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Creating Hegemony: Montreal's Cultural Development Policies And Creating Hegemony: Montreal’s cultural development policies and the rise of cultural actors as entrepreneurial political elites. Yuseph Adam Katiya A Thesis In the Department Of Geography, Planning & Environment Presented in Partial Fulfillment of the Requirements For the Degree of Master of Science (Geography, Urban & Environmental Studies) at Concordia University Montreal, Quebec, Canada December 2011 © Yuseph Adam Katiya, 2011 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Yuseph Adam Katiya Entitled: Creating Hegemony: Montreal’s cultural development policies and the rise of cultural actors as entrepreneurial political elites. and submitted in partial fulfillment of the requirements for the degree of Master of Science (Geography, Urban and Environmental Studies) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: _______________________________________________ Chair Dr. Damon Matthews _______________________________________________ Examiner Mr. Ted Rutland _______________________________________________ Examiner Dr. Anne-Marie Broudehoux _______________________________________________ Supervisor Dr. Norma Rantisi Approved by ________________________________________ Dr. David Greene Chair of Department ________________________________________ Dr. Brian Lewis Dean of Faculty of Arts and Science Date ________________________________________ Abstract Creating Hegemony: Montreal’s cultural development policies and the rise of cultural actors as entrepreneurial political elites. Yuseph Adam Katiya Culture-led regeneration and creativity policies appear to have achieved broad societal acceptance in many cities in North America and Europe. This research explores how a discursive articulation of culture with entrepreneurial notions of “creativity” has contributed to a new set of policies, forms of policy coordination, sectoral partnerships and growth coalitions. This is illustrated by the case of Montréal, Canada, a city that places culture and creativity at the heart of its local accumulation strategy, and has secured a soft hegemonic presence. This research largely draws on geographical political economy literature that views urban neoliberalism as a contingent process that requires consent from disparate constituencies, and not as something predeterminedby changes in the economy. The first line of inquiry traces key events and policy documents i.e. “key moments of conjuncture” that have helped to repackage culture as a competitive asset. Supplemented with analysis derived from speeches, media, official documents and online sources, the case demonstrates how the creative cities discourse has fuelled a new policy network that allows for the rapprochement of cultural actors with traditional urban elites. Using the creation of the Quartier des Spectacles as a case study, the second line of inquiry examines how the intertwining of culture, creativity and economic development have come to shape urban planning. Finally, in line with neo-Gramscian perspectives on urban politics, this research concludes by exploring instances of counter hegemony, particularly within the local artistic community. iii Acknowledgments This research is a product of its time, reflecting some of the frustrations and uncertainties many of us feel with the current crisis. My views on neoliberalism, cultural policy and urban politics, however, have also been shaped by countless conversations (and sometimes heated debate) with professors, colleagues, family and friends over the last decade. To them, I express my sincere gratitude for their assistance and encouragement. I begin by thanking the person who introduced me to critical geography and some seminal readings. As an undergrad, Professor Jim Freeman’s classes always provided a safe space for activist troublemakers like me. Professor Freeman helped shaped my thinking by leading reading groups, offering constructive advice and giving me a chance to assist him with his ethnographic fieldwork in Rio de Janeiro. I only hoped he offered more classes. I also would like to thank my committee members: Julie Podmore, Anne- Broudehoux and Ted Rutland. Their early insights were crucial to the process. During a difficult period when all I was seeing were blank screens, Ted Rutland revived my original thesis by offering some timely criticism and direction. He exemplifies the activist-scholar tradition, and I wish him a long and fulfilling career at Concordia University. Last but certainly not least, I must acknowledge the support of my supervisor, Professor Norma Rantisi. Her knowledge, expertise and advice, shared generously over the last two years, are felt on every page of this thesis. Professor Rantisi went far beyond the call of duty, reading countless drafts and answering my seemingly endless emails, iv especially in the days leading up to submission. I am privileged to call her my supervisor, mentor and friend. Sarita Ahooja, Bita Eslami, Stefan Christoff, Jesse Gutman, Mae Nam, Fon DeVuono Powell, James Yap, Hokuto Sugano, Christopher Reid, Matthew Brett, Rushdia Mehreen, Fred Burrill, Holly Nazar and Jeff Hignett all deserve acknowledgment. In different ways, as colleagues and friends, they helped to revise earlier drafts, inspired me with ideas and encouraged my studies. I could always count on them for asking me the very pertinent question “What is your thesis about again?”, and its equally important corollary comment “That sounds interesting”. There is also Lala, whom I met at the beginning of this journey. Lala supported me by being a great girlfriend (eventually wife!), keeping me on track and always having a kind word after a tough day. A real-life “santa”, she was extremely patient, allowing me time and space to work on this study and explore new projects. Finally, I would like to thank my parents for welcoming me back to their home. University would have been impossible without their support, both financial and personal. I dedicate this project to my mother. v To FEM, QPIRG and to everyone who stood up to make Concordia a better and more democratic university, past, present and future. vi Table of Contents List of Tables ............................................................................................................................... ix List of Figures .............................................................................................................................. ix Chapter I Introduction ..................................................................................................................... 1 Chapter II Literature Review ............................................................................................................ 8 2.1 The Neoliberal City and Culture-Led Regeneration ......................................................... 8 2.1.1 Evolution of Cultural Policy .................................................................................... 14 2.1.2 The Creative City .................................................................................................... 17 2.2 Urban Actors and Growth Coalitions ............................................................................. 24 2.2.1 The City as a Growth Machine ............................................................................... 25 2.2.2 Urban Regime Theory ............................................................................................ 29 2.2.3 Neo-Gramscian Urban Political Theory .................................................................. 32 2.3 Conclusion ...................................................................................................................... 37 Chapter III Methodology ................................................................................................................ 39 Chapter IV The Rise of Cultural Actors as Entrepreneurial Political Elite ...................................... 43 4.1 The Picard Report .......................................................................................................... 45 4.2 Culture Montreal and the Culture Montreal Summit .................................................... 50 4.3 Symposium 2017: A 375 year-old cité of the world ....................................................... 54 4.4 Culture at the Summit of Montreal ............................................................................... 57 4.5 Release of “Montreal’s capacity for creative convergence: Outlook and opportunities” (Study by Florida’s consulting firm Catalytix) ............................................................................ 61 4.6 Rendez-vous Novembre 2007 – Montréal, cultural metropolis .................................... 70 Chapter V Quartier des Spectacles ................................................................................................ 77 5.1 The Importance of the Lower Main in Montreal History ............................................... 78 5.2 Quartier des Spectacles: Cultural pole, Catalyst for property development, or both? . 83 5.3 Culture Montreal and Quartier des Spectacles ............................................................. 90 5.4 The Potential for Counter-Hegemony ........................................................................... 92 Chapter VI Discussion and Conclusion ........................................................................................... 97 vii
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