Recently in Liverpool, European Capital Of Culture 2008 Category

09.01.10 Liverpool European Capital of Culture ends Pierhead clock illuminated So it's all over, for now. Liverpool has handed on the European Capital of Culture title to Linz and Vilnius, after a rollercoaster year on Merseyside. There have been highlights and muddle, fun, exasperation and exhaustion. The debates and analysis will start soon enough - and we need them, to learn what worked and what didn't - but tonight the thing everyone, people in their thousands and from many communities, came into town for, was a party....

09.01.10 Liverpool European Capital of Culture ends Lanterns on the new Pierhead canal

09.01.10 Liverpool European Capital of Culture ends The Liverpool Orrery at Pierhead

09.01.10 Liverpool European Capital of Culture ends Pierhead buildings illuminated with projections of La Princesse ('The Spider')

09.01.10 Liverpool European Capital of Culture ends Fireworks over the Mersey (The Albert Dock) seen from  Liverpool 1 retail park

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Liverpool Capital of Culture 2008 Liverpool has made much of its community engagement programme during the city's European Capital of Culture year, in 2008. But when does engagement become genuine social inclusion? And does inclusion require empowerment as well as contact? Or is the underlying emphasis on increasing tourism to bolster the local economy enough? This is where opinion in the city divides.

Liverpool, European Capital Of Culture 2008 and The Future Of Liverpool

Great claims have been made for community inclusion during Liverpool’s European Capital of Culture year; indeed, it’s sometimes been hard to identify the ‘European’ element at all, in all the local leadership talk of community embedding and power to the people.

Not all of this is bluff. The Liverpool Culture Company has fielded a team of arts educators and animateurs who have worked hard to produce some imaginative and significant projects, and for that we must congratulate them. Likewise, another team has taken forward work on arts and health, for which substantial success is claimed.

Engagement, inclusion or empowerment?
But when does a degree of engagement become genuine social inclusion? Does inclusion require social empowerment as well as contact? This is where opinion diverges.

For our city leaders, the brightly coloured photographs of smiling children and milling crowds are enough. How much more evidence of ‘inclusion’ do you want?

Bottom up, or top down?
But for some of us, the evidence that real inclusion has been achieved remains patchy. No-one wants to decry some good work which Culture Company teams have delivered; but why wait for 2008 to develop a meaningful culture and health programme, in a city right at the bottom of the well-being league? And is ‘top down’ delivery, determined at high command, as inclusive as the more difficult ‘bottom up’ sort?

It is not Liverpool’s own community arts which received the biggest budgets in 2008. Vast ephemeral ‘events’ have scooped up massive sums, whilst many indigenous local artists outside the Culture Company have had to scramble between themselves, often to ridiculous and shifting deadlines, for a few thousand or even less here and there.

Tourism as the main rationale
Of course the Culture Company have their problems; but arts practitioners who were there before and must carry on afterwards arguably face greater challenges. Their work to be inclusive is geared to much more than large public ‘events’ which have – let us be honest – an increase in tourism as their main rationale.

It’s this which worries me. I’d like the city to treat me as a grown up. If they want to pursue hotel bed counts all out, could they please say so? Could they perhaps say, we know the public events we’re offering are not truly inclusive – you can come and have a bit of fun if you want, and that’s about it – but we need to do it this way, to improve Liverpool’s economic base for everyone’s future wellbeing....?

A focus on the bottom line
Spelling things out like this would emphasise how hard we must all work, to improve the local economy – more skills, no poor service, no attitude.

It would help community arts practitioners understand why their locally focused efforts currently feel less valued than the big event spectaculars.

Treating citizens as grown-ups
And it would say to local citizens, thanks for turning up, we hope you’ve enjoyed the big splashes, and, when all the tourist destination marketing has worked, we will indeed be able to support more genuinely embedded opportunities on your own terms for exciting, local, bottom-up creative and cultural activity.

Now, those messages really would demonstrate that the relationship between Liverpool’s decision-makers and its citizens has become adult and consciously inclusive.


A version of this article first appeared in New Start magazine, January 2009.


Read more articles about Liverpool, European Capital Of Culture 2008 and The Future Of Liverpool, and see more of Hilary's Publications, Lectures And Talks.

Liverpool Tunnel airvent outlet & Liverbirds There can be few issues, at the local level, more pressing than what's to happen to one's city. As Liverpool's European Capital of Culture Year ends, perhaps the new LinkedIn Group on 'The Future of Liverpool' will help to sharpen our ideas.

The Future Of Liverpool

For Liverpool, 2008 has been a year of enormous change, as buildings have come down and gone up, roads have disappeared and re-emerged, and of course the European Capital of Culture has taken, massively, the centre stage.

But now the emphasis must move from these transitions to our longer-term future; new critiques and ideas will emerge and point us in as yet unrevealed directions. And everyone who can will need to be involved; not just those who sit in committee rooms.

To help the debate along a new LinkedIn Group open to all has been formed. To join, simply go to LinkedIn and then search Groups for 'The Future of Liverpool'. Your contributions will be very welcome.


