Peter's Grand Tour

Mamma Mia! It was chilly in Stockholm. Clad in thermal vest, scarf and gloves, I spent three days here, one evening with Josette Bushell-Mingo (long time collaborator of Hope Street and Unity), and husband Stefan Karsberg and their two gorgeous boys Rueben and Joshua. One evening we had a 12 piece Sushi. I liked it so much, the next night I had an 18 piece one. Well, you have to eat when it’s cold... They both work at the stunning Riksteatern (www.riksteatern.se), Sweden’s leading national touring theatre.

Stockholm was Cultural Capital of Europe in 1998. Would I discover something new here? Stories of how arts organisations were engaged in the programme? How they have been strengthened since? How the arts infrastructure is more vibrant now, than in the years leading up to 1998? Well... No.

It seems that when it comes to Cultural Capitals, the name of the game seems to be pretty much the same: lots of expectation, big build up, opportunities missed, all efforts and eyes focussed on the year itself and no thought to, (let alone a strategy for) the future. This said, Sweden is different from the other former Cultural Capitals I’ve visited. It is a wealthy country and invest considerable amounts of money in the arts.

Arranging meetings in Stockholm proved most difficult of all the places I’ve been to, but thanks to Josette and Hanna Fokdal Barnekow, a Danish journalist living in Stockholm I had several interesting meetings with theatre companies, theatre directors performance artists and designers who had been involved in the 1998 programme. I also met two officers at the Arts Council of Sweden - Monnica Lindqvist who’d been part of the programming team and Per Svenson who wrote the evaluation report.

One of the key aims was to revitalise suburban areas and to engage multicultural communities in the year programme. There were differences of opinion as to how successful this was. But there is evidence that the community engagement programmes provided a legacy for the city through the development of new organisations, for example the art gallery in the neighbourhood area of Tiensta, a new circus organisation in Botkyrka, the ReOrient Festival and the Selam Festival (celebration of African culture). There was also an increase in the emergence of new companies working in a multicultural context. One music company was set up that includes immigrant musicians from all over the world, and now living in Sweden. This project continues.

The 1998 programme had its share of locally produced work and international artists invited to present work comprising multi-media performance, theatre and dancing. Queen Silvia Sommerlath and King Carl Gustav attended events, giving the events an added touch of regality. I wonder if Her Madge will be amongst the crowds on Lime Street tapping her foot to the beat of Ringo’s drums atop St. George’s Hall.

The venues were given additional funding for the year to bring more international work to the city and there is agreement that the year brought an international focus to the city. But, as is the story everywhere else, “no-one thought beyond 1998”.

There were a number of criticisms of the Cultural Capital organising company, particularly in respect of the unclear procedures employed for small/medium sized organisations to propose projects for inclusion in the 1998 programme. They found themselves under attack for not being transparent in their decisions to accept or reject proposed projects. This meant that some organisations felt excluded from the programme. It seems like there were a number of battles during the year with questions raised as to whether Stockholm was worthy of being Capital of Culture. I hope we don’t face our own series of mini-Waterloos in Liverpool next year.

I met Peder Bjurman, a writer and director and long time collaborator of Robert Lepage who first came to Stockholm in 1994 and returned in 1998. Sadly he does not continue to present work in the city. Peder is currently developing a production agency - Loco-Motion - for small to medium sized theatre companies (www.loco-motion.se) and is aiming to establish a ‘creation centre’ in a disused warehouse. It would appear that the organising company of 1998 did not establish any long term sustainable structures for the small/medium sized companies and they felt as though the year and subsequent years had no benefits for them.

1998 and the years that followed had a positive impact on artists Bigert & Bergstöm (www.bigertbergstrom.com) who were commissioned to produce, what turned out to be a controversial, installation in a shop window. The exhibition, “Deathwatch”, featured the underwear of executed prisoners. It caused a stir amongst the staff and the public (Is it art? Should it be funded as part of Cultural Capital?) but it made the public more aware of the duo and it inspired them to produce a film continuing the theme of the installation.

On the subject of strange sights... I encountered one as I made my way home one evening. Two women walking down the hill grasping ski poles. No skis. No snow.... Another unusual sight was the absence of  chewing gum on the pavements. Quite remarkable.

But the strangest phenomenon of all was that the off licenses close at 6pm. Except for Friday and Saturday when they remain open until 7pm. As the minutes ticked by and my meetings ran on, my desire for a glass of wine increased. I was close to sending out an S.O.S. to ensure I didn’t miss closing time.

I was head over heels to be in the land of the Swedish Super Troupers and of course, a visit to Stockholm wouldn’t be complete without a visit to the Abba Museum... Sadly, it doesn’t open until 2009, A-ha. Until then, so long Stockholm. I do hope to return to see it.

