“Does Centralisation Continue to Compromise a Potentially Viable and Sustainable Regional Rock Culture in Northern Norway?”

“Does centralisation continue to compromise a potentially viable and sustainable regional rock culture in Northern Norway?” Module: Contextual Studies: Cultural Policies Module code: LPAEM2005 Written by: Lasse Lauritz Pettersen Date: 30 May 2006 1 1. 0 Research Questions Does centralisation continue to compromise a potentially viable and sustainable regional rock culture in Northern Norway? 1.1 Introduction The European Union claims that a third of their total budget goes directly to regional development in an attempt to bring balance to the economical differences between rural and urban areas. Through increased focus on sustainable development in order to prevent centralisation the EU aims to invest on a long-term basis through regeneration and structural funding (EUs Ungdomsportal, 2006). One could argue whether or not regional rock culture as well as the potential export value of rock music in Norway suffers due to a lack of professional infrastructure and political commitment, combined with the fact that Norway still is standing outside of a full EU membership. I have chosen this area of study, as it is my personal belief that one of the reasons for increased centralisation can be found in the risk-averse cultural policies of the Norwegian government and its failure to recognise rock music as a potentially viable music export oriented industry. 1.2 Subject of Investigation I will utilise two case studies in an attempt to gain an understanding of how regional rock cultures in Norway and Sweden correspond with their respective governments 2 and the music industry. My research will include different viewpoints and appropriate theory that exists in regards to rock music and its value as an industry and export article. I aim to find symptoms, if any, on a regional as well as on a national level that might prove a trend towards a more aggressive cultural policy in relations to rock music. 2.0 Definitions 2.1 Rock Music According to Piero Scaruffi (2002): “Rock music is an identity that could be found in its audience, not in the stylistic attributes of the music itself.” With this in mind I choose to interpret the term “rock music” as an umbrella for the different subgenres that exists within popular music. The expressions might vary but in regards to cultural policies, as stated by Haavind from the Culture Committee of the Tromsø City Council (2006, p. 3): “The term “rock music” is considered to coincide with all rhythmical music thus including genres such as R&B, pop, metal, techno, dance etc.” Essentially rock music is also a part of culture. 3 2.2. Cultural Policy As announced by UNESCO in 1982 (Lewis, Miller, 2003, p. 2): “Culture gives man the ability to reflect upon himself... and creates work through which he transcends his limitations.” This indicates that culture is recognised as an enhancement of life quality and gives individuals a sense of fulfilment through cultural activities. Culture could therefore, in many ways, be considered as a tool for socialisation and integration. As a direct result of such a mentality, rock music as a part of culture, can be in danger of being ignored as a professional industry that potentially can generate both jobs, prevent centralisation and be profitable as an export article. 2.3 Cultural Centralisation In a critical article on cultural centralisation in Norway, Geir Kragseth provides an analysis around the supposed myth that Norway only can excel efficiently internationally if it regionalised its cultural resources (Kragseth, 2004). The rhetoric of Kragseth questions what he considers as a governmental mentality that is driven by the belief that there is a strong cohesion between the size of a competent environment and the quality of its performance. The effect this mentality has on the regional output, according to Kragseth is that their respective environments, i.e. 4 regional or local rock scenes, can’t position themselves competitively with Oslo, thus resulting in centralisation of regional talent. Continuing in his statement Kragseth argues: “There is a reason why there is more than one university in Norway, this reason should apply in regards to culture as well.” (ibid) 3.0 Case study 1: Tromsø With approximately 60,000 inhabitants the city of Tromsø is the capital of Northern Norway (Tromsø City Council, 2005). In February of 2006 it was the host city of the annual Norwegian music conference By:larm where the future of Norway’s music export was thoroughly debated by industry personalities. 3.1 The Cultural Action Plan of 2002-2005 The cultural action plan of the city of Tromsø projects what can be regarded as a historical cultural policy where, as some might say, for the first time culture and rock music is looked upon as a contributing factor for regional growth. The action plan was produced in order to respond to what was recognised as a strong enhancement of the initial quality of both the professional and the amateur cultures (Tromsø City Council, 2001, 2004b). 