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08.12.18 Liverpool St George's Hall & Capital of Culture Xmas 2008 Liverpool's great St George's Hall offered a splendid setting for the event at which Andy Burnham MP, Secretary of State for Media and Culture, offered thanks and encouragement to the people who had made such an effort to deliver the 2008 European Capital of Culture programme. Volunteers and officers alike congregated to hear the Culture Secretary say well done, and to muse on the challenges of 2009. This he opined, as do many of us, is only the beginning...

08.12.18 Liverpool St George's Hall & Capital of Culture Andy Burnham  at the Thank You Reception 08.12.18 Liverpool St George's Hall & Capital of Culture Thank You Reception

08.12.18 Liverpool St George's Hall & Capital of Culture Thank You Reception

So, after the celebrations, the thank yous and, no doubt, the elaborate analyses of all that's comprised Liverpool European Capital of Culture 2008, what, we wonder, will happen next...?

08.12.18 Liverpool St George's Hall & Capital of Culture Christmas lights for 2008 (09)

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08.09.04 La Machine [The Liverpool Spider named La Princesse] La Princesse, a gigantic metal spider, came to Liverpool in early September 2008. This monster brought huge crowds to the city centre, as it enacted its story of 'scientists' and adventure. But the reasoning behind The Spider was no fairy tale. It was there to attract 'cultural tourism' business to the city. At almost two million pounds, one hopes this was a success. Whether the same can be said for the rational that it engaged people in 'culture' is less certain: at some point real cultural engagement surely also involves empowerment.

Few people will not know that Liverpool, in the early Autumn of its European Capital of Culture 2008 year, has been visited by a Big Spider.

This ‘creature’ (for some indiscernible reason named La Princesse) was constructed entirely of metal, wood and bits of hydraulic and was, it is said, fifty feet high. It paraded in the city centre over the first weekend of September 2008, ‘acting’ out a storyline involving ‘scientists’ who had to do ‘experiments’ to control the gigantic techno-insect.

A European connection
A direct descendant of the Sultan’s Elephant (which suddenly appeared in London in May 2006), another construction from the company La Machine, this creation cost even more – apparently something under £2 million. In both cases considerable sums will have gone into the coffers of the French business which built these monster artefacts.... which by their genesis at least bring a much-needed ‘European’ angle to our singularly Scouse Capital of Culture 2008 activities.

And it is worrying to learn from Artichoke, the UK company which brought the machines to Britain, that there was a serious shortfall in anticipated budget (the sum of £300k to £400K has been suggested). Indeed, a charitable appeal was put out to plug the gap.

Arts budget shortfalls and sensible audits?
What, I wonder, would happen if smaller, less publicly vaunted, arts organisations had proportionately similar shortfalls? And if they started from the premise that they could keep the arrangements to themselves, feeling no pressing need to be particularly transparent about anticipated ‘audience’ numbers, budgets, impacts or outcomes?

I ask this as a volunteer community arts promoter threatened last year with the withholding of one thousand pounds from the munificent five thousand promised (our total budget was around £18,000), simply because of a genuine mistake by a single supplier involving very considerably less than just one pound – and which it took many weeks of my (and others’) unpaid time, as well as hours of city employee activity, to resolve.

Proportionality
Which Council officials, I must enquire, have time and salaried capacity to pursue relentlessly a sum amounting to the cost of one postage stamp? (If nothing else, we can now see that corporately they really don’t understand proportionality in accounting.)

Are these the same people who seem happy to permit the continuation of their own projects when over-running by six figures (predictably, since some – how much? - of this was attributed to the fall of the pound against the Euro)? Perhaps La Princesse should be renamed La Suprise.

The rationale: cultural tourism
It might seem here as though I’ve lost the point of what La Machine’s creations are ‘for’. But I don’t think so. The Spider was and remains at its metal heart a vehicle for marketing and tourism; and perhaps also a justification for the self-laudatory outpourings by the powers-that-be which those of us who live in the city encounter on a daily basis from our local media.

But using ‘art’ promotionally is not an especially Liverpool activity. It happens everywhere, from Glasgow to Vienna to South America; just think of the previous UK European Capital of Culture, or the Vienna Philharmonic, or the Andean statue of Christ the Redeemer. Very different ‘arts’, but given in the modern world (if not in origin) the same message and intent.

Marketing becomes the meaning
What bothers me is when the one and only meaning of an art(efact) is the marketing message.

Our Austrian orchestra and South American statue began in very different ways – one started in 1842 as a celebration of the great tradition of European classical music, and the other as a celebration (in 1904) of a peace treaty between Argentina and Chile, bickering over their national boundaries. Only subsequently have these cultural icons become brilliant marketing tools.

Different 'rules' for different ventures?
So here’s the rub: whilst perforce relatively junior local government officers were (a) assiduously trying to delay – we can all guess why - the payment of the final grand of the magnificent ‘funding’ allotted to my hard-working on-the-ground arts charity and (b) ignoring equally assiduously (they had to) my remonstrations that this sort of behaviour is exactly why many ‘in the community’ give up and walk away from delivering grassroots community arts and cultural activities, other more senior officers were short-cutting to hugely expensive ‘projects’ which amount to a cross between the disneyesque and hard-sell.... which they then self-declare to have been a massive success even before it’s all finished. QED.