As I returned to England I overheard two English blokes who’d done an appraisal of an organisation in Zagreb. They were discussing the danger spots of the organisations corridors and public spaces... cables loose on the floor, other obstructions, no warning signs and so on. I’d almost forgotten about risk assessments and all that. One of us had to move away before they had to do a risk assessment on my blood pressure rising. As we walked through the gate to the aircraft, we stepped over large puddles created by the 72 hour downpour there’d been in the city. I wonder if someone had done a risk assessment for them?

Wizz Air has been the most efficient and speedy check in, and my flight from Liverpool to Gdansk had the most welcoming, attentive and friendly of all the crews I have flown with during this tour. They made the journey and arrival to Poland most enjoyable.

Gdansk is one of the 6 Cities on the Edge cities (along with Bremen, Istanbul, Napoli, Marseille and Liverpool). It is also bidding to be Cultural Capital of Europe in 2016.

My visit to the city was to meet with arts organisations and artists interested in developing links with Hope Street for its 2009 or 2010 programme, to look for opportunities for Liverpool’s artists to work with organisations in Gdansk and to explore ways in which we can jointly develop projects that complement the Cities on the Edge programme.

As in Liverpool, there is some uncertainty amongst artists and organisations as to what the programme actually is. Local organisations told me that there have been a number of meetings in the various edgy cities and all are eagerly awaiting the development of projects.

I met with some organisations linked to the programme, funded by Gdansk city council, and with independent organisations, and with an independent film maker.

There are nine Gdansk City Cultural Centres dotted around the city. They’ve existed for 40 years and each has its own artistic policy. The one I visited had recently held a conference focussing on how arts can be used as a tool for inclusion. The Centre for Contemporary Arts centre promotes exhibitions, experimental music projects and short films. It also provides workshops ranging from master classes to workshops for children. One of its priorities is to eliminate the gap between the old city and the area it is based in created by a main road that tears the two parts of the city apart. The area is described as being in need of revitalisation and regeneration. The arts centre plays a vital role in engaging the community in the arts.

The independent organisations are the ones I consider to be the most likely collaborators with Hope Street and associated artists. The Baltic Cultural Centre (www.nck.org.pl/eng/nck.php), not unlike Hope Street, describes itself as a selfless organisation that puts artists and their opportunities first. It identifies projects for artists to engage with and organisers festivals, exhibitions and exchanges. It is based in the only building to survive the flattening of the city during WW2.

Kultura Miejska (www.kulturamiejska.pl/) is a newly established organisation based in the old Heineken brewery based in a fast developing area, 10 minutes drive outside the centre and experiencing multiple levels of deprivation. The organisation has developed its mission and is now developing its programme for 2009. In December it stages a sound installation that will be broadcast using the original sound speaker installed in the factory. The installation has been created by a local sound designer and integrates the sounds of London with the voices  of Polish people, qualified doctors, solicitors and so forth who, desperate to find employment have left their country to find a better life and are now living in London working cafes and bars.

And finally, the Artists’ Colony, the most exciting and inspirational location for an arts organisation. Based in the former Shipyards of Gdansk, some of which are still operational, but many of the grand industrial buildings are now derelict. The Artists’ Colony was set up by two artists who were offered the five storey building by one of the owners of the shipyards; he saw it as an opportunity to revitalise the area through the work of local artists. The colony is run on a voluntary basis and provides artists’ studios, research and development opportunities, residencies for artists, performances and exhibitions.

We’re hoping to work with a designer from Gdansk in 2008 on the Hope Street Market, a street theatre extravaganza that we’ve been commissioned to produce as part of the Official Liverpool 2008 Programme.

Being on the Baltic Sea Coast provided the added advantage of the most delicious fish restaurants. I splashed out (excuse the pun) and had Oysters, Mazurian Sander and a fish soup. Yum.

My time in Gdansk was interesting and inspiring and in the main relaxing. It was spoiled only by the ongoing appalling service from my mobile phone provider - 3. My advice to anyone considering taking out a contract provided by the Mobile Phone Company based in Blackpool and 3 based in Glasgow, is DON’T. I was told my contract would cost me around £45 per month to phone and text anywhere in the world from anywhere in the world. I was lied to. It has been costing me around £130 per month. You have been warned!

Waiting for the train at Lime Street I finished my coffee and looked for a waste bin. I’d become used to places like Bucharest, Rotterdam and Istanbul where in the metros, tram terminals and train stations you can dispose of litter in bins. (In Berlin, they even had recycling bins on the station platforms). I’d also got used to airports in major cities where you can drive right up to the door of the terminal.

I guess these privileges are something you have to live without, when your country unjustifiably (and illegally) invades another and thus makes its own citizens vulnerable to terrorist attacks.

In my original plan, I’d scheduled “a week of reflection and evaluation - on a beach somewhere”.... That beach was located in the south of Turkey in the ancient city of Side (pronounced ‘see-deh’), home to the Temple of Apollo where Mark Antony proposed to Cleopatra. It’s a stunning part of the Mediterranean region. I came here some 15 years ago. Since then they appear to have widened the promontory to accommodate more clothes and jewellery shops, built a new harbour and erected more ruins.

