. Thinking of the cultural and creativesector as an ecosystem means thinkingof the different art/cultural/creative as interconnected and linked to othersectors


Artists are stakeholders in various CC sector

• Tom Ford fashion and cinema

• Jeff Koons and Louis Vuitton – visual art and fashion


Collaborations between sectorsand cross-pollination:

Experts from one CC sectorintervening in other sectors

https://www.youtube.com/watch?time_continue=1&v=_vTQI6Vw5nY

https://www.youtube.com/watch?time_continue=1&v=_vTQI6Vw5nY


The Roncalli Circus (Germany) and holographic experiences, intersection between differentindustrieshttps://www.youtube.com/watch?v=q3KbgGJux4E

https://www.youtube.com/watch?v=q3KbgGJux4E


Collaboration between Google art project and some of the most important museums and CH institutions


2. Different way to interpret the relationship of the community and the different stakeholders• Participatory management and governance

practices• Multi-stakeholder partnerships

Examples of ecosystem thinking

Participatorymanagement practices at the TATE Gallery(UK)


Participatorygovernance practices

Birmingham Cultural Strategy2016-2019 (UK)

• Development throughconsultation

• Local arts fora

• Citizens will co-design cultural activities


3. Different way to interpret the territoryand the interconnections with the local resources• Local territorial ecosystems: Multi-stakeholder

partnerships

Cultural ecosystems thinking

Public authorities, public cultural institutions

Cultural and creativeindustries

Other stakeholders(associations and citizens)


Need to work on the coordination of the actors of the territorial ecosystem in order to create the sustainingenvironment for for-profit and non-profit organizationsin the cultural and creativesector

Cultural identity of the territory as starting point for the dialogue

Cultural ecosystem among the broader ecosystemto enable the flowrishing of cultural and creative industries and start-up: need for

coordination and common strategy among the different subjects (Borin and Donato, 2015; Borin, 2018)

Cultural ecosystems?

Public authorities, public cultural

institutions

Cultural and creative industries

Other stakeholders(associations and

citizens)


Need to work on the coordination of the actors of the territorial ecosystem in order to create the sustainingenvironment for for-profit and non-profit organizations in the cultural and creative sector

Cultural identity of the territory as starting point for the dialogue

Central role of the cultural organizationand local cultural heritage authorities in shaping this ecosystem

CULTURAL VALUES AND IDENTITIES

Peculiarities of start-up and entrepreneurshipin the cultural and creative sector

IN THE CASE OF CCIs:Culture central role: not as societal norms or success stories but as cultural patrimony and cultural identity of the territory, as trigger for cultural and creativeentrepreneurship

Central role of government and public sector (in multiple-dimension): in creating identity, in creating dialogue and in fosteringthe ecoystem implementation for letting CCS thrive(Borin, 2018)

(Source: Oliveira et al. 2014)



(Source: Oliveira et al. 2015)

Cultural and creative sector and ecosystems…and now?

Micro-approach as traditional approach in the management of cultural organizations

Meso approach as new governance system and management model of the territory

Meso territorial ecosystems based on culture

• Need for high-level of coordination among the different actors

• Need for multi-level, multi-stakeholders governance schemes

• Flexibile model for unlocking the potential of cultural and creative enterprises

MESO LEVEL: cultural ecosystems strategies for enhancing the cultural identity of the territory

Cultural entrepreneurship and CC start-up thrive in places where ecosystem initiatives are in place for developing the cultural identity of a territory

➢ Need for well-defined governance structures, multi-stakeholders promotedby public authorities

Cultural ecosystems at a city or broader level?

