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European Capitals of Culture and Everyday Cultural Diversity: a Comparison of Liverpool (UK) and Marseilles (France) Claire Bullen

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European Capitals of Culture and Everyday Cultural Diversity: a Comparison of Liverpool (UK) and Marseilles (France) Claire Bullen European Capitals Of Culture And Everyday Cultural Diversity: A Comparison of Liverpool (UK) and Marseilles (France) Claire Bullen To cite this version: Claire Bullen. European Capitals Of Culture And Everyday Cultural Diversity: A Comparison of Liverpool (UK) and Marseilles (France). 2013. hal-01423186 HAL Id: hal-01423186 https://hal.archives-ouvertes.fr/hal-01423186 Submitted on 28 Mar 2017 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. European Capitals Of Culture And Everyday Cultural Diversity: A Comparison of Liverpool (UK) and Marseilles (France) Claire Bullen CULTURAL POLICY RESEARCH AWARD 2010 1 2 European Capitals Of Culture And Everyday Cultural Diversity: A Comparison of Liverpool (UK) and Marseilles (France) Claire Bullen CULTURAL POLICY RESEARCH AWARD 2010 3 4 Table of contents Table of contents 5 Forword 8 Acknowledgements 10 Executive summary 12 Acronyms and abbreviations 15 1 Introduction 18 1.1 Project aims 20 1.2 Report structure 22 2 Setting out the research framework 24 2.1 Why cities? Exploring the new urban turn in policy making 24 2.2 Why culture in cities? The cultural ‘turn’ in urban policy 25 2.3 Why compare? 26 2.4 Clarifying some comparative concepts 28 2.4.1 Clarifying concepts 1: Cities and city scale 28 2.4.2 Clarifying concepts 2: Culture policy and the European Capital of Culture 31 2.4.3 Clarifying concepts 3: Identity, social relations and intercultural dialogue 32 2.5 Why Liverpool and Marseilles? Similar yet different… 33 2.6 Why France and the UK? 36 3 Research methodology 39 4 Situating ‘European Capital of Culture’ in Liverpool and Marseilles 46 4.1 Liverpool 46 4.1.1 A city ‘on the brink’ 48 5 4.1.2 Nascent cultural policy 51 4.1.3 Going for European cultural capital 55 4.1.4 Who decided what? The institutional framework for the bid 56 4.1.5 World in One City: from race relations to celebrations of diversity 58 4.1.6 Bringing in ‘worldly’ expertise 63 4.1.7 Diverse opportunities? 64 4.2 ‘Policy tourism’ and the intercity spread of ideas 66 4.3 Marseilles 69 4.3.1 Culture to manage (urban) ‘chaos’ 70 4.3.2 Cultural policy à la marseillaise 72 4.3.3 The ‘foreign city’ 75 4.3.4 Professionalising and Parisian-ising the project 78 4.3.5 Inventing Marseilles as a Euro-Mediterranean capital 80 4.3.6 A discourse that ebbs and !ows 82 4.3.7 Exploring similarities and differences 83 5 Culture led regeneration 85 5.1 Liverpool 86 5.1.1 Liverpool’s take on cultural-led urban regeneration 86 5.1.2 Culture, the ‘city centre’ and the ‘neighbourhoods’ 87 5.1.3 Arts institutions as partners in Liverpool’s regeneration 89 5.1.4 The ‘world’ comes to Kensington 91 5.1.4.1 Developing a neighbourhood cultural policy 94 5.2 Marseilles 96 5.2.1 Cultural led regeneration and the city centre 96 5.2.2 Capital of Culture and the quartiers 99 5.2.3 Marseilles-Provence’s Creative Urban Project 100 5.2.4 Intersection of ‘culture’ and regeneration in St Mauront 104 5.2.5 Variation "nding 110 6 Focussing on arts and cultural organisations 112 6.1 Liverpool 112 6.1.1 Everybody’s an artist, but some more equal than others? 112 6 6.1.2 Representing the world? A question of when and where 115 6.1.3 The multicultural model in Kensington 119 6.1.4 Alternative approaches? 121 6.2 Marseilles 127 6.2.1 Who are the ‘artists’ and ‘cultural workers’ in Marseilles? 127 6.2.2 Qui est ‘in’, qui est ‘out’? 127 6.2.3 What does an ‘artist’ look like in Marseilles? 129 6.2.4 The ‘off’ and the left-out 132 6.2.5 What does a ‘participant’ look like? 133 6.2.6 Drawing out some similarities and differences 136 7 Culture, diversity and everyday social spatial relations 139 7.1 Liverpool 139 7.1.1 Whose culture? Who’s cultural? 140 7.2 Marseilles 148 7.3 Similarities and variations 154 8 Last words from the !eld 156 8.1 Post 2008 and about Liverpool’s ‘legacy’ 156 8.2 Marseilles, looking post 2014 162 9 Conclusions 164 9.1 Recommendations for future research 167 9.2 Recommendations for policy-makers 168 10 References and resources 173 10.1 Interviewees 173 10.2 Websites consulted 177 10.3 Newspaper articles 179 10.4 Bibliography 180 10.5 List of CPRA 2010 Jury Members 192 10.6 Biographical note: author 196 7 Forword Ten years ago, in 2003, the European Cultural Foundation (ECF) and the Riksbankens Jubileumsfond (RJ) decided to set-up the Cultural Policy Research Award (CPRA). The initiative was launched in 2004 with the aim to encourage applied comparative research in the cultural policy area in Europe by supporting a younger generation of cultural policy scholars. The CPRA award and competition is based on the submission of a research proposal that is assessed by an international jury of cultural policy experts. At the occasion of the annual Young Cultural Policy Researchers Forum, the six "nalists of the competition present their research project to the jury. The winner is awarded a grant of €10,000 to accomplish the research project within one year. The annual CPRA competition and the Forum are developed in partnership with and managed by ENCATC (European Network of Cultural Administration Training Centres). Claire Bullen’s E!"