They’ve also lost the knack of cooking Turkish food. Thanks to foreign tourists, the menus boast All Day English Breakfast, Schnitzel and Pizza. To my despair, I read the board outside one restaurant: Today’s Special - Liver, Bacon and Onions with Mashed Potato. Eavesdropping a conversation between two English couples I was amused to hear them rave about the quality of the Steak & Kidney Pies served at the Britannia and Red Lion restaurants.

I visited Asia Minor’s best preserved ancient theatre at Aspendos which is just awesome. I also visited the beautiful waterfalls at Kursunlu, (where they filmed the Timotei Shampoo advert) and the ancient city of Perge. It’s a remarkable site, even though only 30% of it has been excavated. My imagination re-created the hustle and bustle of the city 2000 years ago. But these images were shattered by the noise of planes taking off or landing every 10 minutes. And I wondered why they built the city so close to the airport...

This day of culture was sandwiched between days of evaluation and reflection - evaluating which shade of brown on the Dulux colour chart I’d achieved, and watching the reflection of the sun on the sea...

Unfortunately there was no beach where you can throw caution to the wind and your buns to the sun. The photo caption here has the same words as one I used earlier in the year. In Dubrovnik the caption was: “No tan lines”. In Side the caption is: “No! Tan lines!”

By the time I left Rotterdam, I was on my last legs... I was physically exhausted following my visit to 22 cities in 10 countries. I’d flown in 24 planes, travelled on 21 trains and been hither and thither on countless trams, metros and buses. I must’ve also walked around 100 kilometres since May... Am I complaining? What do you think? I’d do it all again tomorrow. And for those of you who know me well... no mention of taxis??? I’ve actually got quite good at the public transport thing... What’s more, I’ve enjoyed it. I can count the number of taxis I’ve taken on one hand!

Lille and Glasgow are always held as the pinnacle of success whenever Cultural Capitals are discussed. Their year of culture heralded the beginning of the cities’ reinvention and regeneration. So I looked forward to discovering what Lille’s secret of success is and moire importantly (to my area of research) how the small/medium arts sector was involved and how organisations have benefited since.

Perhaps Lille’s success is simply down to its commitment to involving local people at all levels. From the beginning of the year Lille was a Cultural Capital for the people. Unlike most (possibly every) other Cultural Capitals, where it is the ‘great and the good’, the ‘ViPs’ that attend the launch and the prestigious events, Lille invited its citizens to the launch event. 600,000 attended.

I met with a number of people who had been part of the 2004 team and they believed that another success factor was because Lille 4004 worked directly with artists and that there were two levels of operation: international events and local participation: the two complemented one another.

2004 continued to be a huge success for the city, turning its fortunes around. No longer was it considered as the Crewe of northern France, where “the only reason to stop in Lille was to catch a connecting train”. The only problem that Lille had it seems, was how to capitalise on the enormous success of the year. The answer is Lille 3000 (long term vision, indeed!). Lille 3000 is an ongoing programme of events and activities. There is no self imposed pressure to run a festival every year or every two years. In 2006 the theme for the city was India; the ‘Bombayers of Lille’ event attracted 1 million visits. The next 3000 year is 2009 which will celebrate Eastern Europe. The volunteer programme for 2004 was considered to be one of the successes of the year. The city now boasts double the number of volunteers and includes many of those from 2004.

A major programme of 2004, celebrated by the city council, the Lille 3000 team and the Cultural Capitals experts, was the establishing of the culture centres called Maison de Folie. Disused factories and similar buildings in and around Lille were renovated and founded by the city council. They programme exhibitions, dance, theatre and provide residencies for artists. The staff are employed by the council and 100% of the funding to run each of them is from the council. This was not intended but has become the reality. Since 2004 two have closed. I visited one and was impressed by the enthusiasm and energy of the director, and of the role that the Maison de Folie are intended to play.

Because of the impact of culture on the city, the council made a commitment to increase budgets for culture in 2005 by 10%.

Now to the small to medium sized arts community... Firstly, they have not received any of the 10% increase in funding; they believe the additional funding was directed to the Maison de Folie and to the larger institutions - Théâtre du Nord for example.

There are around 35 professional small scale theatre companies in Lille and the two neighbouring cities; a total of 100 in the entire region. The majority had no connection with 2004; there was little communication and a feeling that Lille 2004 tried to impose its ideas onto the companies. Some were angered by the whole event, saw it as an opportunity only for the larger organisations and were frustrated that so much work was imported.

There is belief that for the arts sector, 2004 was a missed opportunity. There was no investment in the infrastructure and it would seem that it had no positive impact on the small to medium arts sector - “it’s as if it never happened”. Some expressed disappointment that 2004 was for the tourists and for people outside the city, not for the people who lived in the city. This said, there was agreement that 2004 focused the spotlight on Lille; that Lille 3000 is a real and tangible legacy and that this bodes well for the future of the city, including the arts community.