I don’t, as it happens, mind spectacle and fun; entertainment in the right places is great. But entertainment is just not the same as real engagement.

Community engagement
Community engagement in the arts doesn’t ‘hand down’ from on high, it nurtures reaching up and out. It is both responsive and self-determining, a laborious (but never boring) process, building slowly on trust and developing each individual’s confidence and skills, both as a performer / practitioner and as an appreciative perceiver of the art/s on offer.

You have to believe in people for the longer term to be a really good community arts practitioner. You have to understand the skills which other artists – not just in your own genre, but across the whole spectrum - and partners bring to whatever you’re doing. You have to be, quietly, really good yourself at what you’re hoping to engage others in also.

Challenge and aspiration
And, even more quietly, you have to be willing to challenge the people ‘in the community’ with whom you’re working; not in a know-it-all way, but in the sense that you are privileged to have seen in the wider world how well things can be done when real effort is made, and you would like that to be reflected in how those you are collaborating with approach their chosen tasks.

No genuine artist ever thinks (s)he couldn’t do even better. ‘The best’ is at the bottom of the rainbow. All any of us can do is aspire.

The Spider's legacy
I’m not at all sure The Spider achieved much in these lights. Its impacts will (I hope) be revealed later. But did it challenge and focus anyone? Did it leave a message for the people of Liverpool? Will it somehow still do so, if plans for its return to the city are confirmed? Only, I think, if there’s a lot more debate between then and now about how to encourage local people, in ‘the community’, to see that as yet we all have plenty of scope for delivering even better what is good about our city.

And in the meantime, small arts enterprises such as my own try to stagger on, largely sidelined and called to account in really silly ways, far more often (however much some of them might like to) than we are actively helped, supported and appreciated by the powers-that-be.

To be truthful, I suspect both that most of those in charge (not of course all – there are some very decent and reality-based people too) have no experience of struggling at the grassroots, and that people who do work on the ground are simply not a part of the high level strategic landscape.

Pre-packaged for 'the community'
The real decision makers often talk about ‘the community’, but this in their understanding is something to be done unto, to be delivered predetermined culture in predetermined ways.

Rarely is this ‘community’ seen as hugely complex and nuanced (infinitely more nuanced than the standard ‘community’ cultural stereotypes), encompassing many possible ways of contributing to, developing and appreciating arts and culture of all sorts. But it takes time, resources, effort, belief and courage on all sides to get there.

Engaging, or just entertaining?
How much easier – as those amongst cultural managers who are genuinely community-facing will confirm - to deliver a pre-packaged monster spider, than to work patiently for days, weeks or months with the people it has been decreed ultimately will pay for it, to produce something wondrous of their own. Too many of those at ‘the top’ would, if they gave it a thought, have no idea how they could actually help here, anyway.

For me personally that doesn’t matter. I have other quite different things to think about as well, and I didn’t go into this for the bouquets. But if recent experiences were my first or only way of engaging through culture with the city in which I have lived for many years, I would be thoroughly downhearted.

Imagination and vision
‘Real’ art and culture captures the imagination and, in so doing, enables people to see things which they didn’t perceive before. Maybe La Princesse fleetingly did the first; but I haven’t seen much evidence that it does the second. And for roughly the same amount of money as the cost of the European arachnid, we could undertake programmes the same size as my own charity’s single venture in every ward of the city, ‘engaging’ hundreds of people directly and truly meaningfully on each and every occasion.

To keep this member of the local ‘community’ happy, the hard-edged longer-term marketing outcomes for Liverpool from La Machine had better be pretty spectacular.


A version of this article first appeared in a-n magazine, December 2008.

Read more about Liverpool, European Capital Of Culture 2008 and see more of Hilary's Publications, Lectures And Talks.

08.12.05 Architectural Association, Bedford Square, London The Architectural Association, London hosted a debate on Friday 5 December '08 about Liverpool. Consequent upon the issue of Architectural Review earlier in the year about that city, the speakers at this seminar were asked by architect Brian Hatton, a staff lecturer at the AA, to consider whether Liverpool has experienced a Cultural Turn. The article which follows is a version of my contribution to this debate.

Just hours after I’d started serious work on this piece, the following announcement appeared in Liverpool newspapers: ‘Like many local councils,’ it said,’... we face [in 2009] a budget gap despite making efficiency savings of over £44 million in the last 3 years alone. As a council, we are committed to empowering residents [so...] we are asking local residents and our partners where they think we should prioritise our spending...’

Coming at the end of the extraordinary European Capital of Culture year in Liverpool’s already very one-off history, here is a conundrum indeed. What are we to make of a situation in which the money has run out – and, Oh My, in Liverpool how has it run out! – and yet only now are we being ‘empowered’ to say how to spend the pittance available for next year?