#$%&' C&$()&*+ O, C!*)!"% A'- E.%"/-&/ C!*)!"&* D(.%"+()/: A 0#1$&"(+#' #, L(.%"$##* (UK) A'- M&"+%(**%+ (F"&'0%) - is the seventh accomplished CPRA research, and the "rst to be released in the framework of the CPRA’s 10th anniversary. Claire Bullen is a PhD candidate at the Research Institute for Cosmopolitan Cultures (RICC) at the University of Manchester, UK. Her research proposal was selected by the international jury in 2010 due to its highly relevant topic and methodology. Thanks to the award Claire was able to carry out very interesting ethnographic "eld research in both cities. She spent several months in urban areas of Marseilles and Liverpool collaborating 8 closely with local arts organisations, community groups and individuals, using this experience to provide insight into an important yet often overshadowed aspect of European Capitals of Culture: the impact on and the involvement of diverse communities in cities’ cultural lives. Through a multilayered comparative analysis she reveals realities, gains and missed opportunities of Liverpool and Marseilles Cultural Capitals processes and events. This publication presents not only Claire’s research process and "ndings but takes the reader on an exciting journey. We wish to thank Claire Bullen for her original and insightful contribution to European cultural policy research. We trust that her analysis and recommendations will nurture constructively the debate on European Capitals of Culture. We also sincerely thank the Riksbankens Jubileumsfond and ENCATC for their longstanding partnership in this initiative. Isabelle Schwarz Head of Programmes and Advocacy, European Cultural Foundation, January 2013 9 Acknowledgements It has been a privilege to have spent the last two years carrying out research in Liverpool and Marseilles within the framework of this project. I haven’t been able to do justice here to everything that I have learnt and experienced, nor can I mention everybody who has been instrumental in my being able to write this. However, I would like to take this occasion to acknowledge those who opened up their rooms, houses and homes to me, introduced me to family and friends, and guided me around and beyond their city. I would also like to express my gratitude towards the many organisations that offered me an ‘insider’s perspective’ to the workings of cultural association. In particular, I would like to thank, in Marseilles: T.Public, association d’idées and Matthieu Bouchain for sharing his razor-sharp analysis of local and global issues, his creativity and wit; Les Pas Perdus for a rewarding, on- going collaboration full of rich discussions and friendship, and all the volunteers and workers of the CLCV. In Liverpool I would like to acknowledge the warm welcome and support of Black-E, Asylum Link Merseyside and Oli Thomas from Making Faces United CIC. Thanks also to Father Fitzgerald, and the “Sunday lunch team”. Considerable thanks are due to all those who gave up their time to be interviewed. Of course, this research would never have been possible without the generous "nancial support from the European Cultural Foundation(ECF) and the Riksbankens Jubileumfond and I thank them, and the support of ENCATC in providing this chance, and through the Young Cultural Policy Researchers Forum, for offering me a 10 space to discuss and observe the ways in which cultural policy is currently being conceptualised and debated across the European continent. I would particularly like to thank Tsveta Andreeva at the ECF for her ef"cient and friendly support. I also acknowledge the generous support of UACES (University Association for Contemporary European Studies)for awarding me with a travel scholarship to carry out three months’ ethnographic "eldwork within the association Marseilles-Provence 2013 between February and May 2013. This opportunity was made possible by Isabelle Coustet, formerly Evaluation & European funding Manager at Marseille-Provence 2013 (now at the European Parliament), who offered me the rare opportunity to be an intern within MP2013.
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