There are also concerns from artists, arts organisations and theatre companies that the Maison de Folie, whilst a good idea for engaging with communities in  2004, are now “a waste of money, sucking in too much public funding”, and that they are “dangerous for the small scale theatre companies” as they don’t have the funding to pay professional fees for visiting companies. They were initiated as places where artists could meet, but it would appear they don’t fulfil this function.

Although they are pleased that disused buildings were renovated, one could ask whether this was at the expense of the established small and medium sized theatres and organisations in the region. I visited five such places: theatres, artists centres, a school for professional actors. None had received funding to develop their spaces. One was so in need of renovation that it cannot produce its own work in the theatre and instead can only tour. I asked the question repeatedly, and it was one that was voiced on numerous occasions: Why did Lille Ltd invest in new spaces rather than strengthen what already existed?

Of the organisations I visited, two made a real impact on me: La Malterie and Théâtre de Licorne. The former is a converted brewery and is in on the outskirts of the city. The organisation doesn’t have much connection with local community but is accepted as part of it. The organisation provides artists’ studios (there are 30); a rehearsal studio for artists to do research and development (with no pressure to produce; much like the Jude Kelly Metal project in London and Liverpool). It also provides a professional development service for artists, not unlike that at Hope Street. In all, there are 100-150 artists based at La Malterie at any one time.

Théâtre de Licorne is a stone’s throw from Maison de Folie in Wazemme. The space was steeped in history, its architect the same as the designer of the Eiffel Tower. The Artistic Director was an inspirational character, passionate about the theatre and the work produced by her company. She told me that since 2004 touring internationally has become less difficult as the company can carry the ‘Lille 2004’ brand, and she stressed that Cultural Capitals are not just about urban regeneration and changing the face of the city, they are about developing the artists and the artistic producers of the city. I agree 100%. For if we are not strengthened, who will facilitate the engagement of vulnerable people and excluded communities in arts and cultural activities? The politicians? The policy makers? The social services? I don’t think so.

Being escorted to the correct platform/tram stop by young women continued. A technical fault between Utrecht and Rotterdam meant that all trains were cancelled. Several people ensured I got to Rotterdam eventually (via Amsterdam), but it was dental nurse, Samantha who directed me to my hotel when we finally did arrive.

Rotterdam started to make sense of my European tour. The links and connections started to mesh... I met my host, Else Petersen (Dansateliers) at the Dans Festival in Sibiu. I also had lunch with Mete Erke a musician who I met at the former Porcelain Factory in Pécs. He introduced me to another artist who was able to tell me of the impact on individual artists. And I also visited an artist led foundation where Volksrekorders, who I’d met at the UrbanFestival in Zagreb, were based. See how it’s all coming together....?

Rotterdam shared the title of Cultural Capital with Porto in 2001. I was hoping that the stories I’d hear would be more encouraging and that the impact on the small and medium scale arts sector was more positive.

I’d met former Artistic Director, Bert van Meggelen in Essen. He gave me an overview of the year and how he perceived the impact on the small to medium sector. He claimed that the year raised the expectations of arts organisations and that artists were inspired by the international work presented in the city. He described the development of one of the disused piers as a film centre, and that whilst this was a very successful venture, it was inspired rather than being strategically planned.

He told me that the year was of benefit to visual artists and theatre makers and designers working in the small scale and that the year led to the successful development of the Rotterdam Festivals. He had approved the development of this series of festivals only if they guaranteed they’d continue for at least five years. In 2007 the festivals are thriving...

I met with many actors, film makers, producers, musicians, designers, choreographers and arts managers in the city. Scapino Dance Company was often mentioned as one of the small organisations  commissioned to develop a piece in 2001 and have since benefited.

But for the majority, it would appear that 2001 passed them by, with little or no impact. I was told repeatedly that the year had virtually no connection wit the majority of  small to medium sized organisations and that they continued to deliver their usual artistic programme, almost parallel to official programme. Many claim that they are neither better nor worse off as a result of 2001. In terms of funding, it would appear that investment in cutting edge work produced on the small scale is on the decrease.

There was a general impression that the call for projects required organisations to present something completely new - [how often in the England do we suffer from this attitude from funders?] - and that too much funding was directed to marketing (“all we see is banners everywhere”). Many working in the independent small/medium arts sectors believed that the majority of the 2001 programme was provided by the 2001 organising office, and that this is where most of the additional funding for the year went. It is also the view of many that the year was “more about popular culture”, “high arts”, and “what would attracts tourists to  the city”. There was a feeling also that local people suffered from an ‘overdose of culture’, that there was too much to see during the year.