‘Empowering residents’ is a great idea. But in the contexts of discussion of Liverpool’s Cultural Turn, exploration of this sort of empowerment probably raises many more questions than, at least initially, it resolves.

Cultural turn as re-orientation
My position – as an enthusiast for both urban renaissance and the arts and culture, and as a long-time Liverpool resident - is this:

The context of cultural turn suggests a re-orientation. ‘Culture’ can mean either things artistic, or things which concern shared social constructions or understanding.

Either way, cultural shift supposes that an idea, situation or strategy has changed in some fundamental way: that there is a shift in emphasis towards a greater insight about what’s happening, or a refocus of emphasis so we begin to see things in a different light.

Has this happened in Liverpool as we approach the end of our Great Year? As things stand, I’m not sure that it has.

At best, the jury is still out. The things which that jury should be considering – and why - will comprise most of the rest of this paper.

The Leunig - Robertson 'Future of Liverpool' debate
A few weeks ago I attended the well publicised regeneration debate in Liverpool Cathedral, between Dr Tim Leunig and Prof. David Robertson.

Dr Leunig’s thesis, versions of which have caused considerable consternation in my part of the world, is, if I may parody a little, that bright and enterprising people should move down South. The South – and especially that hitech Golden Triangle of opportunity around London, Oxbridge and the M4/5 corridor– will then become so overheated that brave capitalists will wish once more to develop Oop North, perhaps almost from scratch.

As a strategy for attracting investment ‘in the regions’ this analysis has its drawbacks – not least that in the Leunig proposals local politicians would be expected to plan for population dispersal in way which would almost certainly lead to their summary dismissal by the electorate.

'The market' is not a given
And that’s before we even get to the critique, ably delivered by Professor Robertson and shared by many of us, that Tim Leunig’s analysis takes the invisible hand of the market as a given.

It seemed to us – despite his entreaty to planners across the nation to revisit housing plans and much else – that the UK economy had in the Leunig perception no central steer from government.

Where was the acknowledgement that all parts of the economy receive vast investment from public and other external funds – not to mention much in the way of legal and enabling frameworks?

Where was the reference to John Maynard Keynes and all who’ve followed him?

The past, as was said loud and clear during the Liverpool Cathedral debate, is not a reliable guide in rapidly changing times to the future.

Interventions occur, and opportunities emerge, in ways which few of us can predict - a fact on which Liverpool should perhaps reflect very carefully as we move to 2009.

All this was not however, for me at least, the most challenging part of the Liverpool economy debate.

Unpallatable home truths?
For me, the most critical issues were these:

Firstly, the Cathedral debate showed little disagreement between the protagonists on data.

In specifics, its scope and / or relevance was mildly contested, but the hard information was not what generated the heat in dialogue between the speakers, or indeed amongst the panel members who responded later.

Second, having briskly disposed of the weaknesses in his opponent’s position around government economic strategy, David Robertson took the opportunity to deliver some home truths about his city of residence.

Liverpool would not, he said – once more reflecting the view of many who have sat around the table debating these things – succeed as it might, even now, unless the local economic community moves on.

Self-delusion and self-aggrandisement are no longer options. We are no longer a truly premier, let alone a world-class, city.

And we cannot genuinely aspire for the future to be so, unless we first recognise this uncomfortable truth.

But my third observation is perhaps the most difficult.

True Scousers
The audience for the debate included many people I know well, hard working and very able professionals and community activists who have given much to their city and really want our renaissance to happen.

Several said later that they had been disappointed by the event.

And this was especially true of those who were born and bred in Liverpool, as opposed to the ‘newcomers’, who have lived and worked there for perhaps a mere thirty years.

None of us had wanted blood, but the True Scousers had hoped more by way of apology and remorse than Dr Leunig was able to offer. He had said he was genuinely sorry – and I believe him – that his version of the Truth had hurt and offended people.

But what most of his critics wanted, was that he fundamentally revise his views. And what they had also expected was a robust rebuttal by other speakers, with no caveats about how we could do better.

Liverpool as myth
This is where the Architectural Review’s special edition on Liverpool of earlier this year [2008] comes to bear.

In his contribution to this fascinating publication, Prof. David Dunster chose to consider ‘Liverpool’s powerful urban mythology and civic pride'. He argues, as here we do also, that Liverpool seems unable to get productively real.

As a collective, Liverpudlians cling desperately to a ‘reality’ which we readily acknowledge is actually no such thing. We vest our heritage in a couple of Liver Birds.

Of course we recognise the error of our ornithological analysis, just as we know there are no pots of gold at the bottom of the rainbow. But on the other hand, we protest, too defensively, that Oh Yes There Are.

And some of us also protest, too defensively, that it’s only other people – on the right and on the left, anyone who offers a critique - who are wrong, that there’s nothing needs to change about Liverpool: it’s just such a shame, in this narrative, that the city has been so poorly perceived elsewhere.

But even if this defensiveness rings true, where does it get us?

Why should architects, or analysts of culture, intent on regeneration, worry about the Liver Birds? What does it have to do with the Cultural Turn?

My answer, reluctantly, is, all too much.