Further reflections

Some examples of cultural ecosystem in urban spacesfrom the UK:

• The experience of Liverpool ECoc 2008

• FACT Foundation « small ecosystem »

Liverpool ECoC 2008

• Liverpool (UK) was European Capital of Culture in 2008

• Candidature started in 2000-2002

Background: the ECoC program

Since 1985, the European Capital of Culture is a city designated by the European Union (EU) for a period of one calendar year during which it organises a series of cultural events with a strong pan-European dimension

Liverpool ECoC 2008

Liverpool ECoC 2008

• It is important to understand Liverpool’s year as European Capital of Culture in 2008 within a wider economic, social and political context

• Historical important port in 17th-19th century

• But later, historic gap in socio-economic performance between Liverpool and the rest of the country

• by the late 1970s and early 1980s the city was suffering the effects of national recession with high unemployment, a low skilled work force and a depleted business sector

• Decrease in population, lack of sense of belonging

Liverpool ECoC 2008

1) The main branded programme of events -‘Liverpool 08’ - and related activity, co-ordinated by the Liverpool Culture Company with a wide range of stakeholders over six themed years, with a budget of £129.9million.

2) The intersection with the wider city regeneration and re-imaging programme, which emerged out of public and private partnerships and was funded mainly by private capital to a value of £4billion over eight years.

• To positively reposition Liverpool to a national and international audience and to encourage more visitors to the city and the North West

• To encourage and increase participation in cultural activity by people from communities across Merseyside and the wider region

• To create a legacy of long-term growth and sustainability in the city’s cultural sector

• To develop greater recognition, nationally and internationally, for the role of arts and culture in making our cities better places to live, work and visit

3)The broader European context involving European Commission (EC) guidelines and engagement with ECoC stakeholders from the rest of Europe. Liverpool received discrete funding of just over £800k from the EC to support directly the European dimension of the Liverpool ECoC.

Ecosystem approaches: governance

• How can we coordinate such an ecosystem?

• The presence of an ecosystem approach was evident in the governance body of the ECoC, the Liverpool Culture Company

• The governance changed over time (from 14 members in 2000, to 21 in 2003, to 28 in 2005 and finally reduced again in 2007)

Liverpool ECoC 2008

• The Liverpool Culture Company was the managing and commissioning body for the Liverpool ECoC (organisationreplaced by the Culture Liverpool and Tourism business units within Liverpool City Council in 2009)

• The term Liverpool ECoC events is used to include all activities delivered by, directly funded by or procured by Liverpool Culture Company, with the specific exclusion of those activities undertaken by organisations as part of their Regularly Funded Organisation (RFO) response rather than with additional Liverpool ECoC specific funding.

Governance composition

Liverpool culture

company

Liverpool John

MooresUniversity

City Council and

opposingparties

senior figures from

otherbusiness

sectors (not cultural)

local media representati

ves(including

BBC)

Representatives of local

cultural institutions

Representative of

tourismsector

Representatives of local associations

Citizens were not involved in the governancestructure (onlythrough associations’ representatives) but wereactively involved as volunteers, audience and with targetedinitiatives throughout the ECoCimplementation and deliveryphases

E.G. Creative Communitiesteam, and its work across the communities of Liverpool from 2005 onwards => they were involved in the design of the events and their management

• 971 active volunteers for the ECoC• 8,770 people had signed up online

to be 08Ambassadors

Results of the ECoC 2008

• 7,000+ activities in 2008

• An audience of 9.8 million

• 80%+ of audiences rated the events ‘good’ or ‘very good’

But also long term results for the city and the Merseyside area

Results of the ECoC 2008

• Liverpool’s approach to ECoC governance was the result of extensive partnership across public, private and third sectors:

• This has contributed to the repositioning of culture as more central to cross-sectoral agendas, and reflected in the city-wide cultural strategy for 2008 to 2013

• There were 1,683 creative industry enterprises in Liverpool employing 11,000 people => growth of 8% in the number of enterprises since 2004

• 68% of UK businesses believed the ECoC had a positive impact on Liverpool’s image

• 85% Residents agreed that the city was “a good place to live” (a 20% rise compared to before the the ECoC )

STRONGER CULTURAL IDENTITY AND SENSE OF BELONGING

development in rural territory

Documents