ROTTERDAM’S CULTURAL ICONS MARIANGELA LAVANGA LYUDMILA PETROVA SARAH SCHÜTZLE WILLEKE VAN DIE NIENKE BINNENDIJK © CREARE – Centre for REseach in ARts and Economics, 2014 Photo (cover page): Mariangela Lavanga, Window on Rotterdam - 2012 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the authors. This is a publication of CREARE – Centre for REseach in ARts and Economics in collaboration with the Erasmus School of History Culture and Communication (ESHCC) – Erasmus University Rotterdam for the International Film Festival Rotterdam (IFFR) CREARE – Centre for REseach in ARts and Economics Van Nispensingel, 59 8016 MT Zwolle - The Netherlands W: http://www.crearefoundation.nl Erasmus School of History Culture and Communication (ESHCC) Erasmus University Rotterdam P.O. Box 1738 Room L2-009 3000 DR Rotterdam - The Netherlands W: http://www.eshcc.eur.nl 2 Preface The report at hand evolved around the idea that there is a need for reinventing the rules which determine relationships between the cultural organizations and their financiers. We argue that this is possible by mobilizing some of the most important cultural actors of a city to join forces in order to develop a strong “cultural brand”. We reason that iconic cultural organizations in Rotterdam with an already clear and strong brand can collaborate and create a “cultural brand” for the entire city of Rotterdam. In an era of fierce global competition among cities, this “cultural brand” can become one of the most important assets of Rotterdam to stand out. The explorative study has been carried out by CREARE – Centre for REseach in ARts and Economics in collaboration with the Erasmus School of History Culture and Communication (ESHCC) – Erasmus University Rotterdam on the invitation of the International Film Festival Rotterdam (IFFR). We have worked on this report from May 2013 to March 2014. It has been a challenging and sometimes demanding research project. Nevertheless, we have worked on it with great pleasure and enthusiasm. The research team thanks Janneke Staarink and Peter Schuiten for all the inspiring conversations and support, Ieva Rozentale and Prijateya Kotipalli for their contributions to the initial phase of the project, and last but not least the persons and organizations that responded to our questions and requests for information: Raad for Kunst en Kultuur Rotterdam, Museum Boijmans van Beuningen, International Film Festival Rotterdam, Kunsthal Rotterdam and Rotterdam Philharmonic Orchestra. It would not have been possible to complete the study in time without their quick response, professional comments and advice. Rotterdam, March 2014 Dr. Mariangela Lavanga , Assistant Professor in Cultural Economics at ESHCC Drs. Lyudmila Petrova , Director of CREARE and Research associate at ESHCC Sarah Schützle , Master student in Cultural Economics and Entrepreneurship at ESHCC Willeke van Die , Master student in Cultural Economics and Entrepreneurship at ESHCC Nienke Binnendijk , free-lance researcher, M.A. in Cultural Economics and Entrepreneurship at ESHCC 3 Contents Introduction 5 1. An exploration of the impacts of the arts and culture in cities across Europe 9 2. Potential cultural icons in Rotterdam 24 3. Focus on four potential cultural icons 28 Conclusions 37 References 42 4 Introduction A cultural brand: platform for Rotterdam In times of crisis, cultural organizations around the world have to reconsider every aspect of their activities. As a result of subsidy cuts at all levels of governments, decreased consumer spending, and other negative impacts on revenue streams, many cultural organizations are forced to develop fewer projects (events, exhibitions, and other types of activities) if not close down. These changes influence not only the quantity but also the quality of the cultural offer in a certain geographic area. The “economization” of the cultural realm within the research and policy discourses during the past two decades has resulted in the availability of a large amount of empirical evidence. It confirms the vital importance of the cultural sphere not only in terms of artistic development, but also with respect to social and even more so economic development of a city, region or nation state. Nevertheless, the relationships between cultural organizations and their main stakeholders have mostly remained unchanged. Cultural organizations are generally in the position of a debtor instead of a quid pro quo partner. This is also the case in the Netherlands and more specifically in Rotterdam. In every city, and Rotterdam is no exception, there are cultural organizations, whose legitimacy should be undisputed. They are crucial for the cultural field of the city with respect to its inhabitants as well as its existing and potential visitors and investors. This research looks into the potential of a collaboration between the large, iconic cultural organizations of Rotterdam to represent the cultural field. It does so by investigating the basis for creating such a “cultural