Turning to tourism
Liverpool’s current cultural strategy, and to an extent its whole economic rationale, is, and has for some long time been, directed at tourism.

The city has invested much strategic energy in hotels and talk of ‘destinations’, and in budgetary terms during 2008 it has emphasised above almost all else the importance of large-scale outside events.

This summary analysis is of course too simple; far more has come to pass than that; but the claim contains a germ of truth.

We can all understand why this has happened.

Liverpool, as Professors Dunster and Robertson, and indeed many others, have said, cannot rely for the future on industry – which, Dr Leunig's longer-term analysis notwithstanding, is likely to stay largely elsewhere – or even on the sub-regional knowledge economy, should we actually manage to secure and develop this.

Nor can we rely any more than we already do on the public sector.

It may not, despite the commentary of many, be very much ‘too large’ for our demography; but we certainly won’t secure a sustainable future by developing it further.

So it follows that the economic activity which will most hold things together for Liverpool in the shorter term is the service sector.

And from that it also follows - because our own city region population has amongst the lowest per capita incomes in Britain - that we need tourists, preferably with quite a lot of money to spend.

Visitor attractions
So first we need to bang the drum, to light the fireworks, to deliver the spectaculars which catch the eye of those who have never before wanted to come and see us, let alone shower their hard-earned cash in our direction.

Hence, the position in which we now find ourselves.

There has been farce, there have been fantasticals, but somehow we’ve managed – and I speak as one in part on the inside looking out – largely to pull the Liverpool European Capital of Culture Year off.

Other cities are keen to learn what we have done. Promising Olympic opportunities seem likely for some of those at the centre of our current activities.

Degrees of success
Why then the hesitation? Why not just heave a collective sigh of relief, enjoy, and move on?

Well, to some extent we can do exactly that.

There are arts practitioners at all levels of engagement across the city who have discovered hitherto hidden inner strengths – some in the face of adversity, some because they were nurtured and supported. We have important buildings and facilities which were not there a year or two ago.

We have engaged, if not captured, the attention of a lot of people outside Liverpool.

'Empowering' residents?
But have we cracked it?

I fear that recent little ad in the local newspapers does not bode well.

We as residents weren’t much asked how we wanted 2008 to pan out, but now the money’s spent, our views are invited.

The current recession obviously doesn’t help, but I guess that post-2008 was always going to be difficult for Liverpool. Cultural strategies alone were never going to be a magic cure.

We’ve now been asked to become ‘partners’ in what will probably be a very challenging year ahead.

I suspect that it’s what we can now do without, not what we’d really like, which forms at base the forthcoming agenda.

If this is ‘empowering residents’, it leaves me rather cold.

Cultural change
Which takes me back again to the prognostications of the Liverpool Architectural Review, to the recent Cathedral debate, and to the issue which started all this – our discussion about whether Liverpool is experiencing a Cultural Turn.

The analytical framework developed by Charles Landry shows there are many places large and small which, by whatever criteria, and howsoever termed, have experienced cultural turn.

These range from the solid grandeur of Vienna and its Hundertwasserhaus, through the second-hand bookselling mecca of Hay-on-Wye, to the less dramatic but nonetheless locally very significant reinvention, as a cultural and knowledge quarter, of Liverpool’s Hope Street – a matter in which I myself have had a hand, and which continues to challenge me and various colleagues even now.

I mention Hope Street – which is the thoroughfare linking our city’s two cathedrals - specifically because it is a critically important part of Liverpool.

As the main cultural and knowledge quarter, it probably has the greatest potential for economic development of any part of the Merseyside Liverpool sub-region.

Yet somehow it remains a side-show. Of course everyone agrees our theatres and orchestra are important; of course our universities are critical; but.... In the discourse of the city, there’s always a ‘but’.

What sort of cultural turn?
So it all depends what ‘sort’ of cultural turn we’re looking for.

Landry takes ‘cultural turn’ to mean a situation -

‘where culture is moving centre-stage for another reason when even economics and politics are culturally driven in manifold ways’.

Another writer in Wikipedia refers to the cultural turn as major element of the discipline of Cultural Studies -

developments in the humanities and social sciences brought about by various developments across the disciplines... it describes a shift in emphasis towards meaning and on culture rather than politics or economics... With the shift towards meaning, the importance of high arts and mass culture in cultural studies has declined. If culture was about things (a piece of art, a TV series), it is now more about processes and practices of meaning

and a different observer in Geocities links Market Society and the Cultural Turn

.. contemporary social theory has been increasingly concerned with the central role of cultural processes and institutions in organising and controlling the economic. This has been labelled by some the ‘cultural turn’ in social thought. The claim is that the economy itself, and the ‘things; which follow through it, is now largely constituted through informational and symbolic processes.... The very fact that markets are not natural events, but social ones implies that they are the results of meaningful human action, and employ cultural beliefs about human nature, social action and relationships. In this sense we need to think about economics and economic theory as culture....

And we can also find references which see it in different types of context, if we look to cultural turn in respect of the historical emergence of environmental issues and other matters.