The arts infrastructure appears to be strong in the city. Dance companies and agencies communicate effectively, as do theatre companies. There are also the fascinating artists’ foundations (Kumtk Complex, Kam Australis, Wilde Weten, Duende Stichting and B.a.D) who until 2001 didn’t communicate, but have since strengthened their links. There is a differing of opinion as to who initiated these closer links and effective communication. The arts sector claim it was they who initiated the networking. Others, once associated with the organising office claim the stronger links was a result of 2001. I don’t think it really matters. what’s important is that the organisations communicate and this strengthens them individually and as a sector.

Despite organisations in the main claiming that the year had made no impact, one artist who had lived and worked in the city all his life told me that 2001 established a respect for small scale organisations and developed their understanding that it is essential to invest in, and nourish the ‘roots’ of the arts, otherwise the work produced ‘at the top’ won’t grow. There was a recognition that much of the work produced by the large scale organisations is almost always influenced by the small scale cutting edge work.

The artists’ foundations are interesting. Most are now legal enterprises, but started off with squatting rights in a diverse range of buildings in the city. B.a.D based in the south of the city and home to a dozen or more artists and organisations (including Volksrekorders) have been squatting in the former domestic science block of a school since 1991. They are legal squatters and are have integrated well with the local community. B.a.D houses artists studios, making spaces, rehearsal rooms, living accommodation. The organisation hosts artists from all over the world  and work is produced in and outside of their own space. The day I visited was the monthly ‘maintenance day’ when all the users of the building give their time freely to do essential maintenance, cleaning and odd jobs. something I think will become a feature at Hope Street when next year. Roll your sleeves up, Momentum, Jessica Bockler, Tanushka Marah, Ullaloom, Fool’s Proof.... oh, the list is endless!

Perhaps one of the city’s most important legacies from the year is the work developed in 2001 by Caroline Dieleman, who was responsible for the community engagement programme. There was already a history of arts work in communities prior to 2001 but there has been an increase since. It is perhaps in part due to the work developed in 2001 and the ever changing multiculturalism of the city that has meant that social inclusion and community engagement within the arts has leapt up the city’s agenda. The newly elected city leader has stated that all organisations need to include an element of community engagement in their artistic programme, otherwise they will not receive city council funding. Good intentions, but what about the organisations that are excellent at making art - in whatever form - but may not be good at working with vulnerable individuals or excluded communities. They exist in Liverpool so I’m sure they exist in Rotterdam and other cities. Making all arts organisations work with communities is not always appropriate and can be dangerous.

I realised I must be getting close to the end of the sabbatical... There were reminders of Liverpool and Hope Street around the city, not least the exact same font that the hotel I stayed in used for its logo as the font that Hope Street uses. Uncanny. (I've also returned to writing detailed reports... Sorry Alan).

* I asked numerous people why the country is called the Netherlands and Holland. I was given satisfactory explanations, which I won’t go into - check it out for yourselves). But an unanswered question is: If the English speak English, the Germans speak German, the Italians speak Italian (and so on), how is it that people from Holland/Netherlands speak Dutch? No-one could answer this.

My original schedule did not include Essen, but having visited the other two cities that will be Cultural Capital in 2010, I wanted to complete the hat-trick. Thanks to Beatriz Garcia, Director of Impacts 08, I did. Beatriz was speaking at the ‘Change through the Cultural Economy Conference’ and arranged for me to be invited. It was a good opportunity to meet a broad range of people from the region. This didn’t prove to be too easy initially as the conference organisers had requested that no delegate list be circulated prior to or during the conference. This was frustrating as I only had a short time to ‘work the room’.

I learned that it is not just the city of Essen that will be Cultural Capital, but the whole Ruhr region comprising 52 cities. My immediate thought (and I’m ashamed to admit it) was a branding concern. Already, in other parts of Europe, it is Essen that is referred to as the Cultural Capital 2010. But here it is Ruhr 2010 that is referred to. I hope this potential brand problem does not misdirect too many Euros from the arts and culture...

I was impressed by the Ruhr’s strategy which seems to focus on building and strengthening the arts infrastructure, attracting artists to the city, putting culture high on the agenda, and planning for the long-term. They seem to have noted lessons from Berlin (“a big party”, resulting in no legacy) and Weimar (a reflective year; “the city became a museum”).

It appears that Ruhr 2010 is providing the impetus for the 52 cities to unite and to become a new and dynamic metropolis. The whole Cultural Capital programme will be linked to urban development.

The Ruhr 2010 team is regularly consulting with artists and arts organisations as to what they want and what their expectations are. A consultant for the team stated that they want to ensure that the projects that are developed have the backing of artists. There are up to 25,000 artists in the region (total population 1.2m), and that they have a dialogue with around 2,000 of them. The team is also staging ‘matchmaking’ events that introduce artists to individuals from other sectors - the world of business, banking etc. A good example of how sustainable relationships can be developed between sectors. It is also planning to invest in them by providing free internet services so that they can communicate more effectively and market themselves better.

Maintaining the enthusiasm of the artistic community will be a challenge. They are welcoming project ideas and so far they have received over 1,000. Clearly a lot of projects will not be realised and it will be difficult to maintain this enthusiasm amidst widespread disappointment.