brand”, which we have called “Rotterdam’s Cultural Icons”. This project evolves around the idea that there is a need for reinventing the rules which determine relationships between the cultural organizations and their financiers. We argue that this is possible by mobilizing some of the most important cultural actors of a city to join forces 5 in order to develop a strong “cultural brand”. The “brand” approach is a relative young one in the arts and cultural sector, but some of the most iconic cultural organizations in the world have managed to develop strong “cultural brands” (e.g. TATE), some of which have even exported them (e.g. Louvre, Sonar, Guggenheim). We reason that iconic cultural organizations in Rotterdam with an already clear and strong brand can collaborate and create a “cultural brand” for the entire city of Rotterdam. In an era of fierce global competition among cities, this “cultural brand” can become one of the most important assets of Rotterdam to stand out. Although several studies in the past have acknowledged the contribution of the arts and culture to the economy of Rotterdam (e.g. Borg, van der and Russo, 2005; Trip and Romein, 2009), these have also stressed that the potential is not fully achieved, partly due to a lack of social embedding and involvement from the private stakeholders. The engagement of private stakeholders is still ad hoc and una tantum , while there is a need for sustainable long-term commitment. Now it is time for cultural organizations to take the lead in this matter, which makes it crucial to invest in a strong “cultural brand”. The brand “Rotterdam’s Cultural Icons” would entail the creation of a platform to allow the icons to (re)negotiate the relationships with old and new stakeholders, to raise additional funds for their activities, as well as to involve other actors (smaller organizations, interested individuals, the government, businesses, etc.) to work together on new solutions for strengthening the entire cultural offer in the city of Rotterdam. The main argument is that, thanks to the “Rotterdam’s Cultural Icons”, the entire arts and cultural sector in Rotterdam will gain in terms of visibility, involvement of different stakeholders and diversification of financial sources. In addition, the “cultural brand” can be used and included in the city marketing and branding of the whole city of Rotterdam, with clear benefits in terms of both city’s image and identity. This will in turn raise and reinforce the awareness of the role and potential of the entire cultural sector for the city of Rotterdam. 6 Structure of the report The report is research-based and problem-oriented, uniting academic researchers and the cultural sector in order to explore three main questions: 1. What are the impacts of the arts and culture in cities across Europe? 2. What constitutes Rotterdam’s Cultural Icons? 3. What is the potential contribution of the Rotterdam’s Cultural Icons? The research is carried out in three consecutive phases, each corresponding to one of the above-outlined question categories. Phase 1: An exploration of the impacts of the arts and culture in cities across Europe In the first phase of the project, we gathered, reviewed and summarized relevant research, literature and other sources on the contribution of the arts and culture as well as on case studies about collaboration among cultural organizations and other stakeholders in selected cities across Europe. Our argument is that collaborating cultural organizations and the development of a “cultural brand” have the potential to amplify the contribution that the arts and culture can have on a city. Phase 2: Potential cultural icons in Rotterdam The second phase of the project aims at selecting iconic cultural organizations that have the potential to become the “Rotterdam’s Cultural Icons” or in other words the “cultural brand” of Rotterdam. Several criteria were used to select them. First we took into consideration only cultural organizations that receive public funding from the city government, present in the Cultuurplan 2013-2016 . Second, we looked into the (inter)national appeal and attention, in terms of presence in selected travel guides and number of (inter)national visits. Our aim is to select cultural organizations that have (potential for) (inter-)national appeal, rather than a purely local character. While the selection process requires some quantitative measures, there was no intention of making a ranking among cultural organizations. For the following phase of the study, we needed to zoom into a few of the potential icons at the top of the list as a proxy of high (inter)national appeal and attention. 7 Phase 3: Focus on four potential cultural icons The third phase of the project zooms into four cultural icons in order to explore their potential contribution to the city, their relation with different stakeholders and the scope for collaboration – in other words the potential of the brand/platform “Rotterdam’s Cultural Icons”.