5 3.2 The House of Rock On the 8th of May 2006 the Culture Committee of the Tromsø City Council passed a resolution to initiate the planning stage of a project called Rockens hus (The House of Rock). The resolution emphasised on the historical merits of the regions rock scene and how the musician’s visibility on a national level and their international achievements had enhanced the regions reputations as a promoter and breeding ground for ambitious and talented musicians (Haavind, 2006). The House of Rock is intended to be a functional centre holding a professional studio with rehearsal and office spaces. These are valuable facilities that will be an important extension of existing institutions such as the Competence Centre for Rock and the Tvibit Youth Centre (ibid). Esben Helmersen of the Labour party claims that: “In a city like Tromsø, where rock music is so central and with one of the countries best festivals, a centre like this is essential to encourage development. Not only a place with rehearsal spaces but a place where all aspects of music and its culture can develop.” (Lien, T., 2006) The importance of such a house and the impact it hopefully will have on the regional rock culture is believed to be significant. The sources of funding for the planning stages consist of contributions from the national Culture Council as well as communal 6 and government financing. The building period of the centre is set to commence in 2007/2008 but at this stages both the city council and the government has only agreed to finance the planning stage of the House of Rock, not its actual construction. 3.3 Bukta Open Air Festival The festival is located not far from Tromsø’s city centre and will be held for the third time in July 2006. Through the quality of its programming, its facilities and its unique atmosphere; Bukta Open Air Festival holds ambitions of being the best rock festival in Norway. Through its manifest the festival also states its intention of assisting the preservation and development of the rock culture in Northern Norway (Bukta, 2006). The festival has received both critical acclaim and positive tickets sales. At the same time it is being hailed as an essential steppingstone and a centrepiece for the future development of Northern Norwegian rock culture (Lien, T., 2006). In 2006 the festival was honoured by the Norwegian Rock Association as the best rock festival in Norway (Norges Rock Forbund, 2006). 7 3.4 Cultural Politics The enthusiasm amongst the local politicians reveals what some might consider an untraditional instrumental cultural policy where rock music and culture in general is considered as something that can stimulate regional growth. As explained in an interview with Sif Vik of the Tvibit Youth Center in Tromsø (2006): “When the current mayor Hermann Kristoffersen of the Labour Party ran for election in 1999 he based parts of his campaign on culture. All though he didn’t allocate any more funding to culture when he came into office, he put culture on the agenda.” Another event that is believed to have had a positive effect on the regions new approach on culture is the success of the Bukta Festival because it now can be seen as a motivational factor, bringing a sense of cultural ownership to the people of Tromsø. At the same time as the political environment created under Kristoffersen’s government seems to have given a much needed boost to local culture and rock music. There is reason to believe that an already existing vacuum has become more evident. In an article called “Why I returned to Tromsø, and why I will leave again” the filmmaker Ole Giæver addresses the problem of increased centralisation: 8 “The cultural institutions of the city do a tremendous job in regards to developing talented youth in the age group between 14 and 18. But there are no one there to catch them when they want to take one step further.” (Giæver, 2005) A direct result of this is that young people become students or practitioners elsewhere and that they are most likely to never return because of the absence of a local industry or infrastructure to utilise the competence and knowledge they possess after graduation. Giæver offers a simple solution and that is to establish a higher educational institution for film, music and the arts (ibid). Giæver touches on what essentially could be an institution that could help bridge the gap between volunteer based activity and a professional regional culture industry. With an educational foundation like that, a situation where talented undergraduates, in danger of becoming non-returning postgraduates, could be prevented. 3.5 Regional Growth One could argue that Tromsø with its relatively unfavourable geographic location and with Northern Norway only accounting for approximately a fifth of the total population of Norway (Nordlys, 2005) it could seem unrealistic and unfair to suggest large-scale investment in culture.

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