An ambitious project to be realised will be a 6 part production of The Odyssey. Each of the 6 regional producing theatres will stage a section each. This was an initiative proposed by one of the theatres and is supported by Ruhr 2010. It is the first time that the theatres have ever collaborated. It would appear that the theatres have a confidence in the Ruhr team to produce this event and the Ruhr team is 100% behind it. It almost reflects the ethos of bringing the region closer together.

One concern that was voiced though, is that there may be negative fallout from 2010 and that some theatres may be forced to close through lack of investment and future subsidy. There are also questions as to whether there is a need for so many theatres of a similar size and function in the region. When I met with one of the theatres I told them of the work of LARC and suggested they look at is as a model.

I met with numerous arts managers, artists, independent theatre companies and producers working in the larger theatres in Essen. Those working in small scale touring theatre and smaller arts organisations voiced their support of the Ruhr 2010 team and a confidence in the strategy. They felt a high level of confidence that 2010 will make a positive difference to their creative development and to their future sustainability.

Across all sectors - small and large scale arts organisations - all emphasised the need for the year to be about developing models that will continue, strengthening the infrastructure, investing in what exists and growing it and investing in artists. on this last point, it was highlighted to me that investing in individual artists and smaller organisations is often not prioritised and that the majority of funding is directed to the larger, building based institutions. The balance, or rather imbalance, needs to be addressed.

There is an optimism about the future, not least that the political landscape won’t change. The Social Democratic Party has a strong hold in the region and it is unthinkable that the party will lose control (cf Porto, Thessaloniki). Thus it needs to ensure that it thinks about the future. If it is embedding culture into the very fabric of the city and valuing it in the lead up to and during 2010, it needs to continue to invest in culture and not reduce funding post-2010. I hear this echoed everywhere I go, but to date I have not heard of a local authority continuing to invest significantly in culture after its big party year. Please, can Liverpool be the first to do this....? It would would be quite revolutionary and demonstrate a city council’s commitment to culture beyond its special ‘party year’.

Essen had some of the common traits of a Cultural Capital (particularly the larger urban cities for example Liverpool, Glasgow, Rotterdam) - high levels of unemployment, a city that has had wealth followed by huge economic collapse, home to a World Heritage Site and pinning a lot of its future on what Capital of culture will bring to the city.  

Earlier I pondered whether Sibiu was the world’s largest creation centre. I can now answer that it isn’t... I visited what MUST be the largest: Zeche Zollverein, a former coal mine, now a creation/cultural centre, declared a World Heritage Site. It is one of many factories and industrial spaces that were developed as culture centres with state subsidy at the end of the 1980s. The Zollverein houses the world’s largest contemporary art exhibition, a casino, restaurant, artists spaces, theatre, museum and more - as well as being a tribute to its original function and its former workers. Whilst it is hugely inspirational, I heard more than once how it has no connection with local people. In an area of high unemployment, and as such a central part of Essen’s cultural life, I’m curious as to why this can be and how Ruhr 2010 will (and it must) change this.

My final day in Essen was hosted by the Ruhr 2010 team. I’d particularly like to thank Susanne Skipiol, who had taken over the role of assistant to the international director, Professor Schmidt. This was her second day in the post and she looked after me including escorting me to the station platform to make sure I got on the right train.

As we made our descent at Tempelhof Airport, I was certain we were going to land in someone’s back garden. The airport seems to be right in the middle of the city. Close by were boating lakes, rivers and forests. I learned on a tour of the city that water sports are popular in Berlin and that pigs can be seen walking the streets. I looked forward to a weekend of surprises.

The tour of the city recounted Germany’s history form WW2 to present day. The account of the division of Berlin, with barbed wire overnight, in 1961 and the subsequent building of the Wall, caging the residents of East Berlin in for nearly 30 years sent chills down my spine. Many escaped. Many were shot dead. It’s the first time I’ve been to Germany. It was disturbing to see the destruction of the city, but encouraging to see how it has totally rebuilt itself not once, but twice in 60 years. There’s a bombed out church here, Liz the Lunch. Interesting project for USL in future years?

I was only in the city for two days but met with several people working in the creative sector. Few had memories of 1988 when West Berlin was European Capital of Culture. The only surviving memories were of a huge party and no investment in the future of the arts.

I wonder if Capital of Culture has a ‘shelf life’ of around 10 years - 4 before, the year itself and then the 5 years of recovery and rebuilding afterwards. Perhaps Guimaeres 2012 is on to something. Of course there are lasting legacies, development of skills; renovation of old, and construction of new buildings; opening of minds and eyes.

For Liverpool (2008) it is considered to be as the saviour of the city. Perhaps we are depending on it just a little too much. For Istanbul (2010) it is an opportunity to strengthen its position to become an EU member state and to engage local people in the arts. For Sibiu (2007), it is riding the crest of a wave. For Thessaloniki (1997) there was a legacy of 5 years. For Graz (2003) it was a year that they are only just recovering from now. And for Porto (2001), it is best forgotten.