It can be the ‘culture’ of a specific discipline or action set, as well as the ‘culture of culture’.

Economics, sustainability, knowledge, arts or people?
So are we thinking here about economics, about sustainability, about knowledge, about the arts, or about people?

To my mind the cultural turn which Liverpool now ‘needs’ must include all these dimensions.

What’s required of us as citizens of Liverpool is a deeply rooted change in our mindset about how things are going to work in the 21st century.

Culture as 'culture'
We need to take on the ‘cultural’ meaning of cultural turn – to value arts and culture of themselves as well as for what they can bring.

This cultural turn would help to refocus in a way which liberates the imagination and helps us move from a fixation on sad football rivalries; and indeed which would help us also to review the fixation with our maritime history.

Football, like the ports and also The Beatles, has been hugely formative for Liverpool, but they’re not collectively the whole of our future.

Culture as economic context
So we also need to move beyond the cultural sense of cultural turn, to a change in our understanding of Liverpool’s economic situation and contexts.

Like it or not, Manchester is as important for our future as the Mersey.

Skills – and knowing how to use them – are as important as spectaculars; but a lot less easy to deliver.

This sort of change and reorientation, as we all know, requires firm, insightful and inspired civic leadership – a feature not much noted in the local politic of my city.

Consensus and leadership
Evidence of consensus about how to move ourselves off the ‘bottom of the list’ in so many ways is difficult to find.

Local debate still rages over a number of physical features and plans for Liverpool. We need look only to the issues around the Liverpool port terminals and the ‘rights’ which some local people continue to claim, in defiance of economic progress, to walk as they wish along the riverbank.

The same applies to the reconstruction of that major highway approach to the city, Edge Lane and to those who continue to oppose it; or to the future location of Liverpool's two football clubs, or to many aspects of building conservation across Liverpool, that once-second city of the empire.

Sometimes justice, or at least logic, lies with one interest, sometimes with another.

Choices and consequences
But who is up there, spelling out choices and consequences in a voice which actually respects the concerns and commitment of local people, whilst also offering a wider view?

In other words, who is working to bring about the really essential sort of cultural turn?

Who is, to return to our little ad in the newspaper, ‘empowering residents’ in the true sense of providing a cultural climate in which the real options for our future can be debated constructively?

Sadly, almost no-one.

Supporting change for the better
True leadership is not passing the buck, or simply shouting from the front.

It is moving beyond defensiveness, and taking people with you on the basis of open discussion, after they have been helped to understand all the issues.

Getting people to see the bigger picture, and the options which arise from this, is probably the most important thing which Liverpool’s local leaders could do, if they truly want to secure Liverpool’s future for her citizens.

Looking at the detail
Specifics are however also important.

We have during 2008 moved a little way towards the ‘cultural’ ‘cultural turn’, in the sense described by Charles Landry.

The Liverpool Biennial and other events have sparked a greater interest in public space and what we should be doing in it.

The developments along Edge Lane, despite many delays, have encompassed a real physical base for information technology and other creative industries:

Liverpool is becoming a genuinely global hub for developing computer games.

To whatever extent, these developments as such (if not always their locations) are generally perceived as benign, or sometimes as really positive.

Dissenting as residents
But as Landry himself notes, there are other aspects of our city’s development which have been judged more harshly by its residents.

Liverpool's Albert Dock renewal has at times been amongst these.

This facility, which includes museums and Tate Liverpool, has brought the historic docks back into use as a venue for tourists and cultural visitors.

It has more recently been connected to the city centre by the new and vastly ambitious Liverpool 1 retail, commercial and mixed use development, and it also now connects to the challenged ‘donut’ around the southern inner city, via the new Liverpool BT Conference Centre and the Liverpool Echo Arena.

But still it stands aside from the experience of many hardened locals, who may enjoy the odd spectacular in the Arena or on the waterside, but deep-down still see the area as ‘for tourists’, rather than as an opportunity for more local jobs.

The knowledge quarter
Similar considerations, in a different way, apply to Hope Street.

Liverpudlians one and all agree that Hope Street’s cultural offer is important, just as they agree the universities to each side of that street are critical.

But for the most part they also think that what goes on in these august institutions has little to do with them.

Perhaps there’s a touch less defensivenesss now, but still we hear murmurs in places which matter about ‘elitism’, when really we should be hearing about achievement and excellence.

Regenerational drivers
The Albert Dock and Hope Street are major regenerational drivers for the future, but they remain – both physically and metaphorically - at the margins of Liverpool’s ambitions to be reborn.

So at best, to date, there’s only mixed evidence of the sort of fundamental change in the city’s psyche which would empower Liverpool to face the twenty-first century with confidence.

Real plans and futures
In the recent Architectural Review of Liverpool, editor Paul Finch discusses the fiascos which arose from the genesis of what some now call the ‘fourth grace’, the museum currently being built, after fierce infighting and an abandoned architectural competition, on the water front.

Finch reminds us that competitions are [often] used as substitutes for real decision-making, which in turn derives from the absence of a coherent long-term proposition about Liverpool’s urban future.