I’m not a fan of musicals, but I thoroughly enjoyed Roman Polanski’s production of Tanz der Vampire, a brilliant musical with music by Jim Steinman (he what wrote Meat Loaf’s good songs). I also met up with an opera singer friend who I met in Croatia, who introduced me to some of the nightlife in Berlin. Quite a musical weekend. I was in Berlin on 16th September, the 30th anniversary of Marc Bolan’s death. As I walked the streets, I saw a poster for Suzi Quatro and the Sweet in concert. I wonder if T.Rex would still be dragging themselves around the 70s nostalgia tour circuit? I wasn’t quite sure who the Sweet would be. Brian Connolly and Mick Tucker (singer and drummer respectively) died some years ago, and Steve Priest lives in America and doesn’t do the nostalgia thing.

I connected with Berlin. I’m not sure whether is was the stunning modern architecture; its history and recovery, or that Germany produces the best EuroDisco music! Maybe it was the free and easy attitude, the openness. Maybe the friendliness of the people.

Maybe I was connecting with some of my heritage. For years my family thought that my maternal great great great grandparents, Esberge originated from Scandinavia. They didn’t. They were from Berlin. And after visiting here I was chuffed that they were.

Ich bin ein Berliner. Well, I’m not but I did eat one.

I took the train to Graz. Beautiful scenery - wooden houses, snow capped mountains, lowly goat herds, men drinking beer... Having banished Ultravox from my internal iPod, I now had Julie Andrews on a continuous loop.

I saw the huge station clock. I’d left Vienna at 2pm; the journey to Graz was three hours, yet the clock said 7pm. I then noticed that the clock was transparent and mounted on clear glass. It was 5pm. I walked through a door, above which was the sign ‘Tourist Information’. I queued, walked to the desk, asked the kindly gentleman for a street map. He told me they don’t have maps. I asked if this was Tourist Information. “No”, he replied, “Tourist Information is the phone over there in the corner”. He then gave me a street map. A very disorientating welcome to the city.

Things got better. Graz (population around 220,000) was Capital of Culture 2003. It’s a beautiful city and boasts four contemporary structures including the Cafe in the River, and the Künsthaus - both funded by the Cultural Capital of Europe programme, managed by Graz 2003 Ltd. Both buildings opened in 2003. More later.

It has a thriving small/medium arts sector and I visited as many organisations as I could. I’d set up three meetings prior to my arrival and inevitably each meeting led to a further three. I’ve found that this is the best way to establish a varied and focussed programme. Too many pre-organised meetings through internet/e-mail limits the possibilities. My two key organisations in Graz were Theatre im Bahnhof (TiM) and IG Kultur who are at the centre of the small/medium arts sector. TiM was also a co-founder of a networking organisation Das Andere Theater, set up in 1998 and the closest I’ve found to SMAC (Liverpool’s collective of small/medium arts organisations led by Hope Street Ltd).

There are around 80 (mostly unfunded theatre companies). I attended the Best Off Styria Festival (Styria being the surrounding region) and saw one or two productions each day (www.theaterland.at). I also met with the directors of a number of festivals and organisations including Tanz & Theater Zentrum, Steierischer Herbst’s International Theatre Festival, Forum Stadtberg and Theatre am Ortweinplatz. Individuals who informed my research were Eberhard Schrempf (Graz 2003 Ltd, Producing Director), Hansjürgen Schmolzer (Graz 2003 Ltd, Marketing Director) and Thomas Wokinger (member of the programming team for youth and young people and culture journalist).

Of course there a differing opinions of the impact 2003 had on the arts infrastructure. One thing was agreed by all: no thought went into what happened to the arts and cultural life of the city after 2003. Everyone’s efforts were focussed on the year itself. No cultural strategy was written, no-one from the local council took responsibility for art and culture and no money was invested in sustaining the small to medium arts sector.

The ‘party’ in 2003, according to the majority was fantastic; all local arts organisations and artists were involved (though some not in the way they thought they would be); there was a sense of real celebration of arts and culture.

The ‘hangover’ kicked in towards the end of 2003 and it lasted for two and a half years. Artists and arts organisations were left exhausted and burnt out. Many of those employed by Graz 2003 Ltd. moved on to other jobs and all but the large institutions (the venues and government cultural institutions) received cuts of around 5% from the local council each year. The larger institutions continue to receive increases of around 1% each year.

Like Porto, the political party changed from left to right after 2003 and so the debt and problems that arose during 2003 were blamed on culture, leading to a disinvestment in culture by the newly elected local government. An auction of props and scenery at the end of 2003 was meant to benefit emerging artists. Instead, the 100,000 Euros raised went to the council to help pay off the debt.