Focussing likewise on developments during Liverpool’s tenure as European Capital of Culture, Brian Hatton reminds us in the Architectural Review that the EU surely invented as a way of enrolling provincial or failing cities [to the title]... by regeneration, which seems to mean making them conducive to ‘creative industries’ and attractive to the supposed tastes of top executives.

But as Hatton also remarks, this assumes that regional and sub-regional development can be a force for genuine progress - whilst the reality seems to be increasing concentration of power and resources at the centre.

Whatever, a city which over some forty years can’t even convince its residents of the need to fix its main access route to the centre, will have difficulty persuading others of its long-term focus and resolute determination to move forward.

Clarifying the issues
So where does this all take us?

A few things are, I believe, becoming clear.

First, Liverpool’s 2008 Capital of Culture year may claim some successes, but that alone will not take us far.

There is sparse evidence that real opportunities to empower and engage people at the genuinely local level have had much impact as yet; already, for instance, there is fear that 2009 will find local arts and cultural activities sorely tested.

The window for action is short; it will need to happen very quickly if we are to retain the claimed advantages of 2008.

But this follow-through from 2008 is only now being seriously considered, and impetus is almost certain to be lost.

Where has the leadership been, to embed and prepare for the next stage of Liverpool’s re-emergence as a force to be reckoned with?

Local perceptions
Second, where there is in fact now real focus, it remains effectively outside the perceptions of many local citizens.

Tourism and students, not local jobs and the knowledge economy, are for most city residents the defining elements of the Albert Dock and Hope Street.

Except during festivals, these two regenerationally critical locations are of little interest to many Liverpudlians; and even then the festivals are not devised to raise local aspirations.

Increasingly, even these festivals are purely commercial activities which (in the case of Hope Street at least) do not build on prevoius community engagement work.

This lack of overt coherence, the segmentation of approaches to regeneration, and the lack of embeddedness, will not help Liverpool’s progress.

The Cultural Turn as mythology?
And finally, the Cultural Turn in Liverpool is perhaps in part a new mythology, for us to put alongside the Liver Birds.

Look, we say, we’ve pulled off 2008, and now we have Tourists!

But all that says, if we are brutally honest, is that we have Cultural Tourism.

Genuine Cultural Turn, of the sort which I believe would enable Liverpool to construct a new, more sustainable and prosperous future, continues to elude us.

Perhaps we now have a greater emphasis on arts and culture, but we have yet to demonstrate how that can go forward to shape a new future.

Progress or pastiche?
Maybe this can be done where a city has great leadership and vision.

But in Liverpool I must conclude that, for now, the pastiche of Cultural Tourism has eclipsed any fundamental sense of Cultural Turn.


Read more about Liverpool, European Capital Of Culture 2008 and Cities in Transition; and see more of Hilary's Publications.

08.11.03 Heron pic @ JoelBird viewing, Calderstones Park, Liverpool  011aaaa 135x124.jpg We were delighted this evening to attend the Private View of Joel Phelan's JoelBird paintings (acrylic on canvas) in the Coach House of Calderstones Park, Liverpool. Joel, a locally-born artist, is also a talented musician (JubJub / Eto The Band). He has created wonderfully life-like yet 'designed' impressions of birds which we see in our local parks. It would be great if these works inspired other younger people in the city to observe more closely the natural world around them.

08.11.03 Joel Phelan & Minako Ueda-Jackson @ JoelBird Private View, Calderstones Park, Liverpool

08.11.03 Hilary & Tony Burrage @ JoelBird Private View, Calderstones Park, Liverpool

Read more web reports on Liverpool, European Capital Of Culture and see more photographs of Locations & Events.

More information on Joel Phelan's work: JoelBird

08.10.03 Liverpool Biennial Spider, Web of Light, Ai Weiwei,  Exchange Flags This spider, set against the austere statue of Lord Nelson and a backdrop of Liverpool's historic Town Hall, has so much more to offer than the monster mechanical arachnid which scoured our streets a short while ago. La Princesse was piece of engineering; this spider is a work of art. It trusts us to see in it what we will - it's magical, creative and beautiful all at the same time, leaving the imagination to work its fancies.

08.10.03 Liverpool Biennial Spider, Web of Light,  Ai Weiwei, Exchange Flags & part of Lord Nelson & Britannia statue


More information: Liverpool Biennial 2008 plus The Observer Review of 'Web of Light' and the Liverpool Biennial.

See more of Hilary's photographs here: Camera & Calendar; and read more articles about Cultural Liverpool.

HOTFOOT 2008 flyer ~ Cafe Europe, Richard Gordon-Smith (world premiere commissioned by HOPES:The Hope Street Association) plus music by Saint-Saens, Coleridge-Taylor, Engleman, Rossini, Bizet & Mozart HOTFOOT 2008, in Liverpool's Philharmonic Hall on Sunday 7 September [NB: 7 pm], is the twelfth such annual concert. Promoted as ever by HOPES: The Hope Street Association, the theme for the city's 2008 European Capital of Culture year is 'Cafe Europe', with music devised by local children working alongside professional musicians from HOPES.