One person I spoke to regrets that the council and politicians were not more courageous. They took the easy option of investing money in large scale ‘impressive’ buildings and photogenic large events (cf. Thessaloniki). Instead they should have invested in the small and medium arts organisations and theatre companies and into developing and strengthening the arts infrastructure.

During 2004 and 2005, when the ageing artists (thirty to forty-somethings) had exhausted themselves, there was an uprising of young artists, a subculture (that had had no connection with 2003) who began to make new and exciting work. This was not planned for but it breathed new life into the arts and is something that I felt excited about, that we can actually prepare for this in Liverpool - after all, it’s one of the things we do best. We just need to make sure there is investment and there is a commitment from funding partners and politicians.

It is agreed by all, that the professionalism of all the small to medium organisations was aided by 2003, but not necessarily artistically. Few felt that the quality of production had improved, and this is regrettable as this was a golden opportunity for arts organisations to increase their levels of artistic quality. But all felt that improvements had been made in evaluating projects, financial accounting, managing larger projects, marketing and liaising with the press. All important of course...

Just wait until they discover risk assessments...

As I step up onto my Health & Safety soap box, I recall the evening at Theater am Ortweinplatz’s production of “Kabale und Liebe”. The theatre was full. Once all the seats were filled, the front of house staff brought out extra chairs and put them in the aisles. Once all the spare chairs had run out, people sat on the steps of the seating block. Everyone got in, everyone thoroughly enjoyed the play and no-one died. This time...

After the ‘hangover’ things have finally begun to improve. I was encouraged by the energy and enthusiasm of all the arts organisations and artists, who understood that after 2003, things were going to take a dip. It would seem things are back to what they were around 2001/2002.

Graz helped me focus on what Liverpool’s future strategy should be. We need to give the ‘legacy’ some substance and we can do this through the collective work of LARC (Liverpool's Big 8 cultural organisations - the building based ones)and SMAC. We have a direct route into the Cultural Strategy. We have a voice. No doubt we will be heard, but it’’s more important that we’re listened to.

The advice given from the artistic community here was that Liverpool should invest in its future generation of theatre makers and artists, it should focus on 2009 and beyond and concentrate its effort on developing a cultural strategy that invests in the future of creativity in the city, and that there should be investment in the small and medium sized sector on an equal level to the larger organisations. I’m looking forward to feeding this information into the strategy. But I can wait. The journey’s not over yet...

On my last day in Graz, I heard the news of another shake up at Liverpool Culture Company that Phil Redmond has become Artistic Adviser to the 2008 programme and that the leader of the council, Warren Bradley has been appointed Vice Chair of a greatly reduced board of directors. I hope things settle quickly and everyone gets on with the important business.

As I sent my thank you e-mails I recalled the two part question posed by Victoria Kaup-Hasler, Director of the International Theatre Festival here in Graz:

Culturally, where will Liverpool be in 2015? What will be its future archive?

The answer should not be, “only time will tell”. The answer(s) should be embedded in the cultural strategy. Let’s learn from others’ successes - and not make the same mistakes. It’s not going to be easy, but it’s not rocket science.

After the 35 degrees heat of Thessaloniki, I arrived in Vienna at four in the morning and was welcomed by a torrential downpour. As we alighted the plane, we walked in the cold air, collected our suitcases and made our way out of the airport. I stayed in the newest hotel in Vienna. The shower was a design feature in the middle of the room. Dead posh!  

I arrived the same day as the Pope. He too stayed for three days. The service was screened live, as the rain poured down. Crowds assembled in Stephanplatz and watched on three or four big screens. Each time I visited the square over the next three days they were repeating it over and over. Clearly it was meaningful to those watching, and I respect this. But as a devout atheist, it means nothing to me.

I later learned that he was condemning abortion and encouraging people in Europe to have more babies. He should check out the statistics of teenage pregnancy, the number of abandoned babies and talk to some single mums and dads. No doubt the Vatican will continue to encourage unprotected sex and thereby contribute further to the increase in number of new cases of chlamydia, HIV and syphilis...

To lighter matters... With the exception of one day, the rain poured down and I walked the streets under a cold grey sky absorbing Vienna’s breathtaking architecture - the Opera House, Parliament, the theatres and museums. The mystic and soulful Cathedral, the centre point of the city, looms high above the ground, and its spire (clad in scaffolding at the moment) fades to the distance.

I took advantage of visiting Vienna en route to Graz. It is becoming an interesting (though) not essential feature of the research to visit the capital city in addition to the cultural capital.

Here I met with Andres Beck, Artistic Director of the Schauspielhaus, Vienna’s equivalent to the Royal Court, London. We met earlier in the year and he has assisted with some of my meetings in Graz. He helped contextualise Austria’s theatre structure. The Schauspielhaus is currently being renovated. The rain had caused problems with the electricity, so I only saw the auditorium vaguely from the balcony. Below was a cool empty silence, a darkened space stripped of its seats. I hope to return to Vienna to see the theatre with lights and to see some of the work of Austria's emerging writers.

Oh, Vienna...