The HOTFOOT annual events in Liverpool, devised and promoted by HOPES: The Hope Street Association, are never less than exciting...

Here we explain what the HOTFOOT concert is about, how it came to be, and why HOPES continues to do it.

Come and join us!
Intended to be welcoming to everyone, whether used to such concerts or not, the HOTFOOT shows are musical performances tailor-made by - rather than just for - their participants and audience; and they seek always also to bring into focus the many aspects of life in Liverpool, a cosmopolitan and richly diverse city.

Tickets (£7 -11, children £5) are available on the Philharmonic website (here) or from the Phil Box Office (0151-709 3789).

The address of the Philharmonic Hall is Hope Street, Liverpool L1 9BP (location map here), and the performance begins at 7 pm [NB not 7.30pm] as it is a family show.
The concert will finish by around 9.15 pm, and the Philharmonic Hall Foyer Bar will be open afterwards, for performers and audience to meet and mingle.

The HOTFOOT 2008 concert programme
This year's (2008) programme for the HOTFOOT even illustrates the point, with a wide variety of musical formats and inspiration, not to mention, in keeping with our theme, geographically spread, with musical visits to 'cafes' in a number of different parts of Europe, including Austria, Britain, France, Germany, Italy and Spain.

The concert begins with excerpts from two lively 'chamber music' or small group pieces, performed by the professional musicians of Ensemble Liverpool (also known as Live-A-Music), most of them also members of the Royal Liverpool Philharmonic Orchestra:

*** Camille Saint-Saens (1835-1921, France) ~ Septet for string quartet (two violins, viola, cello), double bass, piano and trumpet and

*** Samuel Coleridge-Taylor (1875-1912) ~ Quintet for string quartet and piano.

[HOPES has consistently promoted Samuel Coleridge-Taylor, who remains Britain's greatest black classical composer, known especially for his work Hiawatha's Wedding Feast. He was a friend of John Archer, son of Liverpool and the UK's first black Mayor, appointed to the post in 1913 in Battersea, London.]

After Ensemble Liverpool comes a popular dance music piece by the mid-twentieth century British composer, owner of the Harry Engleman Tango Orchestra

*** Harry Engleman ~ Fingerprints

performed by John Peace and the HOPES Festival Orchestra.

And the first half ends with the Orchestra's performance of

*** Gioachino Rossini (1792-1868, Italy) ~ The Thieving Magpie.

[Interval]

Next is the World Premiere of a work commissioned by HOPES: The Hope Street Association, one of several musical works HOPES has commissioned from Richard Gordon-Smith over the years. In keeping with Liverpool's status on 2008 as European Capital of Culture, the work is

*** Richard Gordon-Smith ~ Cafe Europe.

The piece involves children from Liverpool's Greenbank, Kingsley, Rudston and St. Sebastian's Primary Schools, who, encouraged by their teachers, have been working from April with HOPES musicians (and Philharmonic colleagues) Richard Gordon-Smith and Martin Anthony (Tony) Burrage, to devise the words and music, which are then composed in full score as an integral work by Richard Gordon-Smith.

The children will themselves perform in the piece, with the HOPES Orchestra and soloist Sarah Helsby Hughes (Soprano). Included in this brand new work, which employs the multi-lingual skills of the performers, are 'Song of New Friends', 'Conversation in Paris', 'Urban Castaways', 'Postcards from Germany', 'Flamenco Girl' and 'When the World Comes Knocking'.

To follow this World Premiere we have Sarah Helsby Hughes with the HOPES Orchestra in two of the most dramatic and well-loved Soprano arias, Bizet's Habanera from Carmen and The Queen of the Night from Mozart's Magic Flute.

BBC Proms Royal Albert Hall The RLPO finished their season in style this evening, with a sell-out BBC Proms concert in London's Royal Albert Hall. There was a real excitement as the audience departed after the performance, matched by the sense of achievement RLPO players derive from working with Principal Conductor Vasily Petrenko. This is surely how professional orchestral musicians like to feel at the end of a year's hard work.

08.08.01 BBC Proms RAH after the RLPO concert 029a 500x430.jpg

A date at the Royal Albert Hall for the BBC Proms is a highlight of the season for any orchestra, and this was no exception for the RLPO, an orchestra with a distinguished history. Vasily Petrenko and the RLPO's programme for the evening was the World Premiere of Graven Image for Orchestra by the RLPO's Composer in the House, Kenneth Hesketh, Beethoven's Piano Concerto No. 4 in G Minor, Opus 45 (soloist Paul Lewis) and the Rachmaninov Symphonic Dances, Opus 45, with Mussorgsky's Gopak as an encore.

And happily even those who couldn't join the Proms audience in person were able at absolutely no cost to do so, as for every Prom, live via BBC Radio 3.

Reviews for the concert reflected the enthusiasm on the night.

But now the players are off for a well-earned break, applause still ringing in their ears....

See more of Hilary's photographs: Camera & Calendar
and read more about Music, Musicians & Orchestras

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